Kurtz's Isolation, Exile and Loneliness Prompts his Decline: Truth about Kurtz's Final words (Joseph Conrad's Heart of Darkness)
In Joseph Conrad's Heart of Darkness, the character of Kurtz is a complex and enigmatic figure who declines due to his isolation, exile, and loneliness in the Congo. His final words, "The horror! The horror!" are a cry of despair and madness.
Conrad’s first novels, Almayer's
Folly (1895) and An Outcast of the Islands (1896),
established Conrad as an observer of persons under stress, self-destructive
aliens in a luxurious but decaying environment. The Nigger of the Narcissus,
the first of Conrad's novels of shipboard life, depicts a crew facing moral
problems of conduct and struggling to survive during a storm at sea. Lord
Jim, the foremost artistic work of his early phase, introduced Marlow,
Conrad's famous narrator and alter-ego, and also introduced the author's
experimentation with chronology, narrative, and symmetrical plotting.
Conrad’s Heart of Darkness is the study of the same and lots
of criticisms have been written about the possible implications of Kurtz’s agonized
cry ‘the horror!The horror!’ which imply the such 'decaying environment'. Many critics think that it is Kurtz’s
instantaneous reaction to his realization of truth which is hidden ‘luckily’
for most of us. It is a succinct summing up his degeneration and the dark
forces that led to the degeneration. Everybody is not able to confront his real
self ; everybody is not able to confront reality Kurtz, according to Marlow did
confront reality and, therefore, he is ‘a remarkable man’ that way the phrase
can be taken as Kurtz’s judgment on his own misdeeds. Marlow asserts, in fact,
later, that ‘Kurz had summed up –he had judged’, and that his final cry was ‘an
affirmation, a moral victory paid for by innumerable defeats, by abominable
terrors, by abominable satisfaction’. But many critics question how Marlow, or
the reader for that matter can, know what Kurtz means by his final cry? The
moral reading of Kurtz’s words is conditioned by Marlow’s sensibility, and
throughout the narrative Marlow presets himself as the only truthful man in
midst of a host of civilized hypocrites. The meaning of the phrase should
remain, like Marlow’s tale ‘inconclusive’.
In fact,
Heart of Darkness is a
tale of many voyages. Charlie Marlow's voyage into the depths of the 'Dark
Continent' parallels his voyage into the heart of an immense darkness, into the
collective unconsciousness of the human race. At the end of his quest Marlow
hopes to find Mr. Kurtz and through him learn the meaning of intelligent life
in an alien and brutal universe; instead the voyage becomes a descent into an
underworld in which Kurtz is both captive and creator, and from which Marlow
barely escapes.
The
reporting by the captain’s boy Mistah Kurtz –he head’ is short and laconic, and
in its structure, is in keeping with the cultural level of the reporter. But
the words assume tremendous significance when we look at them more closely. It
is not for nothing that Eliot used the words as epigraph to his famous poem “The
Hollow men”.
Kurtz's capitalist mercantile
ventures, the handmaidens of imperialism, draw Marlow into the vast heart of a
continent and into an actual and a symbolic heart of darkness. These ventures
are intended to enhance European wealth and power, but their byproducts are the
exploitation of the native population and the moral deterioration of the
traders. From Marlow's first visit to what he calls 'a dead house in a
sepulchral city' to his encounters with the lost souls at the outposts of
progress and his meeting with the insane Kurtz, his experience is expressed in
terms of death, decay, and the dehumanizing power of capitalism at its worst.
Kurtz
is buried and Marlow’s next words are that are that the crew nearly buried him.
Possibly after the death of Kurtz Marlow fell deadly ill on account of some
jungle fever and his next memories are of being back to the ‘sepulchral city’.
