78 Matching Annotations
  1. Dec 2019
    1. Tears also gushed from the eyes of Clerval, as he read the account of my misfortune.

      Here, Victor makes Henry's sorrow entirely his own. His family has lost a child, his brother a life, and Victor sees the expression of grief as an extension of his own suffering--and it is no doubt riddled with guilt.

    2. my form is a filthy type of your’s

      There is an element of the Creature being aware that there is similarity between the two. On this point, it was never really the physical that he feared. This is evident in the switch from "handsome" to "beautiful" when describing the intentions behind the Creature. He is intended to stir something in the viewer from the beginning. Victor's mind and experiences become mirrored by his Creature. Once created, the two were always bonded.

    3. my mind was intently fixed on the sequel of my labour, and my eyes were shut to the horror of my proceedings. But now I went to it in cold blood, and my heart often sickened at the work of my hands.

      Before it was a monomania focusing on the "frenzy" of his work which was more from ambition. Now, he is again focusing on his work, but he is mainly focused on the suffering it will bring to him.

    4. “I cannot describe to you the uneasiness we have all felt concerning your health.

      It's interesting to see the way that Victor's uneasiness has spread from just being his individual condition. We can see a map of this fear creeping closer and closer to Victor's family and friends.

    5. monster

      At this point, the Creature has become exclusively referred to as a monster by Victor. This is before the Creature actually commits any "monstrous" acts, so what is Victor's definition of monster? He is basing this title solely on the physical being that he created!

    6. Here I paused, I knew not why; but I remained some minutes with my eyes fixed on a coach that was coming towards me from the other end of the street. As it drew nearer, I observed that it was the Swiss diligence: it stopped just where I was standing; and, on the door being opened, I perceived Henry Clerval, who, on seeing me, instantly sprung out. “My dear Frankenstein,” exclaimed he, “how glad I am to see you! how fortunate that you should be here at the very moment of my alighting!”

      The curse (as in "Ancient Mariner" which was just cited) momentarily breaks. But, just as the Mariner is destined to tell his tale compulsively for life, Victor's troubles are not over!

    7. CHAPTER IV.

      Further Reading:

      Béres Rogers, Kathleen. "The Monstrous Idea in Mary Shelley's Frankenstein. Literature and Medicine, vol. 36, no. 2, John Hopkins University Press. 2018. PittCat+. Nov. 2019

      Diedrich, Lisa. "Being-becoming-monster: Mirrors and Mirroring in Graphic Frankenstein Narratives." Literature and Medicine, John Hopkins University Press. 36, no. 2, 388-411. 2018. PittCat+. Nov. 2019.

      Gatens, Moira. "Frankenstein, Spinoza, and Exemplarity." Textual Practice, 33:5, 739-752. Found on PittCat+. Nov. 2019.

      Huff-Oelberg, Courtney. The Culture of the Body: The Beautiful, Sublime, and Ugly in Mary Shelley's Frankenstein. Diss. Clemson University. 2018. ProQuest. Nov. 2019.

    8. Like one who, on a lonely road, Doth walk in fear and dread, And, having once turn’d round, walks on, And turns no more his head; Because he knows a frightful fiend Doth close behind him tread*.* Coleridge’s “Ancient Mariner.”

      This passage occurs near the end of "Ancient Mariner." It is a point just before the curse breaks (according to Coleridge's gloss notes).

    9. while a grin wrinkled his cheeks.

      The first action we see from the Creature is a grin. This description, on anyone else, would be positive. But, on the Creature, its horrifying to Victor.

  2. Nov 2019
    1. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.

      Victor experiences something close to the sublime when he sees his creation. It's something that he has worked tirelessly at for months, and during that process he would have been getting close, in-depth glimpses. This made his work manageable.

      But, when he steps away and sees all of the pieces together, what he sees is unrecognizable and disgusting to him.

    2. beautiful. Beautiful!—Great God!

      In the original manuscript, Shelley wrote "handsome. Handsome!--Great God!" Percy Shelley made the correction to "beautiful" which adds the idea of the sublime vs. beautiful apparent in the Creature. "Beautiful" is a word of emotion, and the passion exhibited in this scene (specifically in Victor's intention to create a beautiful being) creates a sense of psychology that almost takes it into the sublime. However, the Creature produces disgust, so it is categorized as "the ugly".

    3. How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful!—Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion, and straight black lips.

