Analysis of Conrad’s “The Lagoon”: The Theme of Death, Love, Courage and Guilt
"A belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness."
Joseph Conrad (1857 - 1924)
Exploring Themes in Conrad's "The Lagoon": Death, Love, Courage, and Guilt
Conrad's "The Lagoon": A Multifaceted Exploration of Themes
The soul of the short story is brevity, and critics would aver unity, too. Joseph Conrad who is usually famous for his novellas uses a relatively shorter from in "The Lagoon", but detractors would claim that there is paraphernalia of themes marring the strict unity of effect. Although the short story rarely has the scope for anything more than a bore incident, Conrad’s short story is unique in its portrayal of an almost entire life. It is a sage of life that involves four diverse themes death, love, courage and guilt to select one among the four as the focal theme would appear an impossibility since Conrad’s mastery of the art makes the four themes interrelate each other. These prominent themes emerge, shaping the narrative and provoking thoughtful analysis, offering a comprehensive lens through which to examine Conrad's work.
Enveloped by Shadows: The Haunting Specter of Death in Conrad's "The Lagoon"
The entire short story diffuses an atmosphere of darkness and death. At first glance, the story would almost qualify for the Stevensonian tenet that the primary element in a short story may be a distinct atmosphere, the character serving only to enhance the effect. The entry into ‘the portals of a land from which the very moment of motion had for ever departed’ suggests the somber nature of the settling. Darkness appears ooze from the dense forest and when the white man reaches Arsat’s clearing, the first question that the European is whether he is in possession of any medicine. The description of the ill woman suggests the presence of death:
“………… on the young face there was the
Ominous and fixed expression – the absorbed,
Contemplating expression of the unconscious
Who are going to die?”
Contemplating Death's Darkness: The Proximity, Unsettling Stillness, and Cynical Reflections in Conrad's "The Lagoon"
Even the white man is drawn into sympathy and move to horror and fascination at ‘the inspiration and the wonder of death’. The proximity of death which is unavoidable and uncomfortable made the stillness of the surrounding appears “untrustworthy and infamous like…. Unjustifiable violence.” The prince of death inhuman life makes the concept of starlight peace of mockery and the earth appears to be a battlefield of deadly beings. Arsat, after the eventual death of his beloved speaks out with philosophic cynicism:
There is no light and no peace in the world,
But there is death – death for many.
Death is a recurring motif in "The Lagoon," underscoring the fragile nature of life and the inevitable presence of mortality. The protagonist, Arsat, grapples with the impending death of his beloved brother, and later, with the potential loss of his own life. Conrad presents death as an inescapable force, heightening the characters' emotions and emphasizing the transient nature of existence.
The Consuming Devotion: Arsat's Tale of Love and Loss
Yet the tale is even more explicitly one of the desires of man for woman and of woman for man. Even while Arsat is standing by the beloved’s death bed, he decides to tell the white man the long- hidden story of the love: “I shall speak to you of love…….. Speak before both night and love are gone.” Throughout the night he recapitulates as if in a reverie how he could see nothing but one face and hear nothing but one voice, when he first fell in love with Diamelen. With exquisite sensitivity Arsat describes how he fed the longing of his heart on short glances and stealthy words, how they spoke to one another through the scent of flower and veil of leaves and how he finally decided to take the woman with him even at the expense of becoming a social and moral out- cast. The intensity of Arsat’s love is evident in the face that when she has ceased to be Arsat can see nothing:
“Now I can see nothing – see nothing!”
In fact, love serves as a driving force in the story, shaping the decisions and actions of the characters. Arsat's profound love for his brother and his lover, Diamelen, fuels his courage and determination. Similarly, Diamelen's unwavering devotion to Arsat demonstrates the strength and power of love in the face of adversity. Conrad delves into the complexities of love, exploring its ability to inspire both selflessness and selfishness.
The Lagoon: A Tale of Courageous Love and Adventure
The Lagoon is also, in a way, sage of adventure. The tale of his elopement with Diamelen with the assistance of his brother is a romance rarely paralleled in real life. He was a courageous man and he could not bear the thought of not executing his plan of snatching Diamelen from the midst of men: “I began to think of killing and of a fierce death ….” He declares that he belongs to a clan (Race) of people who take what they want. Although the forces ranges against him have ‘might’ and ‘authority’ he has ‘love’ and ‘strength’ and ‘courage’. The brother is even more courageous man, who would like to take his object not as a fugitive or a sneaking thief but in the face of strong apposition. The brave Inchi Midah’s fury and their own ruler’s sword and escape with Diamelen when they are pursued, the younger brother resist still he is struck down, but Arsat and his beloved succeeded in escaping.
Love, Guilt, and Sacrifice: Arsat's Burden in Conrad's 'The Lagoon'
The lover and the courageous man that he is, Arsat is seen to suffer from his guilt which so corrodes him as to be deemed (considered) one of the most important themes of this short story. The love between the brothers was so strong as to withstand even the fury of an entire race. His brother’s words still ring in Arsat’s ear: “you take her from their midst we are two who are like one.” The brother, a valiant man who would fain shout defiance resist the temptation and accepts a relatively dishonourable slinking a way only in order to please Arsat. When they are at last spotted, the brother vows to keep their pursuers off until they can launch their boat and to climb in at the last moment. He had only a gun with only a little powder but he managed to stave off the attack for a while. When he finally started towards the boat he stumbled and Arsat pushed the canoe from the shore, disregarding his brother’s fervent cry, he knows that they would not be able to escape if he tried to save his brother. His disquietude is evident in his quite words: “Juan, I loved my brother.”
Guilt weighs heavily on the characters in ""The Lagoon," especially Arsat. He grapples with guilt over abandoning his brother during his final moments and experiences remorse for his past actions. Conrad delves into the psychological effects of guilt, depicting its corrosive nature and its ability to shape one's conscience.
Conclusion
By addressing these themes of death, love, courage, and guilt, Conrad crafts a rich and multi-layered narrative in "The Lagoon." Through the exploration of these themes, the story transcends its surface-level plot, delving into the depths of human experience and provoking reflection on universal aspects of the human condition. The germinal idea is perhaps that of love for all the other aspects be it the death of his beloved, the death of his brother, their own adventure and the final sense of guilt are all sub seemed under the motivating principle of love. Arsat may have regrets for his brother, but who can deny that he chose the higher right for a lesser one. Thus in spite of being concerned with almost an entire life like Washington Irvin’s Rip Van Winckle or Maupassarit’s Le Parure, The Lagoon has the unity of a brief story such Lawrence’s The Odour of Chrysanthemums or Poe’s The Cask of Amontodillo.
References
1. The lagoon : Conrad, Joseph, 1857-1924 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/lagoon0000conr
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