Abstract
In his novel, Heart of Darkness, Joseph Conrad ironically represents Imperialism and Insanity. The purpose of this paper is to look into the actions of colonists as they oppress and profess to be informed. They prey on the Dark Continent’s poor. In this study, the conquerors portray Africans as uncultured and barbaric. Although the colonists seem polite, their reality is far from that. Greed for power, hypocrisy, and lust for Ivory drive them to use violence to capture the locals’ land and fortune. According to the study, Conrad’s goal in exploiting Marlow’s portrayal is to point out another terrible truth: everyone lives under the illusion of increasing profit. Furthermore, the study discusses why Conrad has written against racists even though he is European. The goal of this research is to identify how imperialism and insanity are linked to Heart of Darkness. The paper stresses how Conrad’s personal experiences and political views motivated him to compose his masterpiece. The invaders arrive in the spirit of civilization but end up fostering savagery. Marlow’s dread was heightened by the many meanings of this multipurpose novel. It warns future generations to avoid damage as a result of imperialistic deeds.
Introduction
Conrad was hesitant to comply with the harsh discipline of his educational institution during his adolescence, nor did he pay heed to his private teacher. He worked hard to develop romantic perspectives on life. Finally, the enraged Josef persuaded his biological uncle to let him join the French merchant marine. For him, the 4 years were exciting but not competitive. Conrad traveled to the West Indies and Venezuela, lost modest money, fell in love, became embroiled in a gun-running scheme for the Carlists, and suicide in 1878. The following year, French border officials barred him from continuing to work as a sailor on commerce ships. Since Conrad began navigating the next sixteen years on British ships as a British subject in 1887, this final chapter appears to have been a lucky one. His transition from a French seaman to an English sailor forced him to acquire the language and eventually write his novels: Heart of Darkness, Lord Jim, Nostromo, The Secret Agent, and Victory are well known, almost since their publication, and are considered among the most poetic novels ever written in English. The journeys appear to have had a profound effect on the individual and creativity. Some opponents believe Conrad arrived in Congo on June 12, 1890. It is important noting that when penning Heart of Darkness, he revealed his journey in the Congo.
Literature Review
The novelette Heart of Darkness deals with the appearance and activities of the Racist. C. P Sarvan has criticized the novelette, Africa, for being an exemplar of an “accursed inheritance.” The allegorical storytelling catastrophe with a realistic understanding of the human mind’s gloom. Few people may find it difficult to follow the apologue. Conrad chose Africa as an external parallel, a physical environment, while he was looking for one.
Marlow’s great care for cleanliness may be an uncontrollable need, an attempt to stay clean in the middle of moral muck. Even in the case of Kurtz, one must remember that the entire continent “contributed” to his creation. The boiler-purported man’s primitiveness merely helps to highlight the resemblance between his look and the conduct of the “educated” (Sarvan 6-9).
Hansson claims that the novel is also about human history. The primary distinction between a novel and a history is that the former is based on reality, form, and the framework of the social environment, whilst the latter is based on second-hand materials such as legible text and handwritten pieces (Hansson 4).
It is unclear when the concept of “Marlow” entered Conrad’s imagination throughout the text. Conrad’s portrayal of the figure of Marlow was first observed in Youth (1898) and Heart of Darkness (1899), before Lord Jim’s achievement (Zebal xv). Marlow was missing for twelve years after completing these three stories (1898-1900). Later, due to a drastic shift in Conrad’s narratives, Marlow returns as the narrator of Conrad’s Chance (Zabel 1958).
Theoretical Framework
The goal of this paper is to discover how imperialism and insanity are linked to Heart of Darkness. First, it is important to explain how imperialism works in this novel. Furthermore, it is significant to clarify how “Imperialism” leads to “Insanity.”
Imperialism refers to a period in which one country manipulates another. The better the country’s manipulation, the stronger it is. The study is based on Thomas Ladenburg’s imperialism theory, which states that at the beginning of 1870, the Western world expedites Africa’s takeover by England, France, Belgium, and Germany. World War II effectively ended the imperialistic era. Although most countries gained independence from imperialism, imperialized rule and industrialized power remained. To some extent, colonizers were unable to shake the influence of imperialism since they were trapped in the experience. Historically, imperial migration happens with the empowerment of major nations such as Europe, America, and Canada as a result of western industrialization. Non-white nations, such as some African or Asian sections, are imperialized as a result of these powerful countries’ subjection (Ladenburg 23).
