Imperialism in Frankenstein

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 Shelleys 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 novels 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 Conrads, 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 Frankensteins 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 the readers 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 Achebes Things Fall Apart or Joseph Conrads Heart of Darkness.
Instead, the novel eschews other works 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 are 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. Waltons journey, although on the surface
scientific, is nonetheless imperial. Found once more in his letters to his sister, the reader finds that
Waltons ship is named Archangel. This is a direct foreshadowing to not only his saving of Frankenstein
amongst the ice flows, but also both mens 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 Waltons crew cares not for his
success. This is what the Frankenstein seen at the beginning of the novel has come to understand.
Frankensteins opening remarks to Walton being, You may easily perceive, Captain Walton, that I have
suffered great and unparalled 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 Mans 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. Frankensteins burden is described to Walton
throughout the novel. From the beginning with Frankensteins 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 Mans Burden seeks to purify
the empire of his creation. This pursuit of Frankensteins 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.

The world in Frankenstein is not sci-fi as popular culture would implore us to read it as; no, instead it is
set in the world of our own. 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 Womens 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
artists 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 Indians 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 Frankensteins 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. Frankensteins 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 Shakespeares 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
Shelleys work unique among others. She takes the issues of colonialism and covertly discusses them
with the reader. By not having the horrors associated with colonialism, the issue is not held to a mere
thirty minute lecture. Unlike essay on the colonies, such as Macaulays, 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.