FREE ESSAY ON TRUTH IN THE DARKNESS

TRUTH IN THE DARKNESS

Joseph Conrad's novel, Heart of Darkness, relies on the historical period of imperialism
in order to describe its protagonist, Charlie Marlow, and his struggle. Marlow's
catharsis in the novel, as he goes to the Congo, rests on how he visualizes the effects
of imperialism. This paper will analyze Marlow's change, as caused by his exposure to the
imperialistic nature of the historical period in which he lived. Marlow is asked by the
organization for which he works, to travel to the Congo River and report back to them
about Mr. Kurtz, a top-notch officer of theirs. When he sets sail, he doesn't know what
to expect, but by the end of his journey Marlow will have changed forever. 
Heart of Darkness is the story of a man's journey through the African Congo and the
enlightenment of his soul. It begins with Charlie Marlow, along with a few of his
comrades, cruising aboard the Nellie, a traditional sailboat. On the boat, Marlow begins
to tell of 
his experiences in the Congo. Conrad uses Marlow to reveal his personal thoughts and
emotions during the course of this journey. 
Marlow begins his voyage as an ordinary English sailor who is traveling to the African
Congo on a business trip. He is an Englishmen through and through, and has never been
exposed to any drastically alternative forms of culture, such as the one he will
encounter in Africa.
Throughout the book, Conrad, via Marlow's observations, reveals to the reader the naive
mentality shared by most Europeans. Marlow as well, shares this naivete in the beginning
of his voyage, however, after his first few moments in the Congo, he realizes the
ignorance he 
and his comrades possess. We first recognize the general naivete of the Europeans when
Marlow's aunt is seeing him for the last time before he embarks on his journey. Marlow's
aunt is under the assumption that the voyage is a mission to wean those ignorant millions
from their horrid ways(Conrad, 18-19). In reality however, the Europeans are there in the
name of imperialism, and their sole objective is to earn a substantial profit by
collecting all the ivory 
in Africa. 
Another manifestation of the Europeans obliviousness towards reality is seen when Marlow
is recanting his adventure while aboard the Nellie. He addresses his comrades on board,
saying: 
When you have to attend to things of that sort, to the mere incidents of the surface, the
reality--the reality I tell you---fades. The inner truth is hidden luckily, luckily. But
I felt it all the 
same; I felt often its mysterious stillness watching over me at my monkey tricks, just as
it watches you fellows performing on your respective tight ropes for---what is it? Half a
crown a
tumble(Conrad, 56).
Marlow is saying that while he is in the Congo, although he has to concentrate on petty
things, such as overseeing the repair of his boat, he is still aware of what is going on
around him, including the horrible reality, which he is in the midst of. On the other
hand, his friends on the boat simply don't know of these realities. It is their
ignorance, as well as their innocence which provokes them to say Try to be civil,
Marlow(Conrad, 57). Not only are they oblivious to the reality, which Marlow is exposed
to, but their naivete is so great, they can't even comprehend a place where this 'so
called' reality would even be a bad dream. Hence, their response is clearly rebuking the
words of a savage for having said something so ridiculous and uncivilized. 
Quite surprisingly, this mentality does not pertain exclusively to the Englishmen in
Europe. At one point during Marlow's voyage down the Congo, his boat hits an enormous
patch of fog. At that very instant, a very loud cry is let out(Conrad, 66). After Marlow
looks around and makes sure everything is all right, he observes the contrasts of
expressions between the white and black men. 
"It was very curious to see the contrast of expression of the white men and of the black
fellows of our crew, who were as much strangers to this part of the river as we, though
their homes were only eight hundred miles away. The whites, of course greatly
discomposed, had besides a curious look of being painfully shocked by such an outrageous
row. The others had an alert, naturally interested expression; but their faces were
essentially quiet"(Conrad, 67).
Once again, we see the simple-mindedness of the Europeans, even when they were exposed to
'reality'. Their mentality is so heavily engraved in their minds that even the
environment of the Congo can't sway their belief that people simply don't do the horrible

Things, Marlow recounts. The whites are dumbfounded and can not comprehend how people, in
this case the natives, would simply attack innocent people. The blacks, however, who are
cognizant of the reality in which they live, are essentially quiet. They feel right at
home, and are not phased by the shriek. 
Similarly, the difference of mentalities is shown when Marlow speaks of the portion of
his crew who are cannibals. While in the midst of his journey, Marlow quite casually
converses with these cannibals, even about their animalistic ways. As Jacques Berthoud
said so accurately in his Joseph Conrad, what would be unspeakable horror in
London...becomes, on the Congo river, an unremarkable topic of conversation"(Berthoud,
47). These unspeakable horrors are hardly unspeakable in the Congo because they are
normal occurrences there. 
