Frankenstein is one of those literary works which has generated a number of interpretations from

prominent critics for decades since the publication of the novel. This is because of the
multivalent nature of the text and in essence the complex theories that we the readers begin to
discover as we take a closer look on it. Beside the popular readings such as Frankenstein as a
feminist text, as a gothic novel and as a science fiction, Mary Shelley’s novel, Frankenstein, is at
its heart, a work of colonial literature. Due to the pervasiveness of the novel and its overarching
influence on society, the novel has been observed, although seldom in a colonial light. This is
largely due to the novel’s aspects of science fiction. The novel is then disregarded when
analyzing the effects of imperialism and colonialism. However, the novel discusses these issues
head on, and many a devoted scholar of colonial narrative will readily pinpoint these aspects. In
this respect, Joseph Conrad’s, Heart of Darkness is akin to Frankenstein. For instance, Kurtz’
assertion of his godhood seen in his creation of a miniature world in the center of Africa is
strikingly similar to Frankenstein’s creation of the Monster. Furthermore, both Promethean
figures when confronted with the truths of their actions back away in fright. Kurtz’ “’The
Horror! The Horror!’” (116). What has come to be the slogan or adage of postcolonialism, the
horror experienced by Kurtz and Marlow is at its heart, the same horror Shelley was speaking of.
Indeed, while studying the text we become curious as to how, exactly, this work of science
fiction relates to the issues of slavery, colonialism and imperialism. This is due to the novel not
being a colonial manuscript akin to Chinua Achebe’s ‘Things Fall Apart’ or Joseph Conrad’s
‘Heart of Darkness’. Instead, the novel eschews other work’s obvious and blatant reflections on
the effects of imperialism. To fully understand the novels relevance with the colonial narrative,
we the readers have to understand the world in which it was written. John Clement Ball notes
that, “The historical moment of Frankenstein coincides with the anti-slavery movement: Shelley
composed it between the abolition of the slave trade in 1807 and the emancipation of slaves in
1833. Indeed, she began writing just after the longest slave rebellion had taken place in May
1816 in Barbados”. This “contrapuntal reading”, as Said describes it, of Frankenstein allows the
novel to be read in a colonial light.
In Frankenstein a myriad of themes is found which coexist with other colonial works. Ideas on
the subaltern, mimicry, as well as identity are all present in Frankenstein; thus, allowing the
novel to fall in line with postcolonial theory. These three tools and tropes of colonialist literature
appear time and again in Frankenstein. This is imperatively seen in the characters of Robert
Walton, Victor Frankenstein, Elizabeth Lavenza, and of course, the Monster.
The question of identity is one point upon which the argument that whether there are elements of
Imperialism and colonialism present in Frankenstein or not. The imperialist nations robbed the
victim states of their identity. The colonialists perverted and delineated the history of the
colonized and thereby destroying their true identity. The Monster too, experiences the dilemma
of not having a name and experiences identity crisis. From this he questions his very existence,
asking himself, “’What was I?’. The question again recurred, to be answered only with “groans”.
And later the Monster makes clear how the lack of identity has affected him, telling his creator
that, “I found myself similar, yet at the same time strangely unlike to the beings concerning
whom I read …. My person was hideous and my stature gigantic. What did this mean? Who was
I? What was I? Whence did I come? What was my destination? These questions continually
recurred, but I was unable to solve them”
Both Walton and Frankenstein are like aspiring men who seek knowledge and adventure and in
the process both of them becomes instruments of imperialism. Walton’s journey, although on the
surface scientific, is nonetheless imperial. Found once more in his letters to his sister, the reader
finds that Walton’s ship is named ‘Archangel’. This is a direct foreshadowing to not only his
saving of Frankenstein amongst the ice flows, but also both men’s journeys. They hope to save
their way of lives through their creations. In doing so, they are acting the role of colonizer.
Walton, like Frankenstein; and they like the empire, are alone in their successes and struggles.
The colonized do not care about the successes of the colonizer, just like Walton’s crew cares not
for his success. This is what the Frankenstein seen at the beginning of the novel has come to
understand. Frankenstein’s opening remarks to Walton being, “You may easily perceive, Captain
Walton, that I have suffered great and un-paralleled misfortunes ….You seek knowledge and
wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a
serpent to sting you, as mine has been” The Frankenstein seen here, at the beginning of the novel
is far different from the Frankenstein of legend, the man who conquered what all has tried to, and
yet none can. That being death. The Frankenstein seen at the beginning of the novel is one
burdened with the creation of life, and has become the embodiment of the greatest of
postcolonial phrases, “The White Man’s Burden”. Frankenstein is at once torn because he broke
the precarious and balanced state associated with colonialism. Similar to the evils of slavery
brought into the empires of England and America, the monster created by Frankenstein too
‘defiles’ the home empire. Frankenstein’s burden is described to Walton throughout the novel.
