Heart of Darkness: Exploring History, Fiction, and Truth Perceptions

This essay provides an in-depth analysis of Joseph Conrad's 'Heart of Darkness,' examining the historical context, fictional elements, and the perception of truth within the novella. It explores the themes of imperialism, colonialism, and the corrupting influence of power, focusing on the journey of Captain Marlow as he navigates the Congo and his own consciousness. The essay delves into the symbolism of darkness, the two journeys undertaken by Marlow, and the significance of Kurtz's final words. It considers Conrad's views on society, human nature, and the impact of colonialism, highlighting the interplay between history, fiction, and the search for truth in a world marked by exploitation and moral decay. The essay also discusses the conditions under which Conrad wrote the novella and the various symbols that appear throughout the narrative.

ALMOST A VOYAGE
JOSEPH CONRAD
‘HEART OF DARKNESS’
THROUGH HISTORY, FICTION AND TRUTH PERCEPTIONS
IN

JOSEPH CONRAD’S
HEART OF DARKNESS
CONTENT
I. SENTENCE OUTLINE . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . P 3
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P 3
BODY . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P 3
SUBCHAPTER I: The conditions of writing the ’Heart of Darkness’. .. P 3
SUBCHAPTER II: Two journeys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. P 5
SUBCHAPTER III: Journey to Congo. . . . . . . . . . . . . . . . . . . . . . . . . . . P 5
SUBCHAPTER IV: Consciousness ‘journey . . . . . . . . . . . . . . . . . . . . .. P 7
SUBCHAPTER V: History, fiction and truth . . . . . . . . . . . . . . . . . . . . . . P 8
SUBCHAPTER VI: Darkness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P 9
SUBCHAPTER VII: The horror! The horror!’. . . . . . . . . . . . . . . . . . . . P 9
CONCLUSION
II. ABSTRACT . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . P 3
III. KEY WORDS . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P 3
IV. THE PAPER (THE BODY) . . . . . . . . .. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . P 4
V. REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P 10
ALMOST A VOYAGE
THROUGH HISTORY, FICTION AND TRUTH PERCEPTIONS
IN
JOSEPH CONRAD’S
HEART OF DARKNESS

I. SENTENCE OUTLINE:
1. Introduction:
Joseph Conrad’s writing treats issues like imperialism and its effects. In this paper I have tried to
emphasis some of my points of view watching the main themes approached by the author, the main’s
character transformations during one long voyage and the historical background which triggered a new
symbolic novella where nothing is what it seems at first sight.
Another important issue is the symbol used for show the preference for the supernatural over real.
Moreover, the history is combined with the fiction and the truth than all effects and aspects appear in
high contrast.
2. Body: 2.1.: The conditions of writing the ’Heart of Darkness’: this part shows which was the
background on which Joseph Conrad wrote the novella.
2.2: Two journeys: the second part of the paper shows the two kinds of voyage taken by the
Captain Charlie Marlow
2.3.: Journey to Congo – outer journey of the Captain Marlow
2.4.: Consciousness ‘journey – inner journey in the subconscious of Marlow’s character
2.5.: History, fiction and truth: here is shown the background and the history which started the
writing, what might be fiction and what might be true.
2.6.: Darkness: this is one of the symbols which occurs in the novella
2.7.: ‘The horror! The horror!’ - These are the last words of Kurtz, which only Marlow fully
understand.
3. Conclusion:
In conclusion I think it is clear that Joseph Conrad succeeded to capture m any aspects of the corrupting
power. ‘A clearer depiction of colonialism and its effects – there can also be found a greater degree of
subjectivity (...) [his] concern was with the inner life of characters.’ (Carter, R. & McRae, J. 1997: 392-
393)1.
II. ABSTRACT:
This paper presents the issue of one of the Joseph Conrad’s writings, ‘Heart of Darkness’, dealing with the
idea of colonialism and imperialism, with the issue of the white men supremacy and the power which makes
the man bad and mad. It is a corrupting power, a power which transforms human personality, which
transforms a man, supposed to be civilized, into a savage. Moreover, the action’s place brings in front of
reader’s eyes all these aspects in a high contrast. Another important feature of this paper is the observations
which are made on the two kinds of journey made by the main character of the novella, Charlie Marlow, and
the relevance of some symbols like darkness in the life experience of the same character. The paper also
treats a part of Conrad’s theory and historical view on the period of the imperialism and great conquers of
the Black Continent and the conditions in which ‘Heart of Darkness’ was written.
III. KEY WORDS: journey, slaves, darkness, human, character, transformation, life.
IV. Almost a voyage through history, fiction and truth perceptions in Joseph Conrad’s
“Heart of Darkness”
1 My emphasis