      The juxtaposition of catastrophe, grotesque descriptions, and words like "beautiful" is absolutely crucial to look into here.

    4. “You have destroyed the work v3_046which you began; what is it that you intend? Do you dare to break your promise? I have endured toil and misery: I left Switzerland with you; I crept along the shores of the Rhine, among its willow islands, and over the summits of its hills. I have dwelt many months in the heaths of England, and among the deserts of Scotland. I have endured incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?”

      The Creature is a parallel for Victor in the sense of their shared travels! Though, we knew of his presence during the traveling scenes because of Victor's paranoia.

    5. Several hours passed, and I remained near my window gazing on the sea; it was almost motionless, for the winds were hushed, and all nature reposed under the eye of the quiet moon. A few fishing vessels alone specked the water, and now and then the gentle breeze wafted the sound of voices, as the fishermen called to one another. I felt the silence, although I was hardly conscious of its extreme profundity, v3_045until my ear was suddenly arrested by the paddling of oars near the shore, and a person landed close to my house.

      Victor is sitting in silence, waiting for the consequences of his actions. Before, there were instances of the sounds of the waves and of nature calming Victor, but these sounds are absent in this scene.

    6. As I looked on him, his countenance expressed the utmost extent of malice and treachery. I thought with a sensation of madness on my promise of creating another like him, and, trembling with passion, tore to pieces the thing on which I was engaged. The wretch saw me destroy the creature on v3_044whose future existence he depended for happiness, and, with a howl of devilish despair and revenge, withdrew.

      His physical expression represented something much deeper for Victor, and it was so strong that it compelled him to destroy the female Creature.

    7. I saw, by the light of the moon, the dæmon at the casement. A ghastly grin wrinkled his lips as he gazed on me

      This is a recurring image. When we first saw the Creature, he was wearing a "ghastly grin" and appeared at Victor's window!

    8. Even if they were to leave Europe, and inhabit the deserts of the new world, yet one of the first results of those sympathies for which the dæmon thirsted would be children, and a race of devils would be propagated upon the earth, who might make the very existence of the species of man a condition precarious and full of terror. Had I a right, for my own benefit, to inflict this curse upon everlasting generations? I had before been moved by the sophisms of the being I had created; I had been struck senseless by his fiendish threats: but now, for the first time, the wickedness of my promise burst upon me; I shuddered to think that future ages might curse me as their pest, whose selfishness had not hesitated to buy its own peace at v3_043the price perhaps of the existence of the whole human race.

      Here is Victor's biggest fear in creating another Creature: reproduction and thus the birth of a new, deformed race.

    9. loathed his own deformity, and might he not conceive a greater abhorrence for it when it came before his eyes in the female form? She also might turn with disgust from him to the superior beauty of man; she might quit him, and he be again alone, exasperated by the fresh v3_042provocation of being deserted by one of his own species.

      Victor seems sure of the Creature's self-hatred, which he expects to bleed into the female Creature. One of his fears is the Creature ending up alone again, this time with another Creature wreaking havoc at the same time. However, he also worries about the possibility of the female Creature turning toward the human man of "superior beauty." This shows another of his fears: further deformity.

    10. , and had created a fiend whose unparalleled barbarity had desolated my v3_041heart, and filled it for ever with the bitterest remorse. I was now about to form another being, of whose dispositions I was alike ignorant; she might become ten thousand times more malignant than her mate, and delight, for its own sake, in murder and wretchedness.

      Another instance of his descriptions of the physical bleeding into his descriptions of the metaphysical and psychological aspects created by the Creature.

    11. I sat one evening in my laboratory; the sun had set, and the moon was just rising from the sea;

      Often, pieces of literature will use references to the movement of the sun and the moon to show either an intensity (like in Rime of the Ancient Mariner). Here, it seems to show that Victor is on the precipice of his decision. He is in-between one phase and another when it comes to creating or destroying his work on the female Creature.

    12. During v3_038my first experiment, a kind of enthusiastic frenzy had blinded me to the horror of my employment; my mind was intently fixed on the sequel of my labour, and my eyes were shut to the horror of my proceedings. But now I went to it in cold blood, and my heart often sickened at the work of my hands.

      Another instance of the psychological manifesting as the physical in Victor's fear.