On the Nellie, Marlow explains to his comrades, the basic difference between living in
Europe, and being in the Congo. He states: 
You can't understand. How could you? With solid pavement under your feet, surrounded by
kind neighbors ready to cheer you or to fall you, stepping delicately between the butcher
and the 
policeman, in the holy terror of scandal and gallows and lunatic asylums---how can you
imagine what particular region of the first ages a man's untrammeled feet may take him
into by the way
of solitude---utter solitude without a policeman---by the way of silence utter silence,
where no warning voice of a kind neighbor can be heard whispering of public
opinion"(Conrad, 82).
In Europe, there are kind neighbors who help each other to make sure that everything is
all right. The European lives his life stepping delicately between the butcher and the
policeman. Everywhere he looks, there is always someone there who can catch him if he is
falling. On the other hand, once a man enters the Congo, he is all alone. No policeman,
no warning voice of a kind neighbor...no one! It is when Marlow enters the Congo and
begins his voyage, that he realizes the environment he comes from is not reality, and the
only way he is going to discover reality is to keep going up the river. 
There is one specific theme in Heart of Darkness in which the reader can follow Marlow's
evolution from the everyday European to a man who realizes his own naivete and finally to
his uncovering of his own reality. This evolution comes about as a direct result of
Marlow's observations of how things are named. This sounds very unusual, that a man would
find his true reality by observing the names of certain things. However, it is precisely
these observations which change Marlow forever. Marlow first realizes the European's flaw
of not being able to give something a name of significance, in the beginning of his
voyage, when he has not quite reached the Congo, but he is extremely close. 
"Once, I remember, we came upon a man of war anchored off the coast. There wasn't even a
shed there, and she was shelling the bush. It appears the French had one of their wars
going on there-abouts. Her ensign dropped like a limp rag; the muzzles of the long six
inch guns 
stuck out all over the low hull; the greasy, slimy swell swung her up lazily and let her
down, swaying her thin masts. In the empty immensity of earth, sky, and water, there she
was, incomprehensible, firing into a continent. Pop, would go one of the six inch guns; a
small flame would dart and vanish, a little white smoke would disappear, a tiny
projectile would give a feeble screech---and nothing happened. Nothing could happen.
There was a touch of insanity in the 
proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by
somebody on board assuring me earnestly there was a camp of natives---he called them
enemies!---hidden out of sight somewhere"(Conrad, 21).
Conrad is teaching us something extremely important. Berthoud points out that the
intelligibility of what men do depends upon the context in which they do it. Marlow is
watching this occurrence. He sees the Europeans firing tiny projectiles and their cannons
producing a pop. The Europeans, however, see themselves fighting an all out war against
the savage enemies in the name of imperialism. The Europeans feel that this is an
honorable battle, and therefore, get emotionally excited and fight with all they have.
Marlow, however, 
sees it differently. He is now in Africa where reality broods; it's lurking everywhere.
The only thing one has to do to find it is open his mind to new and previously 'unheard'
ideas. He looks at this event and reduces it from the European's image of a supposedly
intense battle, with smoke and enemies everywhere, to a futile firing of tiny projectiles
into an empty forest. For the first time, Marlow recognizes the falsity of the European
mentality, and their inability to characterize an event for what it is. At the end of the
passage, his fellow European crewmember is assuring Marlow that the allied ship is
defeating the enemies, and that they just couldn't see the 
them because they were hidden out of sight somewhere. In actuality, they were shooting at
innocent natives who have probably fled from the area of battle already. Marlow is
beginning to realize that what makes sense in Europe no longer makes sense in
Africa(Berthoud, 46). 
With that passage, Conrad informs the reader of Marlow's realization. From that point on,
Marlow is looking to define if in actuality, the mentality instilled upon him in Europe
is similar to this, or if those are atypical Europeans who are living in a dream world.
As the novel continues, Marlow recognizes that this flaw of not being able to see
something for what it is, and in turn, not being able to give it an accurate label, is
indeed the European way. 
There are some names given by the Europeans that simply don't fit the characteristic of
the object being named. Marlow points out that the name 'Kurtz' means short in German.
However, at Marlow's first glance at Kurtz, he remarks how Kurtz appears to be seven feet
long(Conrad, 101). Conrad shows us, through Marlow's observation, how Kurtz's name is
just a blatant oxy-moron. Marlow recognizes yet another obvious misrepresentation,
meeting a man who is called the bricklayer. However, as Marlow himself points out, there
wasn't a fragment of a brick anywhere in the station(Conrad, 39). 