1. Joseph Conrad’s writing treats issues like imperialism and its effects. In this paper I
have tried to emphasis some of my points of view watching the main themes approached
by the author, the main’s character transformations during one long voyage and the
historical background which triggered a new symbolic novella where nothing is what it
seems at first sight.
Another important issue is the symbol used for show the preference for the supernatural
over real. Moreover, the history is combined with the fiction and the truth than all effects
and aspects appear in high contrast.
2.1: The conditions of writing the ’Heart of Darkness’
Joseph Conrad had a different view over the society and over all that means human being
mostly after he saw many awful things. He wrote the novella ‘Heart of Darkness’ after
Conrad himself was in a journey in many countries, including the African state. The
novella is a way of saying things about a world that Conrad saw. ‘Joseph Conrad was
another novelist who used the wider world beyond England as the setting for his
explorations in character and motive. Conrad’s novel has a variety of locations which
reflect his own extensive travels, mainly as a merchant seaman’ (Carter, R. & McRae, J.
1997: 406).
His writing can be included in the Symbolism because of the many symbols which occur
during the actions. Other feature of the same novella would be the fact that it is a piece of
work from colonial literature written in the manner of a frame story. One of the major
characteristic is the preference of the symbolic over the real. ‘(...) he uses sea experience in
remote places as a mean of exploring human characters and English codes of honour and
loyalty in particular.’ (Carter, R. & McRae, J. 1997: 406).
‘Conrad’s themes merely develop, broaden, and open up in the larger world beyond the
confirmed, masculine world of the ship’. (Carter, R. & McRae, J. 1997: 407).
2.2: Two journeys.

In this frame story there are two narrators. The first of them is not clear defined and has a
small role in the story. Beside this, he is the ‘(...) shadowy narrator [who] describes
Captain Marlow’s telling the story, some years after the events, to four solid citizens on a
pleasure yawl [Nellie] in the Thames estuary one evening.’ (Bruccoli, M.J. & Layman, R.
1991:95)2.
The two journeys are represented by the voyage to Congo itself and the journey through
Marlow’s consciousness. The two are combined because one influences other. The outer
journey influences the inner one, because all the scenes that the character takes part make
him to reflect on his life and make some changes on his consciousness.
2.3. Journey to Congo – outer journey
Marlow tries to imagine the Romans’ conquer, hundreds of years ago. This is a memory
which brings another one. A story about one of his journey up to Congo River as captain of
a steamship, whose purpose is to meet Kurtz, ‘reputed to be an idealistic man of great
abilities’.
Kurtz went into the jungle to find ivory for an European company, but also with some
ideas of civilizing the people who were called “savages” by the Europeans. But his ideas
failed and he becomes a savage himself.
Marlow arrives at the first station where he finds many people in chains. They were called
“savages” and later “rebels” but in fact they were slaves. Here he stays for 10 days and he
finds out many things about that man named Kurtz; about everybody says only good
things.
He arrives at the Central Company station where he was supposed to receive a steamboat.
But the Manager announces him that his steamboat “accidentally” sunk. He has to wait for
the reparation to be done. Here, he meets the leader of an organization called El Dorado
whose only purpose is to take everything precious and give nothing back. Later on Marlow
leaves the Station on a boat with many men, almost all cannibals. At some moment they
find on the river banks some woods specially prepared for them and a book with some
indecipherable notation all around the pages.
2 My emphasis