Research Questions
- How imperialism and insanity are intertwined with Heart of Darkness?
- How does imperialism lead to insanity?
Discussion
The barbarism of imperialism is revealed in Heart of Darkness through white falsehoods and dark truth. According to Deyan Gue, Charlie Marlow, the active British seafarer, is motivated by an ambitious desire to pursue an arrangement with a Belgian corporation that was operating a trade in Africa. He boards a steamer and embarks on a journey through the Congo, the continent’s midway. He encountered an excursion at the outpost by vacating a caravanette for the leading terminal, where he was intended to restore a steamboat. The Manager must travel by boat to the core terminal to liberate a guy named Jim Kurtz. Marlow’s journey from one station to the next eventually leads him to his target. In the text, Marlow’s territory is referred to as the “black heartland,” a reference to Kurtz’s cryptic intentions and the company’s goal to grab ivory (763-764). Marlow watches manipulation as he travels from the outer terminal to the inner one, through the river, and inside the station. At the very end, the text’s important scenario displays a brutal depiction of “colonial activity.”
He began his journey as an expert in the ivory trade, assisting the imperialistic enterprise. Even though Marlow quickly understands the damaging impediments of “imperialism,” he becomes unable to fit into “European society” when confronted with lies about civilization and the outward look of existent things. His silent inner monologue expresses his sincere anguish with the words “Soul! I am the man who has ever battled with a soul” (Conrad 98). Marlow’s conclusion on “Imperialism” is frequently shortened; demonstrating the lengths Imperialists will go to achieve profit (Conrad xlviii).
In the novelette, Conrad’s image of a dark heart is hidden beneath white skin. Conrad’s satirical characterization of white Europeans as “civilized” and African blacks as “savage” has a poignant undertone. He attempts to depict the way imperialists exploited and kept the domains under colonialization, how they approved during the British colonial time in the Dark Continent of Africa, and how the so-called enlightenment evolved into barbarism. The text’s terrible truth is that those who appear to be cultured are ruthless in action. Heart of Darkness represents the exploiters’ core goals, which are covered by a layer of “white skin.” Power, envy, and the desire for ivory drove them to be ruthless humans. Conrad appears to use the dual image of civilization and barbarism as a cannon for his core critique. Conrad makes an effort to explore the conflicting image of savage and cultured. To expose the deep stupidity of European colonizers who adored their hidden “white skin” and pretended to be mild at first but ended up with barbarity (2-4).
Heart of Darkness by Joseph Conrad depicts the human psyche. According to Marina A. Kinney, this novelette reflects on the human capacity to pierce insanity, as well as Conrad’s ability to escape from it and triumph over the “dark,” consuming whims that threaten his inner ideas. Both figures, Marlow and Kurtz, displayed this tension between consciousness and lunacy. Marlow, the principal character and raconteur, focuses the readers’ attention primarily on Kurtz’s dilemma. Kurtz was described as a “poor fellow” who lied at the “farthest point of navigation” (5). While this marine allusion is used in a “literal meaning,” Marlow is describing the incident from his trip to Congo.
It concludes Kurtz’s psychological stage. Furthermore, the narrative is quick to establish that Kurtz has completely descended into the “farthest” state of insanity, but the reason remains a mystery. It is simple to free him from his mental state because it is the result of avarice and egoism. His ability to gather a large quantity of “ivory” has made him a supreme monster in the opinion of both Brits and Congolese locals. There is more to Kurtz’s craziness than a desire for money. When we evaluate his previous condition, we can see how far his lunacy has progressed. Heart of Darkness is told from Marlow’s point of view.
As a result, the ideas stated in the text have restrictions for readers. They have no idea what Marlow hasn’t accumulated. Similarly, almost little is known about Kurtz’s past before his voyage into the Congo. Readers only characterize Kurtz by observing how others define him and how those who know him know him. Kurtz’s comrades’ points of view show no evidence of craziness before his time in the Congo. The first section of the active features tributes from these individuals, the majority of which portray Kurtz as a genius and an exceptional individual. Kurtz is a “prodigy” (22) and a “genius” (24).