During his voyage, however, Marlow doesn't only observe this misnaming, but realizes the
importance of a name. While overhearing a conversation between the manager of the station
and his uncle, he hears Mr. Kurtz being referred to as that man(Conrad, 53). Although
Marlow hasn't met Kurtz yet, he has heard of his greatness. He now realizes that by these
men calling him that man, they strip him of all his attributes. When one hears Kurtz,
they think of a  very remarkable person(Conrad, 39). These men are now, by not referring
to him by his name, denying Kurtz's accomplishments. 
This same idea of distorting a person's character by changing his name is displayed
elsewhere. The Europeans apply the terms 'enemy' and 'criminals' to the natives. In
actuality, they are simply bewildered and helpless victims...and moribund
shadows(Berthoud. 46). Clearly, the injustice done by the simple misnaming of someone is
unbelievable. 
After witnessing all of these names which bare no true meaning, as well as possibly
degrade a person's character, Marlow understands that he can not continue in his former
ways of mindlessly giving random names to something in fear of diminishing the essence of
the recipient. As a result, Marlow finds himself unable to label something for what it
is. While under attack, Marlow refers to the arrows being shot in his direction as
sticks, little sticks, and a spear being thrown at his boat a long cane(Conrad, 75-77).
When Marlow arrives at the inner station, he sees slim posts...in a row with their ends
ornamented with round carved balls(Conrad, 88). In truth, these are poles with skulls on
top of them. Marlow can formulate a name even for the simplest of things and see them for
what they are. 
Taking a step back and looking at his voyage, Marlow realizes the insignificant,
mindless, meaningless 'labels', which the Europeans use to identify with something, and
he wants to be able to give to experience, names that have some substance. At this point,
he is similar to Adam in the Garden of Eden who is watching the parade of nameless
experience go by. However, Marlow is missing an essential ability, which Adam possessed.
As opposed to Adam, who was delegated by God to name experiences, Marlow lacked this
authority to name. It is Kurtz who will become this authority, and eventually teach
Marlow the essence of a name. 
Mr. Kurtz is the Chief of the Inner Station. He is a universal genius, a prodigy, an
emissary of pity science and progress(Conrad, 40-45). It is Kurtz who will teach Marlow
what a name is, for one simple reason. The man presented himself as a voice...of all his
gifts, the one that stood out preeminently, that carried with it a sense of real
presence, was his ability to talk, his words---the gift of expression, the bewildering,
the illuminating"(Conrad, 79).
Kurtz was little more than a voice(Conrad, 80), but there was no one with a voice like
his. He could speak with remarkable eloquence, he could write with such precision...he
could name with true meaning! You don't talk with that man [Kurtz], you listen to
him(Conrad, 90). Marlow has heard enough about Kurtz, in this case from his devoted
pupil, to know that it is he who can provide Marlow with the authority to offer correct
and substantial names 
Indeed, Kurtz gives Marlow everything he is looking for. However, he does it in a very
unconventional way. Kurtz teaches Marlow the lesson with his last words. The horror! The
horror!(Conrad, 118). These last words are Kurtz's own judgment, judgment on the life 
which he has lived. He is barbarous, unscrupulous, and possibly even evil. However, he
has evaluated his life, and he has pronounced a judgment upon the adventures of his soul
on this earth(Conrad, 118). Marlow sees Kurtz open his mouth wide---it gave him a weirdly
voracious aspect, as though he wanted to swallow all the air, all the earth, all the men
before him(Conrad, 101). Kurtz takes everything in. He takes his life, and puts it all
out on the table. He had summed up--- he had judged...The horror!(Conrad, 119). 
Kurtz's last words is his way of teaching Marlow the essence of a name were that a name
is not merely a label. It is one man's own judgment of an isolated event. However, unlike
the Europeans who judge based on already existing principles which they have 'acquired',
Kurtz taught Marlow to look inside of himself and to judge based on his own subjective
creeds. While Marlow is recounting the story, he says to his comrades:
He must meet that truth with his own true stuff---with his own inborn strength.
Principles won't do. Acquisitions, clothes, pretty rags---rags that would fly off at the
first good shake. No, you want a deliberate belief. An appeal to me in this fiendish
row---is there? Very well; I hear; I admit, but have a voice too, and for good or evil
mine is the voice that can not be silenced (Conrad, 60).
This judgment must be from one's own internal strengths. That is why Marlow says, for
good or evil, mine is the speech that can not be silenced. As Kurtz has taught him with
his own judgment, a judgment of truth overpowers morality. To find one's own reality, one
must not 
rely solely on other people's morality, others people's 'principles'; he must assess his
own life. Kurtz showed that regardless of whether the truth is good or bad, one must face
up to his reality. He must face up to his own actions even when the conclusion is the
horror, and by doing so, he will find his true reality. 
