Heart of Darkness Past Paper PDF

KD1 Imperialism and Colonialism in Joseph Conrad's Heart of Darkness Joseph Conrad's Heart of Darkness (1899) stands as one of the most complex and controversial novels in English literature, often studied through the lenses of imperialism and colonialism. The novella, set in the Belgia...

KD1 Imperialism and Colonialism in Joseph Conrad's Heart of Darkness Joseph Conrad's Heart of Darkness (1899) stands as one of the most complex and controversial novels in English literature, often studied through the lenses of imperialism and colonialism. The novella, set in the Belgian Congo, provides a scathing critique of European colonialism and reveals the psychological depths of the human experience. By analyzing the attitudes, symbols, and language within Heart of Darkness, this critique becomes evident. The novel examines the brutality and moral degradation associated with colonial enterprises and how the imperialist mission impacts both colonizers and colonized, as well as the broader understanding of civilization. Colonialism, as defined by Edward Said and Homi Bhabha, refers to the practice of domination, where one society establishes a settlement or gains control over another for economic and political gain. Imperialism, though related, encompasses the broader ideology of expansion and domination. These forces underscore the power dynamics of the colonial endeavor, which Conrad presents as an endeavor shrouded in deceit and human suffering. In Heart of Darkness, Conrad brings imperialism’s contradictions to light, presenting European expansion as both hypocritical and morally flawed. Marlow, the novel’s protagonist, serves as an intermediary between the reader and the world of colonial Africa. His journey into the Congo serves as an allegorical descent into the darkness of the human psyche and critiques the European colonial project. The characters in Heart of Darkness, especially the Europeans Marlow encounters, reveal the underlying hypocrisy of imperialism. European imperialism presented itself as a "civilizing mission" meant to enlighten the African "savages." However, Conrad shows this mission as one masking exploitation and moral decay. Marlow encounters men who justify atrocities by calling them acts of “trade” and “progress,” but in reality, these terms serve as a guise for ruthless plunder and exploitation. For instance, Marlow describes the Europeans as having come to Africa under a “whited sepulcher,” a biblical allusion suggesting moral corruption concealed behind a righteous exterior. The stations he encounters on his journey reveal a landscape ravaged not only physically but also morally, with corruption, greed, and cruelty prevailing over any genuine desire to improve the lives of the local people. Conrad’s portrayal aligns with critiques like those of Said in Orientalism, which identifies how Western discourse often frames the East as an exotic, uncivilized “Other” to justify domination. Marlow notes how the Africans are treated as inanimate or sub-human objects, suggesting that the colonizers saw them as obstacles rather than as individuals deserving respect. Kurtz is central to Conrad’s critique of imperialism, symbolizing the moral degeneration of European imperialists who lose themselves to the very “darkness” they seek to overcome. Kurtz’s rise and fall epitomize the dangers of unchecked power and the consequences of imperial ideology. Initially, Kurtz arrives in Africa with grandiose visions of enlightening the natives and improving the world. However, his immersion in the wilderness  KD2 and unregulated authority lead him to abandon all pretense of moral restraint, devolving into a state of savagery that mirrors the stereotype he intended to “civilize.” The horrors Kurtz commits in the Congo—his brutal treatment of the local population and the ritualistic displays of severed heads surrounding his compound—reflect the dehumanizing nature of colonialism. His infamous last words, “The horror! The horror!” encapsulate his realization of the moral void left by his pursuit of wealth and power. Through Kurtz, Conrad suggests that European colonizers, under the guise of a noble mission, are ultimately as savage and morally degraded as the societies they aim to reform. Heart of Darkness explores how imperialism affects not only the colonized but also the colonizers themselves. Marlow’s journey into the heart of Africa becomes a metaphor for a descent into the depths of the human psyche, revealing the potential for darkness within every individual. This aligns with Freud’s concept of the unconscious and Carl Jung’s notion of the “shadow self”—the aspects of ourselves that remain hidden and are often deemed unacceptable by social standards. Marlow’s gradual disillusionment with the colonial enterprise and the people it attracts reveal this theme poignantly. Conrad uses the physical journey into the Congo as an analogy for this psychological exploration. As Marlow ventures deeper