Loathe to leave the tight family circle to which he is accustomed (I:2:7), Victor,
in a sign that is a portent of the future, turns in on himself. His defensive condescension
excludes much more than Professor Krempe from his perspective.

This is a curious statement for Victor to make, perhaps indicative of how tenuous
a hold he has on reality at this point. Earlier, he had prided himself on his freedom
from this kind of childish fear: "I do not ever remember to have trembled at a tale
of superstition, or to have feared the apparition of a spirit" (I:3:3).

Although the exact scientific premises are carefully obscured, this phrase, plus the
formative adolescent memory of the great thunderstorm coming down from the Jura Mountains
(I:1:22), strongly implicate electricity as the "vital fluid" that gives life.

The Cape of Good Hope (Africa) or the Cape of Horn (South America). In other words,
Walton expects, that, once cutting across the Arctic Ocean he should discover a northern
passage into the Pacific Ocean through the Bering Sea, the change of seasons might
make it impossible for him to reverse course and return to England across the top
of Siberia and Scandinavia. Thus, it might be necessary for him to traverse the Southern
Hemisphere on his return.

Walton reiterates the terms used in the preceding entry (I:L4:21 and note).

This second son is Ernest, an even more shadowy figure in the 1831 text than in the
first edition. He appears to exist simply to inherit the name and estate when the
other Frankensteins die. Victor's ignoring his name, then effusively and sharply delineating
Henry Clerval's personality, might be seen as deliberate in its characterization.

It would seem more than coincidental that the father would invoke a concept (depravity)
that entered the arena of this novel only the night before, upon the son's once again
catching sight of his Creature, "a depraved wretch" (I:6:23 and note). Also, the tone
of class condescension, although it may accord generally with contemporary attitudes
toward servants, has resonance within the larger social attitudes revealed in the
ensuing chapter.

The work Mary Shelley cites is Fantasmagoriana; ou Recueil d'Histoires d'Apparitions,
de Spectres, Revenans, Fantômes, &c. Traduit de l'allemand, par un Amateur, 2 vols.
(Paris, 1812), anonymously published by Jean Baptiste Benoît Eyriès (1767-1846). The
following year, in turn, this text was translated into English as Tales of the Dead.
Principally Translated from the French (London: White, Cochrane, and Co., 1813).

No other account of the writing contest verifies this bizarre project as Mary Shelley
outlines it. Polidori himself, in the introduction to his realistic novel Ernestus
Berchtold; or, the Modern Oedipus 1819), identified that work as the one he began
as the response to the challenge given by Lord Byron. He did, however, also produce
a horror-story of his own in direct competition with Byron's unfinished fragment,
which he published in 1819 as The Vampyre; a Tale.

Although the term sounds innocent at first reading, we may be reminded here of the
"secret stores of knowledge" ("secrets of nature" in 1831) Victor found in Cornelius
Agrippa (I:1:15) and perhaps also, as a point of contrast, of the emphasis shared
by all modern scientific discourse on open inquiry and testing results of experimentation
in a court of learned opinion.