They left the bank and move on. Days later they are blocked in a thick fog which keeps
them in place. Strangely, they are attacked two hours later. That is the first moment when
Marlow thinks that Kurtz might be dead and almost regrets that he never had the chance to
speak to this man personally. Because now he realised that he became one of the Kurtz’s
fans.
All the ones who won’t listen to him would pay for sure. Like the ones who Marlow see
after he meet the Russian, another admirer of Kurtz, suspected to be a traitor. On the tops
of the fence posts were human heads, a sign that Kurtz had lost any sense of restraint. He
suspects Kurtz of becoming a savage himself. ‘These round knobs were not ornamental
but symbolic; they were expressive and puzzling, striking and disturbing— food for
thought and also for vultures if there had been any looking down from the sky; but at all
events for such ants as were industrious enough to ascend the pole. They would have been
even more impressive, those heads on the stakes, if their faces had not been turned to the
house. Only one, the first I had made out, was facing my way.’ (Conrad, 1989: 96).
Of course, Marlow was more than surprised that the man admired by everyone could do
that. ‘I was not as shocked as you may think. The start back I had given was really nothing
but a movement of surprise. I had expected to see a knob of wood there, you know. I
returned deliberately to the first I had seen—and there it was, black, dried, sunken, with
closed eyelids—a head that seemed to sleep at the top of that pole, and, with the shrunken
dry lips showing a narrow white line of the teeth, was smiling, too, smiling continuously at
some endless and jocose dream of that eternal slumber.’(Conrad, 1989: 96).
Those men were killed because they were “rebels”, explains the Russian man. Despite his
sickness, Kurtz has the same influence and same plans. The Russian runs away. Same
night, Kurtz leaves the cabin, and goes into the forest. But Marlow follows him. They
leave next day together, but Kurtz gets sicker and sicker and finally dies. The outer journey
ends with the death of Kurtz, and with Marlow’s return in Europe.
Marlow ends up disappointed with Kurtz because of ‘his childish schemes for fame and
fortune’. The frame story ends with the same view, back on the boat on the Thames, with a
description of how ‘the river seemed to lead into the heart of an immense darkness’.
(Conrad, 1989: 121)

2.4. Consciousness’ journey
The second kind of journey, in the character’s consciousness, is the part where the writer
presents the journey of ‘its hero taken into the depths of the jungle to undergo a kind of
moral transfiguration’. (Carter, R. & McRae, J. 1997: 397). Moreover, Joseph Conrad
‘uses his experiences in remote places as a mean of exploring human character and
English codes of honour and loyalty in particular.’ (Carter, R. & McRae, J. 1997: 406).
‘Heart of Darkness’ can be seen as a journey - Marlow's mythical journey in search of the
self, in order to bring back a new truth’. (www.:2011)
Marlow’s journey in self consciousness is noticed from the start. Memories about
childhood, about history and the short stories told are marks of his introspective way to be.
The story is made up in the manner that the reader must focus not on the actions, but on the
effects that those actions have on the character’s personality. Marlow prepare the reader for
another type of voyage, through his experience. ‘It was the furthest point of navigation and
the culminating point of my experience. It seemed somehow to throw a kind of light on
everything about me- and into my thoughts (…). I felt as though, instead of going to the
centre of a continent, I were about to set off the centre of the earth.’ (Conrad, 1989: 15).
Marlow doesn’t exceed his limits and returns to his home land without understanding his
experience. Conrad tries to show us that Marlow is what Kurtz had been, and Kurtz is what
Marlow could become. ‘Marlow salvation of the heart of darkness consists on his aim:
self-knowledge, understanding the mystery of existence and him being humble.’(www.
2011)
During the journey in the forest Marlow is silent, only listens the voices and all that
everybody else was saying. He succeeds to fight against the nature only keeping his
imagination busy. ‘I had no time. I had to keep guessing at the channel; I had to discern,
mostly by inspiration, the signs of hidden banks; I watched for sunken stones...I had to
keep a lookout for the signs of dead wood...’ (Conrad, 1989: 30).
2.5. History, fiction and truth

Regarding to all three aspects, and the relation between history, fiction and truth, in an
answer given to Henry James, Conrad said: ‘Fiction is history, human history, or it is
nothing. But it is also more than that; it stands on firmer ground, being based o the reality
of forms and the observation of social phenomena, where as history is based on
documents, and reaching of print and hand writing – on second hand impression. Thus,
fiction is never truth.’ (Conrad, J. 1971: 65-66).
The truth would bind on two elements: the fact that he leaved his native country and the
facts of imperialism. If the first element cannot be taken in consideration being too
subjective, because is supposed that Conrad emphasis themes like guilt and dislocation
because his birth and life conditions, the second element is obvious in his writing.
‘Conrad’s tale, concerned with the nature and effects of European imperialism, both
economic and colonial (...) [his] colonialism generally emerges as both brutal and
brutalizing.’ (Reilly, J. 1993 – 474).3
Joseph Conrad’s opinion about history was clear and it might be possible that all that he
saw affected him: ‘History is made by men, but they do not make it in their heads. The
ideas that are born in their consciousness play an insignificant part in the march of events.
History is dominated and determined by the tool and the production – by the force of
economic conditions.’ (Reilly, J. 1993 –135).
The fiction is the manner in which Conrad melts together the truth, the history, and his own
opinions. ‘Heart of Darkness – a narrative which gradually unveils layer by layer, an
underlying horror. Imperialism is initially expounded as a variety of brutish idealism: the
conquest of the earth, which means taking it away from those who have a different
complexion or slightly flatter noses than ourselves, is not a pretty thing when you look at it
too much. ’ (Reilly, J. 1993 – 475).
‘Fiction is history, human history or it is nothing!’(Kermode, F. & Hollander, J, 1973:
1615).
2.6: Darkness
3 My emphasis

