The Heart of Darkness stands as a profound scrutiny of the lip service of imperialism, and the darkness that consequences from it. This imperialism embodies itself in the signifier of Kurtz, the adversary of the narrative. Kurtz ab initio exists as a “ singular adult male, ” an “ emissary of light ” who enters the Congo with baronial purposes. ( Conrad ) However, as he enters the “ bosom of darkness ” that is the Congo, his ain bosom becomes dark as good. This novelette explores Kurtz ‘s transmutation in three back-to-back chapters. The darkness foreshadows itself in portion one, describes its way in portion two, and eventually nowadayss itself in portion three. Conrad depicts this darkness with his adept usage of imagination and metaphors. Carefully crafting the message of the narrative, Conrad utilizes imagination and metaphors as the pigments to his pallet.
Boding permeates every minute of this narrative. Although it can be found in the entireness of the narrative, it predominates in portion one. The foundations for the systematically dark imagination prevarication in Conrad ‘s fecund sentence construction, which tends to meditatively inquire, both in the scenery and his ain philosophical guess. ( Lachotta ) Through the graphic imagination, many metaphors arise, and contribute to the prefiguration every bit good. The first metaphor of portion one exists as the Congo River itself, which resembles “ an huge serpent uncoiled. ” ( Conrad ) One normally associates a serpent with immorality, which foreshadows the actuality that lies in the Congo. As a metaphor, it represents the European imperialism, and therefore, it represents Kurtz. Another metaphor lies within the two adult female at the physicians office, who are “ knitting black wool. ” Marlow states his edginess in respects to them, how they seem to be “ guarding the door of Darkness. ” ( Conrad ) Conrad capitalizes “ Darkness ” in this sentence to stress the imagination of his message. Indeed, these adult females stand as an portent for the dark months that prevarication in front, for one time Marlow enters that door, he officially becomes portion of the dark universe that leads him to Kurtz. Numerous metaphors in portion one foreshadow Kurtz ‘ transmutation into lunacy. The narrative of Fresleven, who “ was the gentlest, quietist animal to of all time walk on two legs, ” exemplifies this dark dissent. After a twosome of old ages “ engaged in the baronial cause, ” he attempts to asseverate self respect by crushing a native pitilessly, all for the frivolous ground of “ two black biddies. ” ( Conrad ) The fact that the physician wants to mensurate Marlow ‘s caput, along with the Swede ‘s narrative of the adult male who hangs himself, both serve as cardinal elements of boding Kurtz ‘s ain fate. ( HoD, Symbolism )
Once the prefiguration takes topographic point, Conrad farther explores Kurtz ‘s darkness in portion two. Now that Marlow physically stands in the Congo jungle, he vividly describes the darkness that portion one preliminary to. As the director ‘s uncle extends him build up out to the wood, Marlow states that he seems to “ wave ” to “ the lurking decease, the concealed immorality, the profound darkness of its bosom. ” ( Conrad ) This baleful ambiance of the Congo exists as the same ambiance that drives Kurtz to madness. Once Marlow and his crew fall up the river to make the interior station, Conrad ‘s graphic imagination presents farther metaphors. Marlow explains that traveling up the river “ was like going back to the earliest beginnings of the universe, when flora rioted on the Earth and the large trees were male monarchs. ” ( Conrad ) Comparing this journey to the beginning of the universe represents the settler ‘s journey, which moves off from civilisation and towards a crude being. As they move off from civilized society, they become closer to the “ bosom of darkness ” that Kurtz physically and psychologically lives in. Another metaphor presents itself with the personification of the trees as male monarchs. This alludes to Kurtz ‘s announcement of himself as a God to the indigens, something of which he accomplishes merely through his crude location. Overall, the imagination of Africa Conrad deploys in portion two provides a background for Kurtz ‘s moral disintegration. ( Mwikisa )
Once the way up the river comes to an terminal, portion three Begins. In this concluding chapter, Conrad presents the nucleus of the darkness – Kurtz himself. The full novelette leads up to this point, in which Kurtz ‘s corruptness establishes itself. Presiding over the interior station, Kurtz becomes addicted to his power. ( Rekue ) He grows tired of being a mere adult male, and through force and force, transforms himself into an almighty figure. The scene where the indigens carry him on a stretcher indicates how he wholly abandons European ethical motives and norms of behaviour. ( Lachotta ) In the beginning of this chapter, Conrad ‘s phenomenal imagination illustrates the interior station. As Marlow observes his milieus, he assures that “ ne’er earlier did this land, this river, this jungle, the really arch of this blaze sky, appear to me so hopeless and so dark. ” ( Conrad ) This non merely explores Kurtz ‘s darkness, but preliminaries to his “ hopeless ” decease. Kurtz gives in to the immoral enticement within the Congo, and therefore, his interior darkness takes over.
In farther guess of the chapter, Conrad ‘s imagination and metaphors explore the features of darkness itself. Three elements must correlate in order to represent darkness. These elements include choler, fright, and aggression. ( Lachotta ) Throughout this chapter, Kurtz exemplifies all three of these features. After Marlow informants Kurtz being carried on a stretcher, the harlequin tells the narrative of how Kurtz threatened to hit him over a little batch of tusk. Kurtz concluding “ was that he could make so, and had a illusion for it. ” ( Conrad ) This, along with the castigation of the director, represents Kurtz ‘s choler. The caputs of the “ Rebels ” on the sticks represent his aggression in deriving complete power ; his “ ivory Hunts ” stand for his aggression in obtaining tusk. In respects to fear, Kurtz fears being taken off from the dark topographic point of which he feels comfy. In the despair that arises from his fright, he tries to get away by creeping off the dark before the going. Kurtz pleads that he has his programs, but his attempts remain ineffectual. ( HoD Study Guide ) Through these three elements, Conrad explores the darkness of the human psyche. Kurtz ‘s moral devolution in the Congo epitomizes that darkness, which in the terminal, wholly envelops him.
Kurtz ab initio exists as a adult male of ethical motives, who travels to the Congo full of philanthropic ideals. ( HoD, Kurtz ) However, these ideals become devoured by the darkness of imperialism. The Heart of Darkness explores this transmutation through the three chapters of the novelette. The darkness foreshadows itself in portion one, describes its way in portion two, and nowadayss itself in portion three. Conrad depicts this darkness through his aesthetic usage of imagination and metaphors, which work to entwine throughout the full narrative. During the last minutes of his life, Kurtz, in realisation of his darkness, utters the words, “ The horror! The horror! ” ( Conrad ) In the terminal, he succumbs to the darkness, for “ one time you start down the dark way, everlastingly will it rule your fate ; consume you it will. ” ( Yoda Quotes )