Near the end of the first chapter in Volume III, Victor is recounting the words of his best friend, Henry Clerval, in regard to the natural scenes they observe on their travels (when Victor is supposed to be creating a female companion for his creature). There are several examples of pathetic fallacy in this paragraph, which is fitting because Henry is so Romantic and inclined to be inspired by nature.
Henry thus describes the mountains, which cast "'black and impenetrable shades, which would cause a gloomy and mournful appearance, were it not for the most verdant islands that relieve the eye by their gay appearance [...].'" His attribution of mournfulness and gayness to the mountains and islands, respectively, is an example of pathetic fallacy, the attribution of human qualities and experiences to inanimate objects. Further, he describes the "'waves [that] dash with fury the base of the mountain'" and the "'charm in the banks of this divine river [...].'" To attribute the emotion of fury to the crashing waves and the quality of charm to the scenes along the river's banks are also both examples of pathetic fallacy.
Later, in Chapter II of this volume, Victor travels alone to Scotland so that he can finish the creature's mate. When looking at the landscape around him and comparing it to his home, he says that Geneva's "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." The gentle sky, playful water, and roaring ocean are all further examples of pathetic fallacy which help us to understand that Victor finds Scotland to be savage and hostile as opposed to his charming and innocent home (though this perception likely has something to do with the miserable task he must complete there).
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