    13. , I walked on the stony beach of the sea, to listen to the v3_037waves as they roared, and dashed at my feet. It was a monotonous, yet ever-changing scene. I thought of Switzerland; it was far different from this desolate and appalling landscape. Its hills are covered with vines, and its cottages are scattered thickly in the plains. Its fair lakes reflect a blue and gentle sky; and, when troubled by the winds, their tumult is but as the play of a lively infant, when compared to the roarings of the giant ocean.

      A liminal zone. Victor is in a constant in-between state during this portion of his journey. He is between Creatures, between life and death, and in the center of fear and agitation at all times.

    14. With this resolution I traversed the northern highlands, and fixed on one of the remotest of the Orkneys as the scene of my labours. It was a place fitted for such a work, being hardly more than a rock, whose high sides were continually beaten upon by the waves. The soil was barren, scarcely affording pasture for a few miserable cows, and oatmeal for its inhabitants, which consisted of five persons, whose gaunt and scraggy limbs gave tokens of their miserable fare. Vegetables and bread, when they indulged in such luxuries, and even fresh water, was to be procured from the main land, which was about five miles distant.

      This is something like what he is describing!

    15. hasten then, my dear friend, to return, that I may again feel myself somewhat at home, which I cannot do in your absence.”

      As I said earlier, Victor is in a position of being the guidance for his family. He brings home with him, in a sense, so his absence--physical and mental--derails the entire family.

    16. “Do v3_034you,” said I, “enjoy yourself, and let this be our rendezvous. I may be absent a month or two; but do not interfere with my motions, I entreat you: leave me to peace and solitude for a short time; and when I return, I hope it will be with a lighter heart, more congenial to your own temper.”

      He isolates himself again, but this time it is for the protection of everyone involved.

    17. But I was impatient to arrive at the termination of my journey.

      His impatience is evident in his narration. He has sped through his entire trip, which has at this point lasted near to over a year.

    18. I had now neglected my promise for some time, and I feared the effects of the dæmon’s disappointment. He might remain in Switzerland, and wreak his vengeance on my relatives. This idea pursued me, and tormented me at every moment from which I might otherwise have snatched repose and peace.

      He is being followed by his torment. It refers back to Shelley's "Rime of the Ancient Mariner" reference, which used an image of someone walking on a road and not turning around because they knew they were being followed.

    19. and if I was ever overcome by ennui, the sight of what is beautiful in nature, or the study of what is excellent and sublime in the productions of man, could always interest my heart, and communicate elasticity to my spirits. But I am a blasted tree; the bolt has entered my soul; and I felt then that I should survive to exhibit, what I shall soon cease to be—a miserable spectacle of wrecked humanity, pitiable to others, and abhorrent to myself.

      He mentions the sublime here! It's interesting to see the way the sublime is manifested throughout Frankenstein.

    20. From thence we proceeded to Oxford. As we entered this city, our minds were filled with the remembrance of the events that had been transacted there more than a century and a half v3_026before. It was here that Charles I. had collected his forces. This city had remained faithful to him, after the whole nation had forsaken his cause to join the standard of parliament and liberty. The memory of that unfortunate king, and his companions, the amiable Falkland, the insolent Gower, his queen, and son, gave a peculiar interest to every part of the city, which they might be supposed to have inhabited. The spirit of elder days found a dwelling here, and we delighted to trace its footsteps. If these feelings had not found an imaginary gratification, the appearance of the city had yet in itself sufficient beauty to obtain our admiration. The colleges are ancient and picturesque; the streets are almost magnificent; and the lovely Isis, which flows beside it through meadows of exquisite verdure, is spread forth into a v3_027placid expanse of waters, which reflects its majestic assemblage of towers, and spires, and domes, embosomed among aged trees.

      It's interesting to see the historical events that Victor remembers during his travels. This is a note to myself to go back and find more information on all of them!

    21. We had arrived in England at the beginning of October, and it was now February. We accordingly determined to commence our journey towards the north at the expiration of another month. In this expedition we did not v3_025intend to follow the great road to Edinburgh, but to visit Windsor, Oxford, Matlock, and the Cumberland lakes, resolving to arrive at the completion of this tour about the end of July. I packed up my chemical instruments, and the materials I had collected, resolving to finish my labours in some obscure nook in the northern highlands of Scotland. We quitted London on the 27th of March, and remained a few days at Windsor, rambling in its beautiful forest. This was a new scene to us mountaineers; the majestic oaks, the quantity of game, and the herds of stately deer, were all novelties to us.

      Time is passing quickly in this section!

