The Heart Of Darkness The Horror Essay

The Heart Of Darkness: The Horror! Essay, Research Paper

The Heart of Darkness: The Horror!

David Yu

In Heart of Darkness it is the white encroachers for case, who are,

about without exclusion, incarnations of sightlessness, selfishness, and

inhuman treatment ; and even in the cognitive sphere, where such positive

phrases as & # 8220 ; to edify, & # 8221 ; for case, are conventionally opposed

to negative 1s such as & # 8220 ; to be in the dark, & # 8221 ; the traditional

outlooks are reversed. In Kurtz & # 8217 ; s picture, as we have seen,

& # 8220 ; the consequence of the torch visible radiation on the face was sinister & # 8221 ; ( Watt 332 ) .

Ian Watt, writer of & # 8220 ; Impressionism and Symbolism in Heart of Darkness, & # 8221 ;

discusses about the devastation set upon the Congo by Europeans. The

devastation set upon the Congo by Europeans led to the call of Kurtz & # 8217 ; s last

words, & # 8220 ; The horror! The horror! & # 8221 ; The horror in Heart of Darkness has been

critiqued to stand for different facets of state of affairss in the book. However,

Kurtz & # 8217 ; s last words & # 8220 ; The horror! The horror! & # 8221 ; refer, to me, to amplify merely

three major facets. The horror magnifies Kurtz non being able to keep

himself, the colonisers & # 8217 ; greed, and Europe & # 8217 ; s darkness.

Kurtz comes to the Congo with baronial purposes. He thought that each

ivory station should stand like a beacon visible radiation, offering a better manner of life

to the indigens. He was considered to be a & # 8220 ; cosmopolitan mastermind & # 8221 ; : he was an speechmaker,

author, poet, musician, creative person, politician, ivory manufacturer, and main agent of

the tusk company & # 8217 ; s Inner Station. yet, he was besides a & # 8220 ; hollow adult male, & # 8221 ; a adult male

without basic unity or any sense of societal duty. & # 8220 ; Kurtz issues

the lame call, & # 8216 ; The horror! The horror! & # 8217 ; and the adult male of vision, of poesy, the

& # 8216 ; envoy of commiseration, and scientific discipline, and advancement & # 8217 ; is gone. The jungle closes & # 8217 ;

unit of ammunition & # 8221 ; ( Labrasca 290 ) . Kurtz being cut off from civilisation reveals his dark

side. Once he entered within his & # 8220 ; bosom of darkness & # 8221 ; he was shielded from the

visible radiation. Kurtz turned into a stealer, liquidator, plunderer, tormentor, and to culminate

all of his other fly-by-night patterns, he allows himself to be worshipped as a God.

E. N. Dorall, writer of & # 8220 ; Conrad and Coppola: Different Centres of Darkness, & # 8221 ;

explains Kurtz & # 8217 ; s loss of his individuality.

Make bolding to confront the effects of his nature, he loses his individuality ;

unable to be wholly beast and ne’er able to be to the full human, he

surrogates between seeking to return to the jungle and recalling in

grotesque footings his former idealism. Kurtz discovered, A voice!

A voice! It rang deep to the really last. It survived his strength

to conceal in the brilliant creases of fluency the waste darkness of

his bosom & # 8230 ; . But both the devilish love and the spiritual hatred of

the enigmas it had penetrated fought for the ownership of that

psyche satiated with crude emotions, avid of lying, celebrity, of fake

differentiation, of all the visual aspects of success and power. Inevitably

Kurtz collapses, his last words typifying his experience,

The horror! The horror! ( Dorall 306 ) .

The horror to Kurtz is about self realisation ; about the errors he committed

while in Africa.

The colonisers & # 8217 ; inhuman treatment towards the indigens and their lecherousness for tusk

besides is spotlighted in Kurtz & # 8217 ; s horror. The white work forces who came to the Congo

professing to convey advancement and visible radiation to & # 8220 ; darkest Africa & # 8221 ; have themselves been

deprived of the countenances of their European societal orders. The supposed

intent of the colonisers & # 8217 ; going into Africa was to educate the indigens.

Alternatively the Europeans took the indigens & # 8217 ; set down off from them by force. They

burned their towns, stole their belongings, and enslaved them. & # 8220 ; Enveloping the

horror of Kurtz is the Congo Free State of Leopold II, wholly corrupt though

to all visual aspects established to last for a long clip & # 8221 ; ( Dorall 309 ) . The

conditions described in Heart of Darkness reflect the horror of Kurtz & # 8217 ; s words:

the concatenation packs, the grove of decease, the payment in brass rods, the cannibalism

and the human skulls on the fencing stations.

Africans bound with lashs that contracted in the rain and cut to

the bone, had their conceited custodies beaten with rifle butts until they

fell off. Chained slaves were forced to imbibe the white adult male & # 8217 ; s

laxation, custodies and pess were chopped off for their rings, work forces

were lined up behind each other and changeable with one cartridge,

hurt captives were eaten by maggots till they died and were so

thrown to hungering Canis familiariss or devoured by cannibal folks ( Meyers 100 ) .