Meanwhile, the bulk of people recognizes his potential and magnificence in the business. “[Kurtz] will go far, very far,” says the Accountant with whom Marlow connects before embarking on the voyage (16). Others’ opinions indicate how Kurtz’s optimism and impressionistic actions attract others to the association. Furthermore, Marlow believes Kurtz is articulate. This aspect of Kurtz’s character validates the people’s behavior while also hinting at Kurtz’s nature of clarity, which he uses to impress others. “Of all his gifts, the one that shone out pre-eminently, that brought with it a sense of actual presence, was his ability to talk, his words,” Marlow writes of Kurtz’s ability to converse (43). The fact that Marlow is recapping everything is the most striking aspect of this narration. He validates Kurtz’s abilities in what he possessed till the very end. It reflects a consciousness parallel that remains in Kurtz. This acquaintance, however, does not prevent him from cultivating an attitude of superiority. It is demonstrated in Marlow’s comments when he describes Kurtz’s pleadings, such as “You should have heard him say, “My ivory.” Yes, I did hear him. “Everything belonged to him: my Intended, my ivory, my station, my river, my—” (44).
Kurtz believes that everything and everyone should be under his control. In Women in Love, Kenney also refers to D.H. Lawrence’s character Gerald Crich. Gerald, in particular, is very aware of his surroundings. Similarly, Kurtz is no less immune to lunacy. Gerald has a deep relationship with Gudrun Brangwen, which tests his psychological proclivity. Later, it causes damage to Kurtz’s experience. Discovering the instincts that generate the sensation of insanity within the action reveals that both men’s insanity stems from a desire to be an idol-like figure. These guys experience an extreme sense of superciliousness, and after a while, they become isolated from the living world. Concurrently, greed increases their lunacy, pushing them further away. Kurtz’s passion dominates the ambiance. It is founded on the meeting of indigenous women. Gerald’s passion is fostered by his sensual relationship with Gudrun. The males lose their sanity as a result of their imbalanced longings. Finally, deaths result in disaster (1-4).
In the Heart of the Darkness, Conrad investigates the psychological “heart of darkness” in humans. The article examines the unsuitable Eurocentric societal portrayal of enlightenment. It outshines the interior regarding the psychosomatic setting in which humans are formed. Conrad uses the contrast of black and white to demonstrate the illusory masquerade of light in the backdrop of an imperialistic society. Marlow looks to be a product of Imperial European society from the start of his expedition into the African Congo. Marlow understands the argument behind colonialism, but he is unprepared for the cruelty and savagery of the heart of darkness.
It becomes obvious when Marlow encounters the “grove of death,” where many Indians are weak and on the verge of death. Despite his inability to deal with the ludicrous scenario, Marlow has tackled it. He comes across a young boy who is wearing a bit of white European thread around his neck. In this context, white is a marker of bias, as opposed to its typical connotation of purity and uprightness. Several perplexing assumptions concerning the white thread used for stitching. Conrad used it to represent the dark or terrible methods of colonial imperialism.
The white thread keeps reminding Marlow of his resistance to the black child, and he asks some doubts about the entire situation—”Why? “From where did he obtain it?” (27)—showed that he was unable to recognize the outcome of imperialism at first. It is exacerbated when he gives the child a “Swede’s ships biscuit,” which confuses him and causes him to fail to deal with the situation. Marlow then takes a step closer to his ignorance by abandoning the location and continues on his adventure. Following that native boy, The Accountant, whom Marlow encounters instantly, dressed entirely in perfectly pressed “white linen.” Before setting foot in the Congo, this individual reflects the notions that Marlow equated to illumination.
Marlow regards the accountant as a “wonder” and “superb” since he is not contaminated by the darkness—the brutal and wild nature of the Congo. Furthermore, that man is dedicated to his responsibilities, as Marlow observes and remarks, “His books were in apple-pie order.” “The man had accomplished something,” Marlow said (28). Although the Accountant only appears briefly in the story, his importance is highlighted, as it is with other connected personalities. He personifies the Company’s interests and tricks. He spends time in the middle of the forest with his “ledger,” indicating the Company’s role in ensuring protection. Furthermore, his pristine white attire represents the Company’s deceitful desire to appear moral next to the globe. The Accountant claims that when he witnesses a dying person in the house, the unwell figure’s howls disrupt his focus.