Marlow understands that being true to yourself is not following another's moral code, but
being able to judge one's self honestly and uncover their own reality. It is because of
this understanding that Marlow claims that Kurtz's last words are a moral victory paid
for by 
innumerable defeats(Conrad, 120). Despite Kurtz's immoral ways, he is victorious because
he didn't run away from the truth, and that is his moral victory; he is true to himself.

On his voyage, Marlow notices at one of the stations, a picture that Kurtz had drawn when
he was there. It is a sketch in oils on a panel representing a woman draped and
blindfolded, carrying a lighted torch. The background was sombre---almost black(Conrad,
40). At the time, Marlow didn't really know what it meant. However, this is a precise
representation of Kurtz himself. First, the background was sombre---almost black. This is
a manifestation of Kurtz because his life is full of darkness. He kills, he steals, and
he is worshipped as a God. Kurtz cannot be without blackness and survive. In addition,
the picture displays the lesson itself. It is a picture of the lady of justice holding a
torch. This is Kurtz's role. Unlike Europe, which imposes their principles upon others,
he is merely there to illuminate. Kurtz is there to expand the people's minds, to
introduce them to a broad new spectrum of reality. However, he does not impose his own
reality upon them. Hence, he is blindfolded in the picture. To him, they make a
subjective decision and they find their own truth, regardless of what that truth may be.

Eventually Marlow realizes that Kurtz's picture was in essence, a self-portrait. The same
thing which Kurtz conveyed with 'the horror', he conveyed with this picture. Marlow's
realization is evident with this remark. I don't like work---no man does---but I like
what's in the work---the chance to find yourself. Your own reality---for yourself, not
for others(Conrad, 47). 
Marlow learns the essence of 'naming' and understands what it means to 'be yourself'.
However, Marlow has encountered two extremes. The European mentality, which is completely
oblivious to reality, and Kurtz, a man who has found his reality, but it is one of horror
and no 
restraint from any wrongdoing. He is now returning to his home to deal with his former
world, however, he now possesses his new 'understanding'. Marlow cannot return to his
previous 'European ways' simply because he has 'been enlightened' and lost his naivete.
However, why can't he adapt Kurtz's ways and live the other extreme? At one point, Marlow
had peeped over the edge(Conrad, 119). Why didn't he 'jump over'? 
Marlow is repelled from joining Kurtz for several reasons. Firstly, Kurtz had kicked
himself loose from the earth...he had kicked the earth to pieces. He was alone, and I
[Marlow] before him did not know whether I stood on the ground or floated in the
air(Conrad, 112). Kurtz had denied any sort of moral convictions in order to be
worshipped as a God. Because of this unmonitered power, Kurtz lost all sense of restraint
and became the savage that he was. Marlow, however, has not lost his sense of morality.
What Marlow rejected in Kurtz was the complete absence of any humane or remotely sane
actions. 
It is because of Marlow's rejection of both the Europeans, who Marlow claims are full of
stupid importance, and of Kurtz's inability to establish his own moral code, that Marlow
chooses an alternative reality(Berthoud. 60). The first time the reader witnesses
Marlow's choice and becomes a centrist, is when he first gets back to Europe. Marlow
finds himself resenting the way the Europeans went about their life, hurrying through the
streets to filch a little money from each other(Conrad, 120). Not only did he find their
lives meaningless, but he
mocked them to himself. I had no particular desire to enlighten them, but I had some
difficulty restraining myself from laughing in their faces so full of stupid
importance... I tottered about the streets...grinning bitterly at perfectly respectable
people. I admit my behavior was inexcusable 
(Conrad, 120). Although Marlow looked down upon these Europeans, he says something
remarkable. He judged his own actions and found them 'inexcusable'. This is his
manifestation of breaking away from Kurtz's extreme. Unlike Kurtz who lacked all
restraint and would never find looking down on people bad, Marlow realized that he
couldn't hold it against them simply because they didn't know better. Clearly, Marlow has
edged toward a middle ground. He has been able to create some comfortable fusion between
Kurtz's edge of complete reality with a lack of moral conscience, with that of the
unknowing, and apparently uncaring world from which he came. 
Works Cited
Berthoud, Jacques A. Joseph Conrad: The Major Phase (British Authors Introductory
Critical
Studies). Cambridge Univ. Press. 1978 
Conrad, Joseph. Heart of Darkness: Backgrounds and Criticisms. New Jersey: Prentice-Hall,

1960. 
Conrad, Joseph. Heart of Darkness 3rd ed. Ed. Robert Kimbrough. New York: Norton
Critical, 
1988.