    22. But in Clerval I saw the image of my former self; he was inquisitive, and anv3_023xious to gain experience and instruction. The difference of manners which he observed was to him an inexhaustible source of instruction and amusement. He was for ever busy; and the only check to his enjoyments was my sorrowful and dejected mien. I tried to conceal this as much as possible, that I might not debar him from the pleasures natural to one who was entering on a new scene of life, undisturbed by any care or bitter recollection. I often refused to accompany him, alleging another engagement, that I might remain alone. I now also began to collect the materials necessary for my new creation, and this was to me like the torture of single drops of water continually falling on the head. Every thought that was devoted to it was an extreme anguish, and every word that I spoke in allusion to it v3_024caused my lips to quiver, and my heart to palpitate.

      There has been such a change in Victor since the beginning of the novel. Victor sees Henry as his "former self," and he compares this former self to his current state--agitation.

    23. Company was irksome to me; when alone, I could fill my mind with the sights of heaven and earth; the voice of Henry soothed me, and I could thus cheat myself into a transitory peace.

      He finds peace in the sights of nature and in Henry.

    24. Clerval desired the intercourse of the men of genius and talent who flourished at this time; but this was with me a secondary object; I was principally occupied with the means of obtaining the information necessary for the completion of my promise, and quickly availed myself of the letters of introduction that I had brought with me, addressed to the most distinguished natural philosophers.

      Interesting that when he seeks information, he doesn't consider it genius and talent. He just needs what he needs, and it doesn't matter who gives it to him.

    25. And where does he now exist? Is this gentle and lovely being lost forever? Has this mind so replete with v3_019ideas, imaginations fanciful and magnificent, which formed a world, whose existence depended on the life of its creator; has this mind perished? Does it now only exist in my memory? No, it is not thus; your form so divinely wrought, and beaming with beauty, has decayed, but your spirit still visits and consoles your unhappy friend. Pardon this gush of sorrow; these ineffectual words are but a slight tribute to the unexampled worth of Henry, but they soothe my heart, overflowing with the anguish which his remembrance creates. I will proceed with my tale.

      Victor takes a moment to give a eulogy for Henry. It is clear that Henry doesn't survive the novel, which takes the reader out of the story and back to Victor on Walton's ship.

    26. ——— “The sounding cataract Haunted him like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to him An appetite; a feeling, and a love, That had no need of a remoter charm, By thought supplied, or any interest Unborrowed from the eye*.”* Wordsworth’s "Tintern Abbey."

      https://www.poetryfoundation.org/poems/45527/lines-composed-a-few-miles-above-tintern-abbey-on-revisiting-the-banks-of-the-wye-during-a-tour-july-13-1798

      Full text of "Tintern Abbey". The poem recounts Wordsworth's home in the area near Tintern Abbey. He refers to it as a healing place, and hopes the poem he writes about it will be a healing poem. At the end, he also hopes that his sister is able to use the place in the same way that he has.

    27. who can describe those of Henry? He felt as if he had been transported to Fairy-land, and enjoyed a happiness seldom tasted by man.

      Henry and Victor are alike and yet opposite in how they are experiencing emotion. For Henry, he seems to be an optimist, and always extremely happy to be where he is. Meanwhile, he is still receptive to his friend's needs (often asking what is afflicting Victor) and aware of the moods of those around him. For Victor, he experiences rapidly changing moods, and here he experiences extreme depression and gloom.

    28. I lay at the bottom of the boat, and, as I gazed on the cloudless blue sky, I seemed to drink in a tranquillity to which I had long been a stranger.

      This reminds me of before, where Victor would sneak away and listen to the waves in order to get away from civilization and find some sense of peace.

    29. Even I, depressed in mind, and my spirits continually agitated by gloomy feelings, even I was pleased.

      This emphasizes the landscape and how awe-inspiring and beautiful it is.

    30. We saw many ruined castles standing on the edges of precipices, surrounded by black woods, high and inaccessible. This part of the Rhine, indeed, presents a singularly variegated landscape. In one spot you view rugged hills, ruined castles overlooking tremendous precipices, with the dark Rhine rushing beneath; and, on the sudden turn of a promontory, flourishing vineyards, with v3_015green sloping banks, and a meandering river, and populous towns, occupy the scene.

      He's describing something that looks a little like this. A very sublime, rocky landscape that Victor and Henry move through. Though I feel like Henry would have a different description of it--something less rocky and dark for sure.

