Through critical psychoanalytic and post-colonial critical techniques, the highly violent nature of the creature in Frankenstein may be explicated. This movement may be accomplished first through an analysis of the characters in Lacanian terms. Like any other human individual, the creature undergoes interaction with an evolutionary set of psychological realms, initiated by the infantile mirror stage. This developmental state is characterized by an idealized recognition of bodily coherence and fullness, described singularly as the “imaginary.”

However, there is something subtly abnormal and perverted about this process within the narrative, resulting in highly unusual implications. In his intellectual infancy, the creature attaches his sense of self-definition not to his own body, but to the collective whole of the De Lacey family. His ego or “I,” finds a strange substitute in the contextual relations of the group, rather than his personal sense of bodily coherence. This state is able to maintain itself as long as the creature can inhabit a position of outside observation, free of linguistic structure or interaction with the De Laceys.

The necessary and inevitable rise of the symbolic state eventually comes to overturn the peace of the imaginary. The creature realizes his own faculty for linguistic representation and abstract symbolism, introducing the concept of intellectual lack through the inability of language to completely invoke a form, and subsequently forcing the full sense of ego to retreat into the form of “ideal-I.” Only after this process has been completed, does the creature perceive his true form in a pool of water. By seeing himself after he has moved into the symbolic state, his ideal-I has been completely broken or fractured. He comes to a realization that his ego is deeply fissured, and that it is totally inconsistent with his true nature. The fundamental human drive towards the coherence of the ideal-I is stolen from him, and he is left only with inner contention and conflict.

However, there is some hope for the creature. It may be possible for him to repair his imaginary self-definition by gaining acceptance with the De Laceys, as his idealized sense of self was based upon their family as a collective whole. Accordingly, he adopts a role parallel to the feminine subaltern place of Safie within the household. In this debased role, he receives the second half of his lesson in linguistics. The creature is fed and accepts the nuanced language of colonial discourse, adopting the sense of ideological subjugation. However, there is a flaw here as well. Instead of maintaining the superficial wholeness expressed by Safie, the creature is a maelstrom of discord. His loss of ideal-I has rendered him unable to mask the conflicting elements of the colonial discourse. Accordingly, his attempt at integration fails, and his ideal-I completely vanishes.

Here, the literary critic may perceive that the two linguistic educations, and the two failures, expose the true nature of the colonial symptom. The De Lacey family served as a microcosm for western European dominance and colonization. Through his first failure at drawing an ideal-I from the cumulative whole, the creature destroys the concept that colonial society is full, whole, natural, and free of conflict. Through his second failure in his inability to adopt the subaltern role, the creature shows that each socially striated placement is wrought with ideological tumult, and that this societal system is not legitimate. The creature is the physical manifestation of the latent violence hidden behind the colonial façade, the corporeal avatar of a fissured reality. He is now marked with discord, and will not stop in his quest to subvert the stability of colonial discourse, revealing a form of violence present everywhere.