The story ends with the same view, back on the boat on the Thames, with a description of
how ‘the river seemed to lead into the heart of an immense darkness’. (Conrad, 1989: 121).
The darkness can have many meanings depending on the point of view of the reader. It can
mean the corrupting power which brutally brings the so called civilization, or it can be the
presence that does not permit to perceive the reality of that mysterious life. ‘That darkness
is the darkness of the human heart, but also that of London and of the future of empires”
(Carter, R. & McRae, J., 2001: 315)
Near others symbols and themes like the fog, the river, the savages or the women, the
darkness covers the Conrad’s novella ‘s meanings unveiling meanings at the end of the
reading by fully understanding of the messages. This might be the role of symbolism in
Joseph Conrad’s writing.
Conrad said that ‘my task which I am trying to achieve is, by the power of the written word
to make you hear, to make you feel – it is, before all to make you see. (..) If I succeed you
shall find there according to your deserts: encouragement, consolation, fear, charm – all
you demand- and perhaps, also that glimpse of the truth for which you have forgotten to
ask.’(Kermode, F. & Hollander, J, 1973: 1615).
What you see cannot be seen without the help of the novel, which can be seen as the one of
the greatest instruments of knowledge.
2.7.: ‘The horror! The horror!’
These are the last words of the other character, Kurtz’s. One possible explication can be
the fact that in the moment of death, Kurtz saw his entire life and all the bad things that he
done, being probably stricken with guilt. ‘He wanted no more than justice – no more than
justice. (…)while I waited he seemed to stare at me out of the glassy panel –l stare with
that wide and immense stare embracing, condemning, loathing all the universe. I seemed
to hear he whispered cry, “The horror! The horror!”.’ This might be the sings of a
consciousness of attacked guilt.
3. Conclusion

In conclusion is clear that Joseph Conrad succeeded to capture many aspects of the
corrupting power. ‘A clearer depiction of colonialism and its effects – there can also be
found a greater degree of subjectivity (...) [his] concern was with the inner life of
characters.’ (Carter, R. & McRae, J. 1997: 392-393).4
Despite all the small things that might seem to compound the novella, all hide another
meaning, very profound and with a lot of sense.
Besides that, Conrad makes striking distinctions between history and truth and their
relation with the fiction. ‘Conrad’s historical concerns focus three overlapping issues.
First, fictions clearly distinguish itself from historical discourse. Received history is a
tissue of meditations - : based on documents, o the reading of print and handwriting (...).
Second, history is a site of conflict (...) where the struggle for signifying supremacy is
continually re-enacted. (....) third, is an artefact or a discourse?’ (Reilly, J.1993: 140-141)
IV. REFERENCES:
1. Alexander, M. – A history of English Literature, MacMillan Press, 2000
2. Bounty Books - 501 must- read books, London, Octopus Publishing Group
Limited, 2006
4 My emphasis

3. Bruccoly, M. J. & Layman, R. – Concise Dictionary of British Literary Biography.
Late Victorian and Edwardian writers: 1890- 1914. Vol 5, Gate, 1991
4. Carter, R. & McRae, J. – History of Literature in English Britain and Ireland :
Rout ledge, 1997
5. Carter, R. & McRae, J. – The Penguin Guide to Literature in English, Britain and
Ireland: Pearson Education Limited in association with Penguin Books, 2001
6. Conrad, J. – Heart of darkness, Penguin Books, London,1989
7. Conrad, J. – The Shadow-line. A confession. Harmondsworth: Penguin, 1971
8. Reilly, J. – Shadow-line. History and representation in Hardy, Conrad and George
Elliot, London, TJ Press, 1993
9. Kermode, F. & Hollander, J. – The Oxford Anthology of English Literature. Vol II,
New York: Oxford University Press: 1973
10. Proza Engleza Moderna Contemporana, Bucuresti, Editura Didactica si
Pedagocica, 1967. *Bantas, A. – Conrad Joseph
11. http://ro.wikipedia.org/wiki/Joseph_conrad *(22 May 2011)
12. http://www.sparknotes.com/sparknotes/ *(19 May 2011)
13. http://jtknk.tripod.com/alverez.htm *(4 June 2011)