into the jungle, he witnesses acts of cruelty and greed that erode his sense of Western superiority. His growing realization that darkness resides within every human soul challenges the notion that civilization and moral progress are synonymous. Conrad, therefore, critiques not just the colonial enterprise but also the human capacity for moral ambivalence. Conrad’s use of the symbolic “darkness” serves as a multilayered metaphor that illuminates the effects of imperialism on both Africa and Europe. Africa, depicted as a "dark" and mysterious continent, signifies the unknown and the primitive. However, Conrad’s depiction of darkness is also inherently ironic, as it soon becomes apparent that the true darkness lies within the European colonizers themselves. The European presence in Africa is a “darkness” shrouded in deceit and corruption rather than enlightenment. This darkness embodies moral blindness, greed, and depravity. As Marlow travels further into the Congo, he uncovers the savage, unrestrained impulses that drive imperialism. The jungle serves as a mirror for the colonizers, reflecting their own inner darkness and moral decay. Conrad’s critique suggests that Europe’s so-called civilizing mission was an illusion, covering up a desire to exploit and control. The enduring relevance of Heart of Darkness has led to both praise and criticism, particularly concerning its portrayal of Africa and Africans. In 1975, Chinua Achebe famously criticized Conrad for dehumanizing Africans and for perpetuating racist stereotypes. Achebe argued that Conrad’s depiction of Africa as the “other world” and his use of Africans as background props contributed to the colonialist worldview he was ostensibly critiquing. However, others argue that Conrad’s critique targets not Africa itself, but European attitudes toward Africa. Conrad’s juxtaposition of the ostensible civility of  KD3 Europeans with their barbaric actions highlights the hypocrisy of imperialist ideology. Marlow’s descriptions, though often problematic, reflect the racist attitudes of his time, suggesting that Conrad’s intent was to expose rather than endorse such views. Joseph Conrad’s Heart of Darkness presents a layered critique of imperialism, exposing its inherent brutality and the moral decay it fosters among those who practice it. Through his portrayal of the European mission in Africa, Conrad unmasks the hypocrisy and dehumanization underlying the colonial endeavour, suggesting that imperialism is less a force of civilization and more a descent into darkness. By contrasting the purportedly noble motives of European colonizers with the grim realities of their actions, Conrad invites readers to question the validity of colonialism as a civilizing mission and to reflect on the darker aspects of human nature that imperialism brings to the surface. The novella remains a powerful commentary on the complexities of empire and serves as a reminder of the ethical, psychological, and social consequences of colonial ambition. Duality of Human Nature in Joseph Conrad's Heart of Darkness Joseph Conrad’s Heart of Darkness explores the inconsistencies of human nature, exploring the dichotomy between civilization and savagery, moral integrity and depravity, and light and darkness. At the centre of this novella lies the theme of duality—the coexistence of opposing forces within individuals and society. Through Conrad’s portrayal of characters, symbolism, and his unique narrative style, Heart of Darkness reveals the fragile boundaries between these aspects of human nature. Influenced by psychological theories such as Sigmund Freud's model of the psyche and Carl Jung’s concept of the “shadow,” Conrad examines how external circumstances and unchecked power lead to a descent into one’s darker self. In Heart of Darkness, the protagonist, Marlow, embarks on a physical journey up the Congo River, which mirrors his descent into the psychological depths of the human soul. The journey to find Kurtz, an enigmatic ivory trader revered and feared by locals, serves as a metaphor for uncovering the darkness within. Conrad utilizes Marlow’s journey to symbolize the thin line between “civilization” and “savagery,” challenging European assumptions that these qualities are mutually exclusive. As Marlow moves deeper into the jungle, he encounters increasingly savage acts perpetrated by so-called “civilized” men, highlighting the latent savagery within humanity and questioning the extent to which society’s rules mask darker impulses. This duality of Marlow’s journey can be connected to Jung’s theory of the “shadow” —the hidden part of the self that includes repressed desires, instincts, and darker emotions. Jung believed that confronting the shadow was necessary for self-awareness. Marlow’s experiences allow him to confront this darkness and understand that it exists within all people, regardless of their cultural or social backgrounds. Conrad’s portrayal of Kurtz illustrates the flawed assumption that