The colonisers enslaved the indigens to make their biding ; the inhuman treatment practiced on


black workers were of the white man’s mad and greedy haste for tusk. “The

irreclaimable horror in the narrative is the fraudulence, inhuman treatment, and venality of

Europeans officialdom & # 8221 ; ( Levenson 401 ) .

Civilization is merely preserved by keeping semblances. Juliet

Mclauchlan, writer of & # 8220 ; The Value and Significance of Heart of Darkness, & # 8221 ; stated

that every coloniser in Africa is to fault for the horror which took topographic point


Kurtz & # 8217 ; s moral judgement applies supremely to his ain psyche, but his

concluding penetration is all embracing ; looking upon humanity in full

consciousness of his ain debasement, he undertakings his adulteration, failure,

and hatred universally. Recognizing that any human psyche may be

fascinated, held resistless, by what it justly hates, his stare is

& # 8220 ; broad plenty to encompass the whole existence, & # 8221 ; broad and huge & # 8230 ; .

embrace, reprobating, abhoring all the existence ( Mclauchlan 384 ) .

The darkness of Africa collides with the immoralities of Europe upon Kurtz & # 8217 ; s last words.

Kurtz realized that all he had been taught to believe in, to run from, was

a mass of horror and greed standardized by the colonisers. As you recall in

Conrad & # 8217 ; s Heart of Darkness, Kurtz painted a picture let go ofing his cognition of

the horror and what is to come. A picture of a blindfolded adult female transporting a

lighted torch was discussed in the book. The background was dark, and the

consequence of the torch visible radiation on her face was sinister. The oil picture suggests

the blind and stupid tusk company, fraudulently allowing people believe that

besides the tusk they were taking out of the jungle, they were, at the same

clip, conveying visible radiation and advancement to the jungle.

Kurtz, stripped off of his civilization by the greed of other Europeans,

bases both literally and figuratively bare. He has lost all restraint in

himself and has lived off the land like an animate being. He has been exposed to

desire, yet can non grok it. His horror tells us his errors and that of

Europe & # 8217 ; s. His errors of greed for tusk, his errors of lecherousness for a kept woman

and his errors of assault on other small towns, were all established when he was

cut off from civilisation. When Conrad wrote what Kurtz & # 8217 ; s last words were to be,

he did non overstate or contrive the horrors that provided the political and

human-centered footing for his onslaught on colonialism.

Conrad & # 8217 ; s Kurtz mouths his last words, & # 8220 ; The horror! The horror! & # 8221 ; as a

message to himself and, through Marlow, to the universe. However, he did non

truly explicate the significance of his words to Marlow before his issue. Through

Marlow & # 8217 ; s drumhead and moral reactions, we come to recognize the possibilities of

the significance instead than a definite significance. & # 8220 ; The message means more to Marlow

and the readers than it does to Kurtz, & # 8221 ; says William M. Hagen, in & # 8220 ; Heart of

Dark and the Process of Apocalypse Now. & # 8221 ; & # 8220 ; The horror & # 8221 ; to Kurtz became the

incubus between Europe and Africa. To Marlow, Kurtz & # 8217 ; s last words came

through what he saw and experienced along the manner into the Inner Station. To

me, Kurtz & # 8217 ; s horror shadows every homo, who has some signifier of darkness deep

within their bosom, waiting to be unleashed. & # 8220 ; The horror that has been

perpetrated, the horror that descends as judgement, either in this pitiless and

empty decease or in whatever domination there could be to come & # 8221 ; ( Stewart 366 ) .

Once the horror was unleashed, there was no manner of once more keeping it.


Dorall, E. N. [ Conrad and Coppola: Different Centres of Darkness. ] Heart of

Darkness. By Joseph Conrad 3rd erectile dysfunction. Ed. Robert Kimbrough. New York: Norton

Critical 1988. 306, 309.

LaBrasca, Robert. [ Two Visions of “ The Horror! ” . ] Heart of Darkness. By

Joseph Conrad 3rd erectile dysfunction. Ed. Robert Kimbrough. New York: Norton Critical 1988.


Levenson, Michael. [ The Value of Facts in the Heart of Darkness. ] Heart of

Darkness. By Joseph Conrad 3rd erectile dysfunction. Ed. Robert Kimbrough. New York: Norton

Critical 1988. 401.

McLauchlan, Juliet. [ The “ Value ” and “ significance ” of Heart of Darkness. ]

Heart of Darkness. By Joseph Conrad 3rd erectile dysfunction. Ed. Robert Kimbrough. New York:

Norton Critical 1988. 384.

Meyers, Jeffrey. Joseph Conrad. New York: Charles Scribner & # 8217 ; s Sons, 1991.

Stewart, Garrett. [ Liing as Dying in Heart of Darkness. ] Heart of Darkness.

By Joseph Conrad 3rd erectile dysfunction. Ed. Robert Kimbrough. New York: Norton Critical

1988. 266.

Watt, Ian. [ Impressionism and Symbolism in Heart of Darkness. ] Heart of

Darkness. By Joseph Conrad 3rd erectile dysfunction. Ed. Robert Kimbrough. New York: Norton

Critical 1988. 332.

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