1022

  • The blue Mediterranean appeared Victor has followed the entire course of the Rhône from the point at which it flows
    out of Lake Geneva through Geneva and eastward into France; there, confluencing with
    the Loire at Lyons, it turns south, to exit into the Mediterranean at France's major
    southern port of Marseilles.
  • 1021

  • the blue lake The placid and clear Lake Geneva, symbolic of Victor's untroubled and unambiguous
    childhood, from which the Rhône river begins its long course to the Mediterranean
    Sea.
  • 1020

  • blasted and miserable Victor's iteration of the adjective "blasted" (II:1:1, III:2:8) to describe his condition
    has its source in his adolescent experience of watching the stump of a tree blasted
    by lightning (I:1:22).
  • 1019

  • I am a blasted tree Victor unconsciously echoes the terms of his experience at the age of fifteen when
    he witnessed lightning shatter the venerable tree at the Frankenstein's summer house
    near Bellerive: "I never beheld anything so utterly destroyed" (I:1:22). His premonition
    of the destructive power of the vital force he would employ for creation here realizes
    itself with ironic power.
  • 1018

  • black melancholy In modern psychological parlance Victor has fallen into a profound state of depression.
  • 1017

  • be steady

    Coming immediately after allusions to the treacherous Ulysses and murderous Lady Macbeth,
    this injunction bears the stamp of one who, using like rhetoric, exhorted his comrades
    to throw off a similar despondency: "Awake, arise, or be for ever fallen!" (Paradise
    Lost, I.330). Satan, too, standing on his perseverance in a lost cause, represents
    himself as being      

         one who brings
    A mind not to be changed by place or time.
    The mind is its own place, and in itself
    Can make a Heaven of Hell, a Hell of Heaven.
    What matter where, if I be still the same. . . (I.252-256).

  • 1016

  • St. Bernard's Well

    This spa, a neoclassical structure in the form of a circular temple, was erected on
    the Water of Leith in the 1790s. Black's Picturesque Tourist of Scotland, 18th ed.
    (Edinburgh: Adam and Charles Black, 1869), describes it in these terms: The well (or
    pump-room as it might be called) stands close on the banks of the river, immediately
    below the Dean Bridge. The water is an excellent sulphureous liquid, possessing the
    usual medicinal qualities, similar to those of the Moffat, and Harrogate. The late
    Lord Gardenstone was the first to appreciate the properties of the spring, and erected
    the present classical temple enclosing a statue of Hygeia, whose face very properly
    'is expressive of sympathy and kindness.' (78)

  • 1015

  • benefactors of your species Both Robert Walton and Victor Frankenstein have held up this goal as the aim of their
    scientific endeavors, Walton in his opening letter to his sister (I:L1:2) and Victor
    in his enraptured vision of the "new species" that would owe its existence to him
    (I:3:8). That Victor should here repeat that term of distanced scientific taxonomy
    may give the reader pause.
  • 1014

  • be men The echo of Lady Macbeth's denunciation of her husband's vacillation before the murder
    of Duncan is unmistakable, and, like the earlier allusion to Inferno 26, provides
    an ironic subtext that undercuts Victor's histrionic oratory: Macbeth Prithee, peace:

    I dare do all that may become a man;
    Who dares do more is none. Lady Macbeth What beast was't, then,
    That made you break this enterprise to me?
    When you durst do it, then you were a man;
    And, to be more than what you were, you would
    Be so much more the man. Nor time nor place
    Did then adhere, and yet you would make both:
    They have made themselves, and that their fitness now
    Does unmake you. I have given suck, and know
    How tender 'tis to love the babe that milks me:
    I would, while it was smiling in my face,
    Have pluck'd my nipple from his boneless gums,
    And dash'd the brains out, had I so sworn as you
    Have done to this. (I.vii.44 ff.)
  • 1013

  • beautiful in nature . . . sublime . . . of man At this point it is clear that it is Clerval, "the image of [Victor's] former self"
    (III:2:3) who retains this responsiveness to his natural surroundings. This is exemplified
    in the previous chapter with his enthusiastic reaction to the Rhine valley (III:1:19).
    His citing of both the beautiful and the sublime in this sentence may point the reader
    less to Victor—who sees himself no longer able to respond fully to either—than to
    a sense of inclusiveness, at once aesthetic and intellectual, that Mary Shelley seems
    to be associating with a fully realized human being.