Aside from that, it is quite difficult to protest the environmental deterioration. The Accountant wants to see the native so he can focus on avoiding “clerical errors” like the Company (Conrad 38). Illness and death are inherent aspects of the job. Anyone who goes through it may be distracted from their primary goal. It can compute the profit. Profit, ironically, refers to how the firm exploits the natives. Above all, The Accountant personifies whites’ hatred for natives and Central Station agents who are always ready to cement their place through fair or foul means (Conrad lvi, lvii). Their imperialistic mindset drives them insane. According to Meena Bharadvaja, and Vladimir Ilyich Lenin, imperialism is “the highest stage of capitalism” and “the priority to find new outlets for investment,” which is why “lenders secured higher amount of profits in exotic countries of Africa & Asia than at home” because these select regions are under their control (5).
Marlow went to the Company’s office in Brussels before leaving for Africa to allocate his treaty. He describes the settlement as resembling a “white sepulcher” (13). The reference to “a whited sepulcher” appears to be biblical. According to Matthew’s narrative, Christ rationally chastised the scribes and Pharisees for their revealed hypocritical behavior. He likened them to “whited sepulchers.” Conrad hypothesizes that something unsuitable and wrong exists within the stunning exterior picture of Brussels. In line with the scriptural understanding, he portrays imperialist supporters as self-conscious, much like the Pharisees. They are still prepared to appear ethical. Their words appear enlightened, selfless, and mature.
On the other hand, their terrible activities reveal themselves amid self-centered intents and extremely unfair treatment of other nations. The building’s structure shows hidden savagery, with suggestions of fatalities and void signs. There is also “grass springing between the stones, demonstrating that not just the civilization varnish placed on a hidden immorality, but also a repressed Nature, resisting to be brought under control” (Conrad xxviii). Imperialists are driven insane by their hidden immorality and suppressed attitude.
Chinua Achebe emphasizes how Africa ruled in the palm of European hands who come to establish white domination as a “civilized” culture delimited from the dark continent of Africa in An Image of Africa, using Joseph Conrad’s Heart of Darkness. Achebe accuses Conrad of being a “bloody racist” for invading Africa and depicting the inhabitants as “niggers” and “ordinary savages.” “A nigger was being tortured nearby,” writes Joseph Conrad (43). After Achebe, some other critics accuse Conrad of racism and writing an ungodly novel. Achebe claims in An Image of Africa that the Polish British novelist Joseph Conrad grossly misrepresents his African characters. As a result, he reinforces the perception of African culture and civilization as violent and archaic (Achebe 1-3)
Conclusion
The novelette is not about depicting the Congo River, but about men’s inner thoughts as we learn “We went deep into the Heart of Darkness.” Furthermore, alienation is conveyed throughout the modernist concept in Heart of Darkness through Conrad’s stream of consciousness technique, which is one of the key topics in modernist literature. Conrad introduces the character of Marlow through an anonymous narrator who appears briefly indirect speech in the first few pages. The anonymous narrator then echoes Marlow’s critical opinions on Imperialism in the final section on board the Nellie.
With Marlow’s words “The horror!” which “seemed to go into the heart of an immeasurable darkness,” the readers witness destruction (111). Marlow’s dread forewarns future generations to avoid catastrophe through the empire. Furthermore, the analysis discovers that Marlow’s character represents Conrad’s inner voice through his expedition experience. His path seemed to have been fraught with pessimism, and his anxiety of annihilation was palpable. Above all, the study highlighted the various implications of this multipurpose novelette.
Works Cited
Sarvan, Charles P. “Racism and the Heart of Darkness.” International Fiction Review (1980).
Ladenburg, Thoma. “Three Theories Explaining Imperialism.” Digital History, 2007. <www.digitalhistory.uh.edu/teachers/lesson_plans/pdfs/unit8_6.pdf>
Hansson, Karlin. “Heart of Darkness: White Lies.” University of Karlskrona/Ronneby Sweden.Diva-portal.org. <www.diva-portal.org/smash/get/diva2:837776/FULLTEXT02>
Achebe, Chinua. “An Image of Africa.” Macat Library, 1977.
Bharadvaja, Meena. Theories &Mechanism of Imperialism & Expansion of European Empires.University of Delhi, n.d.
Lord Jim. Edited by Morton Dauwen Zabel. Houghton Miffin Company, 1958 Conrad, Joseph. Heart of Darkness and The Secret sharer by Joseph Conrad. A Bantam Book, Doubleday & Company, Inc. and J.M. Dent & Sons Ltd, 1987
Achebe, Chinua. “An Image of Africa.” Macat Library, 1977.
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