    31. “This is what it is to live,” he cried, “now I enjoy existence! But you, my dear Frankenstein, wherefore are you desponding and sorrowful?” In truth, I was occupied by gloomy thoughts, and neither saw the descent of the evening star, nor the golden sun-rise reflected in the Rhine.— And you, my friend, would be far more amused with the journal of Clerval, who observed the scenery with an eye of feeling and delight, than to listen to my reflections. I, a miserable wretch, haunted by a curse that shut up every avenue to enjoyment.

      This scene gives us a look into life and death, which is a wide ranging spectrum in this novel. Here, we see life in life (Henry) and death in life (Victor). The Creature gives us an instance of death becoming life...and so on...

    32. He pointed out to me the shifting colours of the landscape, and the appearances of the sky.

      Clerval acts as Victor's eyes in many of the scenes of their travel. Victor is so trapped in his own mind that it is up to his friend to show him the world around him and keep him grounded.

    33. After some days spent in listless indolence, during which I traversed many leagues, I arrived at Strasburgh, where I waited two days for Clerval.

      https://www.arcgis.com/apps/MapJournal/index.html?appid=85b227b2ee964cb9b6279ed0dc3411ac

      This is a great point to include a really helpful map that I found online! It was created by Caitlin Burke from the University of Maryland. It shows all of the locations in Frankenstein as well as giving a description for each location.

    34. free man. Filled with dreary imaginations, I passed through many beautiful and majestic scenes; but my eyes were fixed and unobserving. I could only think of the bourne of my travels, and the work which was to occupy me whilst they endured.

      He is trapped in his promise and in his mind. It is "dreary" as he says, and he is unable to see anything around him. The fear that has been produced has darkened his entire outlook on life.

    35. “We all,” said she, “depend upon you; and if you are miserable, what must be our feelings?”

      There is certainly an added pressure to Victor's situation. He is the eldest in his family, the first to receive a university education, and is nearly a symbol of academia in their eyes. Even including Henry, he is someone that they look to for emotional guidance. His shifting moods and situation are paths for his family and friends to follow, which adds to the fear and anxiety in the book.

    36. fear and agitation.

      The moods that Victor always expresses are of these two things: fear and agitation. They more often than not accompany each other. It is a nagging fear that he always has.

    37. I remembered also the necessity imposed upon me of either journeying to England, or entering into a long correspondence with those philosophers of that country, whose knowledge and discoveries were of indispensable use to me in my present undertaking.

      I always wonder why he now needs help from English philosophers. When he created his original Creature, did he have help from them? Or is this just to perfect his process to perhaps fix the problems that he created the first time around?

    38. I listened to my father in silence, and remained for some time incapable of offering any reply. I revolved rapidly in my mind a multitude of thoughts, and endeavoured to arrive at some conclusion. Alas! to me the idea of an immediate union with my cousin was one of horror and dismay. I was bound v3_007by a solemn promise, which I had not yet fulfilled, and dared not break;

      Because of the promise he has made to the Creature to give him a female partner, he is unable to even find joy in love and marriage. His immediate thought is of "horror and dismay." The fear that was created with his first creation of the Creature has crept so far into his psyche that he is paranoid in all aspects of his life.

    39. I passed whole v3_003days on the lake alone in a little boat, watching the clouds, and listening to the rippling of the waves, silent and listless. But the fresh air and bright sun seldom failed to restore me to some degree of composure; and, on my return, I met the salutations of my friends with a readier smile and a more cheerful heart.

      He is isolating himself in order to be able to withstand being around his friends and family. His isolation puts him on the water--a symbol known for being a liminal place--and listening to the sounds it produces.

    40. female

      Liggins, Emma. "The Medical Gaze and the Female Corpse: Looking at Bodies in Mary Shelley's Frankenstein." Studies in the Novel, 32:2 (2002), 129-265). Found on PittCat+.

      This source gives a really interesting look at the medicalization of the female body and how it relates to Frankenstein. It's important to note the importance not only of creating another Creature, but creating a female creature.

    41. My own spirits were high, and I bounded along with feelings of unbridled joy and hilarity.

      Victor experiences every emotion to the absolute extreme. When he is passionate about work, he works feverishly for years, without even noticing the passage of time. When he is fearful he is absolutely horrified, and when he is happy he feels "unbridled joy and hilarity."