Marlow’s
last act is to perform the job he was entrusted with by Kurtz. It is
to meet Kurtz’s and handover to her ‘a slim packet of letters and the girl’s
portrait’. Marlow’s meeting with Kurtz’s ‘intended’ is a very significant
episode in the novel. The girl is presented in an impressionistic style. When Marlow
meets the girl it is evening time and darkness is gathering around. Again, the
girl darkness is as literal or physical as it is metaphorical. When the girl
comes Marlow finds her dressed in black that is she is in mourning. She
questions Marlow about Kurtz’s last words, because, it transpires during the
meeting, she was sure that it was her name. She is a victim of illusion. She
says about Kurtz; “I knew him best”. But we know that her knowledge of Kurtz is
faulty, myopic and illusory. She blissfully is ignorant of the depravities of
Kurtz. Marlow knows that Kurtz’s last words were not names but ‘the horror! The
horror!’ and we also know that Marlow detests lies. So, it is only natural that
Marlow will come out with truth. But Marlow hesitates. He feels tense. He is viably
perplexed. Marlow feels disturbed, because he can clearly see how strongly she
trusts Kurtz. Her fidelity is unswerving. She is ‘one of those creatures that
are not the playthings of time’. He also sees that it is her illusion about
Kurtz that sustains her and gives her strength to live. She constitutes, in a
sense a living reproof of every kind of cynical evasiveness. Her trustfulness
demands that she must be told the truth. Yet the only truth that can be told
would destroy the very basis of that trust. So, Marlow is in a dilemma. After
an intense struggle with himself Marlow at last tells. A lie and says that the last words of Kurtz were her name. Why dose Marlow feel the lie? That is an
enigma, and points to the inconclusive narrative. But one possible reason is
that Marlow presents his lie as guarantor of truth. In other words, it is only
this lie that can preserve the innocence of the girl and give her the
protection of saving illusion. In terms of the thematic of the novel, Marlow
possibly accepts the shadow as an inescapable accomplishment of life. Man lives
in illusion. The paradox of the loss, for Marlow, is a finding. The girl’s
illusion keeps alive, in the suffocating darkness of Marlow’s experience of
reality, the light of innocence and integrity.
Marlow’s
journey ends with the knowledge of a positive illusion that allows him to
survive tragic knowledge without incurring self deception. Awareness of the
darkness is no small enlighten. In the end of Marlow’s tale we find him, in the
words of the nameless narrator, ‘indistinct and lisent, in the pose of a
meditating Buddha’. In the beginning of the tale also ‘Marlow sat cross legged’
and ‘he had the pose of a Buddha’. The Buddha image at the end of the novel is
linked up with the Buddha image in the beginning, and it adds one more
dimension to the journey. It is a journey within, a journey, like Buddha’s, for
enlightenment. Marlow approximates Buddha, the enlightened one.
Key Points:
- In Joseph Conrad's Heart of Darkness, the character of Kurtz is a complex and enigmatic figure.
- He is a brilliant and charismatic leader, but he is also deeply flawed.
- Kurtz's isolation, exile, and loneliness in the Congo contribute to his decline.
- He becomes increasingly ruthless and corrupt, and he eventually loses his grip on reality.
- Kurtz's final words, "The horror! The horror!" are a cry of despair and madness.
- The meaning of Kurtz's final words is ambiguous and has been interpreted in many ways.
- Some believe that the words are a reference to the atrocities that Kurtz has committed in the Congo.
- Others believe that the words are a more general expression of Kurtz's despair and madness.
- Still others believe that the words are a reference to the inherent evil of colonialism.
References:
- Klein, Herbert G. "Charting the Unknown: Conrad, Marlow, and the World of Women."
- Lynn, David H. " Heart of Darkness : Marlow's Heroic Cry." The Hero's Tale. Narrators in the Early Modern Novel .
Heart of Darkness : Joseph Conrad : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/ost-english-conrad_joseph_1857_1924_heart_of_darkness
Renner, S. (1976). Kurtz, Christ, and the Darkness of “Heart of Darkness.” Renascence, 28(2), 95–104. https://doi.org/10.5840/renascence197628217
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