From the beginning with Frankenstein’s rescue, to the end with his final appeal to Walton to end
his journey, “See happiness in tranquility, and avoid ambition, even if it be only the apparent
innocent one of distinguishing yourself in science and discoveries”. Through the Frankenstein
narrative, the Promethean legend comes full circle in Frankenstein. He, like the colonizing
powers of the Occident, attempted to ascend to the level of the gods. His creation of life is at
once a horror, and in the end of his life, Frankenstein, like the colonizer experiencing “The
White Man’s Burden” seeks to purify the empire of his creation. This pursuit of Frankenstein’s is
a difficult trial, and is seen when analyzing the impacts of colonization upon the real world. For
this is because, the entirety of the Occidental world has been crafted upon the backs of the
colonized individual.
What Victor Frankenstein does in creating life is no different from what the English attempted
and in ways accomplished during the Victorian Age. Furthermore, what Victor Frankenstein
seeks to achieve is considered by others in the text to be impossible, even to them. When telling
his story to Robert Walton, Frankenstein states that, “In my education my father had taken the
greatest precautions that my mind should be impressed with no supernatural horrors”. In this
statement, Mary Shelley is guiding the reader to view the novel as though it were set in the real
world. Not in a world of magical realism or fantasy, no this world is fraught with the same
limitations and rules as our own. Victor Frankenstein merely achieves what the imperialist has
been trying for a millennia. “Remember” Frankenstein says, “I am not recording the vision of a
madman. The sun does not more certainly shine in the heavens, than that which I now affirm is
true. Some miracle might have produced it, yet the stages of the discovery were distinct and
probable…. I succeeded in discovering the cause of generation and life; nay, more, I became
myself capable of bestowing animation upon lifeless matter”.
The addition of Elizabeth Lavenza brings a new dynamic into the relationship between the
colonizers and colonized. Gayatri Chakravarti Spivak in her essay ‘Three Women’s Texts and a
Critique of Imperialism’ describes Elizabeth as the ‘…aesthetic judgment’. To Frankenstein this
girl is a prize as she fits into the imperialistic view of beauty. Frankenstein does not initially refer
to Elizabeth as a sister or human when referring to her in his home. Elizabeth is looked upon like
a present, a creature, and being for the enjoyment of the Frankenstein household. This is why
Spivak eloquently described her as an artist’s muse. Elizabeth gives inspiration to the colonist
that they are doing good deeds. Elizabeth is the ‘reformed’ colonized. Outside of the novel,
Elizabeth can be thought of as being similar to Indian’s who were educated in English-Medium
schools and further taught in Cambridge. Taught to speak with British Accents, at one point in
the British Empire, these individuals were shining examples of the supposed glorious and good
work the colonizer did. This is who the Frankenstein’s are trying to create in Elizabeth.
However, these individuals, like Elizabeth were never viewed as full members of the colonial
power. Elizabeth is able to rest in the liminal space between fully a member of the Imperial
authority, and also the oppressed colonizer. Frankenstein’s creation, however, is unable to fill
this space like Elizabeth is. He is immediately unrecognizable and unable to assimilate with the
creator. In this respect, the Monster is unable to mimic the colonizer and therefore is shunned
away from being in human. Thus, the Monster is like Caliban in Shakespeare’s Tempest and
Elizabeth can be compared to Ariel of the same play.
Through the lens of postcolonialism, Frankenstein becomes a mirror to the society and events
that shaped the world since before the discovery of the Americas. Since colonization began, the
world has been changed forever, and cannot go back. The effects of colonization can still be felt
all across the globe; and, one does not have to read a novel from the 19th century to understand.
Mary Shelley does not come forth with a manifesto on the horrors of colonialism. Instead, she
gives them a life of their own. Like Frankenstein creating life, Mary Shelley, too, has created
life: the life of colonialism. In her magnum opus, colonialism takes on a horrific and mysterious
quality. Yet, this is what makes Mary Shelley’s work unique among others. She takes the issues
of colonialism and covertly discusses them with the reader. Unlike essay on the colonies, such as
Macaulay’s, Frankenstein flourishes in its ability to confound, disturb, and provoke the minds of
its readers. This is why the novel is beloved by so many. All have experienced the same wants
and desires of Robert Walton. All have aspired great machinations like Victor Frankenstein. And
all have felt the longing and despair of the Creature. Through the journeys of Frankenstein,
Walton, Elizabeth and the Creature, postcolonialism is reflected.