    42. The month of May had already commenced, and I expected the letter daily which was to fix the date of my departure, when Henry proposed a pedestrian tour in the environs of Ingolstadt that I might bid a personal farewell to the country I had so long inhabited. I acceded with pleasure to this proposition: I was fond of exercise, and Clerval had always been my favourite companion in the rambles of this nature that I had v1_131 taken among the scenes of my native country.

      Though temporary, this is quite a turnaround from Victor at the beginning of chapter 4. Where before he felt like hiding himself away from Ingolstadt, now he has not seen the Creature for a long enough period of time that he feels comfortable walking the streets.

    43. Clerval was no natural philosopher. His imagination was too vivid for the minutiae of science. Languages were his principal study; and he sought, but acquiring their elements, to open a field for self-instruction on his return to Geneva. Persian, Arabic, and Hebrew, gained his attention, after he had made himself perfectly master of Greek and Latin. For my own part, idleness had ever been irksome to me, and now that I wished v1_129to fly from reflection, and hated my former studies, I felt great relief in being the fellow-pupil with my friend, and found not only instruction but consolation in the works of the orientalists. Their melancholy is soothing, and their joy elevating to a degree I never experienced in studying the authors of any other country. When you read their writings, life appears to consist in a warm sun and garden of roses,—in the smiles and frowns of a fair enemy, and the fire that consumes your own heart. How different from the manly and heroical poetry of Greece and Rome.

      Victor has a romanticized view of Henry's study of languages. He sees his actions as lacking the melancholy idleness that his study has. He then makes a connection to orientalism, which was writing by British writers that imagined Oriental countries. These imaginings were often very romanticized and didn't have much background, as many British people had never actually visited the Orient.

    44. A youngster who, but a few years ago, believed Cornelius Agrippa as firmly as the gospel, has now set himself at the head of the university;

      Victor's young, self-guided education has had more of an effect on him than he thinks. Studying "trash" as his father deemed Agrippa formed his early years.

    45. In doing this, I underwent a kind of rough usage, ill befitting the wounds that my mind had sustained. Ever since the v1_125fatal night, the end of my labours, and the beginning of my misfortunes, I had conceived a violent antipathy even to the name of natural philosophy. When I was otherwise quite restored to health, the sight of a chemical instrument would renew all the agony of my nervous symptoms. Henry saw this, and had removed all my apparatus from my view. He had also changed my apartment; for he perceived that I had acquired a dislike for the room which had previously been my laboratory. But these cares of Clerval were made of no avail when I visited the professors. M. Waldman inflicted torture when he praised, with kindness and warmth, the astonishing progress I had made in the sciences.

      Everything associated with the sciences and Victor's education stirs fear in him. The fear of the physical being he created has creeped so far into his mind.

    46. The poor woman was very vacillating in her repentance. She sometimes begged Justine to forgive her unkindness, but much oftener accused her of having caused the deaths of her brothers and sister. Perpetual fretting at length threw Madame Moritz into a decline,

      The expression of madness and physical decline is so widespread in the story.

    47. Justine has returned to us; and I assure you I love her tenderly. She is very clever and gentle, and extremely pretty; as I mentioned before, her mien and her expressions continually remind me of my dear aunt. “I must say also a few words to you, my dear cousin, of little darling William. I wish you could see him; he is very tall of his age, with sweet laughing blue eyes, dark eye-lashes, and curling hair. When he smiles, two little dimples appear on each cheek, which are rosy with health. He has already had one or two little wives, but Louisa Biron is his favourite, a pretty little girl of five years of age.

      The good fortune and happy health of the family is, unfortunately, very short lived in this novel!

    48. Justine was the most grateful little creature in the world: I do not mean that she made any professions, I never heard one pass her lips; but you could see by her eyes that she almost adored her protectress. Although her disposition was gay, and in many respects inconsiderate, yet she paid the v1_120greatest attention to every gesture of my aunt. She thought her the model of all excellence, and endeavoured to imitate her phraseology and manners, so that even now she often reminds me of her.

      Important to note the fact that Justine becomes almost a prototype for Victor's mother! She loved her so deeply that she began mimicking her speech and mannerisms. This gives her so much more importance to Victor, and is important to remember when reading the future events of the story.

    49. Hence there is less distinction between the several classes of its inhabitants; and the lower orders being neither so poor nor so despised, their manners are more refined and moral. A servant in Geneva does not mean the same thing as a servant in France and England. Justine, thus received in our family, learned the duties of a servant; a condition which, in our fortunate country, does not include the idea of ignorance, and a sacrifice of the dignity of a human being.

