1122

  • a filthy process Victor echoes the term he used to characterize his laboratory in Ingolstadt: "my
    workshop of filthy creation" (I:3:9).

    • 1121

  • Filled with dreary imaginations

    The withdrawal is a dangerous portent, but for Mary Shelley once again to connect
    such a process with the exercise of the imagination clearly questions the value of
    this central concept of Romanticism.

    • 1120

  • a fiend whose unparalleled barbarity Here, and throughout the ensuing paragraphs, Victor indulges in a determined, almost
    compulsive hyperbole that distances himself from and demonizes his creation. In the
    process Victor comes to identify himself with "the whole human race" against the anomalous
    alien being he would cast out from it.

    • 1119

  • fiend

    As is evidenced by his once again denominating his Creature by degrading epithets,
    Victor returns to his old habits of mind as the time slips away.

    • 1118

  • a feverish joy This oxymoronic construction calls attention to itself in ominous ways. It at once
    reminds the literate reader of the "fearful joy" that the youths momentarily "snatch"
    on their school playing field in Thomas Gray's "Ode on a Distant Prospect of Eton
    College" (line 40) and recalls the anxiety-ridden states of fever that have furnished
    a recurrent counterpoint to Victor's experiences with the Creature (see I:3:14, I:4:17).

    • 1117

  • a feverish fire still glimmers in his eyes Victor has been described as feverish since his collapse following the death of Clerval
    (III:4:11). The symptoms point to tuberculosis, known in the early nineteenth century
    as consumption because the body wasted away under the advance of the disease. Such
    a disease would be correlative to, and even emblematic of, Victor's mental condition.

    • 1116

  • fever With this characteristic reversion to physical collapse we are reminded of how precarious
    has been Victor's physical and mental stability since his obsessive researches at
    Ingolstadt (see I:4:17). Only a few months before his marriage he had been so ill
    that a long period of convalescence was necessary to restore him to a state in which
    he could withstand his trial in Ireland (see III:4:11 and III:4:42).

    • 1115

  • felt . . . other sufferings. The context, as earlier in the chapter (III:3:7), here once again brings to mind
    the circumstances of Coleridge's "Rime of the Ancient Mariner," lines 119ff., which
    is associated in the novel both with a transgressive voyaging (see I:L2:6 and note)
    and with a fear of retribution for tampering recklessly with life (I:4:7).

    • 1114

  • I seek not a fellow-feeling in my misery We notice that the Creature closely follows the course of linguistic renunciation
    already emphasized in the discourse of Victor Frankenstein. Unable to extricate himself
    from the reality of his bondage with Victor, his condition is unalterable. It, too,
    can lead only to death.

    • 1113

  • feelings of affection One senses here a last-ditch recapitulation of earlier statements by the Creature,
    of a type that originally convinced Victor to create him a mate: see, for example,
    II:2:13 and II:9:14.
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