Symbolism and Darkness in Conrad’s Heart of Darkness
Themes and Symbolism in Heart of Darkness
Heart of Darkness by Joseph Conrad is a deeply contemplative, symbolic piece of literature. Superficially, the story follows the journey of a man named Marlow, working for an ivory company and seeking adventure, deep into sub-Saharan Africa. On a deeper level, however, the story explores the titular “darkness,” revealing it represents the evil residing in the hearts of men.
Kurtz’s Final Moments and Enigmatic Words
Both Kurtz and Marlow experience a brief interlude, floating between life and death, although their final fates differ. For Kurtz, the imminence of death ironically causes him to seek a return to the world from which he had “kicked himself loose.” Suddenly, his legacy and ideas seem crucial, and he turns to Marlow to preserve them. Kurtz’s final ambitions suggest a desire to change the world, a shift from his previous views which posited a choice between conforming to norms or total isolation. However, these final schemes, described by Marlow as “childish,” reflect Kurtz’s desire for self-aggrandizement rather than any progressive social program.
Kurtz dies. His last words are paradoxically full of meaning yet entirely empty. One interpretation is that they acknowledge his misguided life, despicable acts, and inner darkness. However, their eloquence and vagueness are also notable. True to form, Kurtz dies in a spasm of eloquence; his last words are poetic and profound, delivered in his remarkable voice.
Kurtz’s final words could refer to the terrible nothingness at the heart of his soul and ideas, the ultimate failure of his “destiny.” In a way, this holds true: Kurtz’s agony seems a response to a generalized lack of substance. Yet, in his dying words as in his life, Kurtz creates an enigma, an object for contemplation. His legacy, arguably, is Marlow, who, like the Russian trader, seems to have had his mind “enlarged” by Kurtz. Marlow, however, finds he has “nothing” to say. Thus, Kurtz’s life and dying words oscillate between absolute emptiness and an overabundance of meaning. The “horror” is either nothing or everything, but not simply “something.”
Interpreting “The Horror!”
Mr. Kurtz’s chilling final words, “The horror! The horror!”, reveal his epiphany about the true nature of humanity. He realizes that the flickering light of his own morals could not overcome the darkness inherent in human nature. By weaving images of dark and light throughout the novella, Conrad conveys a palpable sense of the darkness and “the horror!” present within everyone. Through Marlow’s journey into the Congo’s darkness, Conrad’s use of light/dark imagery and symbolism suggests Marlow is also journeying into the darkness of his own soul.
Marlow’s Perspective and the Darkness of Civilization
Marlow’s first words breaking the silence in the novel set the dark tone for his tale. He states, “this also has been one of the dark places of the earth.” Given Britain’s role in colonization, it had indeed become a place marred by darkness. He describes the river Thames as a “running blaze on a plain, like a flash of lightning in the clouds”—a flash of brightness surrounded by the dark sins of British civilization. Everything Marlow sees and experiences leads him to this conclusion, and his narrative is his attempt to convey this knowledge to his shipmates.
The Indirect Narration of Kurtz’s Death
The actual moment of Kurtz’s death is narrated indirectly. First, Kurtz’s words—“The horror! The horror!”—anticipate its beginning. Then flies, symbolizing slow, mundane decay and disintegration (as opposed to dramatic destruction), swarm the ship, seemingly marking the moment. He leaves an impressive legacy: Marlow will ponder Kurtz’s words and memory for the rest of his life. By turning himself into an enigma, Kurtz ensures his own form of immortality. Finally, the servant arrives, closing the moment with his surly, unpoetic words. The roughness of “Mistah Kurtz—he dead” contrasts sharply with Kurtz’s self-generated epitaph, juxtaposing blunt reality (death) with a subjective state (horror).