      Elizabeth comments on the difference between servant classes in European countries at the time. Justine is a "servant", but is treated well, with dignity, and almost as part of the family.

    50. My aunt observed this; and, when Justine was twelve years of age, prevailed on her mother to allow her to live at her house.

      The Frankenstein family is characterized by their generosity and welcoming in those in need.

    51. A farmer’s is a very healthy happy life; and the least hurtful, or rather the most beneficial profession of any. My uncle had an idea of his being educated as an advocate, that through his interest he might become a judge. But, besides that he is not at all fitted for such an occupation, it is certainly more creditable to cultivate the earth for the sustenance of man, than to be the confidant, and sometimes the accomplice, of his vices; which is v1_117the profession of a lawyer. I said, that the employments of a prosperous farmer, if they were not a more honourable, they were at least a happier species of occupation than that of a judge, whose misfortune it was always to meddle with the dark side of human nature. My uncle smiled, and said, that I ought to be an advocate myself, which put an end to the conversation on that subject.

      She, like Clerval's father, promotes a peaceful life without education. This provides a contrast to Victor's situation, which is the direct education that he has given himself and has been given.

    52. Relieve us from this fear, and we shall be the happiest creatures in the world. Your father’s health is now so vigorous, that he appears ten years younger since last winter. Ernest also is so much improved, that you would hardly know him: he is now nearly sixteen, and has lost that sickly appearance which he had some years ago; he is grown quite robust and active.

      During his madness and illness, Victor's family has become healthy and happy. It shows how much he has strayed from them.

    53. We ascended into my room, and the servant presently brought breakfast; but I was unable to contain myself. It was not joy only that possessed me; I felt my flesh tingle with excess of sensitiveness, and my pulse beat rapidly. I was unable to remain for a single instant in the same place; I jumped over the chairs, clapped my hands, and laughed aloud. Clerval at first attributed my unusual spirits to joy on his arrival; but when he observed me more attentively, he saw a wildness in v1_109my eyes for which he could not account; and my loud, unrestrained, heartless laughter, frightened and astonished him.

      His insanity is becoming physical, and is something that Clerval is able to recognize. The signs of madness are so present in Victor in this chapter!

    54. as children are accustomed to do when they expect a spectre to stand in waiting for them on the other side;

      Interesting comparison of Victor to a child, especially in the situation that he has found himself in.

    55. ‘I have ten thousand florins a year without Greek, I eat heartily without Greek.’ But his affection for me at length overcame his dislike of learning, and he has permitted me to undertake v1_106a voyage of discovery to the land of knowledge.”

      "A voyage of discovery" indeed! Though, I'm not sure he wants the discoveries that have been made in Ingolstadt. Here, Henry is an image of what Victor once was. We see him as a positive character, too. He is a reminder of the potential that Victor had, had he not created something so "wretched"--to use his words.

    56. I grasped his hand, and in a moment forgot my horror and misfortune; I felt suddenly, and for the first time during many months, v1_105calm and serene joy.

      The presence of Henry removes any of the panic and horror that Victor was experiencing. It's important to note, especially at this point, the descriptions of Henry that make him such a persuasive and calming presence--and an opposite, in a sense, to the Creature.

    57. My heart palpitated in the sickness of fear;

      Another use of the word "palpitated." There is something of a pulse that beats throughout the story! We are inside Victor's head for sure, but it seems that we are also in his heart, his veins, and his blood. A chilling place to be, in this case!

    58. Sometimes my pulse beat so quickly and v1_102hardly, that I felt the palpitation of every artery

      In continuance with the scientific nature of the story, the descriptions of Victor's fear and loathing is very aware of the workings of the human body.

    59. but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave-worms crawling in the folds of the flannel.

      In his state of dreaming, Victor has visions of Elizabeth's and his mother's deaths--the two women in his life. It's interesting to notice the way that he sees his life through the women in his life.

    60. I might infuse a spark of being into the lifeless thing that lay at my feet

      Kaplan, Peter W. "Mind, Body, Brain, and Soul: A Review of the Electrophysiological Undercurrents for Dr. Frankenstein." Journal of Clinical Neuropsychology. 21:4 (August 2004), 301-304.

      Kaplan provides a really helpful insight into the state of clinical neuropsychology that was present in the 19th century and is included in Frankenstein!