civilization and savagery are two opposing and distinct forces. Kurtz arrives in Africa as an ambitious idealist  KD4 with dreams of civilizing the “natives,” only to devolve into a figure who embodies the darkness he originally sought to eradicate. His complete immersion in power and isolation from European society leads him to commit atrocities, shedding the moral boundaries that civilization ostensibly provides. Kurtz’s physical isolation mirrors his psychological alienation, suggesting that the constraints of society are what hold the human “savage” at bay. Kurtz’s transformation aligns with Freud’s concept of the id, ego, and superego, which suggests that the mind harbors primal desires and instincts (the id) that are kept in check by social conditioning (the superego) and conscious decision-making (the ego). When Kurtz is removed from the constraints of European society, the id dominates, leading him to pursue his desires without restraint or moral regard. The result is a fractured personality where the rational, ethical self is consumed by primal impulses. This false dichotomy between civilization and savagery is reinforced in Marlow’s observations of the colonial enterprise. European colonizers in Africa, who pride themselves on their civilization, reveal through their greed, brutality, and moral corruption that they, too, are capable of savagery. Thus, Conrad implies that “civilization” is not a true reflection of moral superiority but rather a superficial layer that conceals humanity’s darker tendencies. Throughout Heart of Darkness, Conrad uses light and darkness as symbolic representations of duality. While light traditionally signifies knowledge, morality, and civilization, and darkness implies ignorance, evil, and savagery, Conrad inverts these associations. The title itself suggests that darkness is at the heart of human experience, existing not just in Africa but within the minds of all people. As Marlow observes, Europe’s supposed “light” of civilization conceals a deep-seated moral void. Kurtz’s station in the depths of the Congo, adorned with grotesque symbols of power and violence, embodies this inversion of light and darkness. Kurtz, who once embodied European enlightenment, has turned into a figure shrouded in the darkness of his unrestrained desires. By using light to illuminate Africa as a place of supposed “uncivilized darkness,” Conrad critiques the European notion of enlightenment, revealing that even those who consider themselves enlightened harbor potential for evil. Marlow’s journey, both literal and symbolic, forces him to confront the ambiguity of light and darkness. Instead of representing clear-cut concepts, they blur together, suggesting that civilization itself is capable of concealing cruelty and moral blindness. This ambiguity parallels the Jungian shadow, which includes both the potential for goodness and the capacity for harm within each individual. The “heart of darkness” in the novella refers to more than just the unexplored African jungle; it signifies the inherent darkness within the human psyche. Marlow's encounters with various characters, from the seemingly detached colonial officials to the fanatic Kurtz, reveal the layers of repression and denial within society’s structures. Marlow gradually recognizes  KD5 that the Europeans’ conquest of Africa is driven not by noble ideals but by greed, power, and cruelty, which thrive in the absence of societal checks. Kurtz serves as the ultimate symbol of this psychological duality. Once a man of culture and intellect, he becomes a demigod among the locals, exploiting his influence for personal gain and power. His final words, “The horror! The horror!” reflect a moment of profound self-realization, encapsulating the recognition of his moral degeneration. According to Freudian theory, this breakdown symbolizes Kurtz’s confrontation with his id, the primal part of the mind that is unconstrained by the ethical limitations of society. Kurtz’s surrender to his darker impulses highlights the ever-present potential for moral decay when the rational self no longer exerts control. This psychological duality in Heart of Darkness resonates with modern existentialism, particularly the notion of the absurd—a concept explored by thinkers like Jean-Paul Sartre and Albert Camus. Kurtz’s final words suggest that he sees the absurdity of his situation and realizes the hollowness of his existence. He perceives his life’s pursuits as morally bankrupt, confronting the horror of a life driven by self-serving motives and unbridled darkness. Marlow’s journey is ultimately one of self-reflection. By encountering Kurtz, he confronts the potential for darkness within himself. This is evident when he grapples with the truth of what he has witnessed upon his return to Europe, choosing to lie to Kurtz’s fiancée about Kurtz’s final words. His decision reflects his ambivalence—an acknowledgment of the darkness within, but also a reluctance to fully accept or reveal it. This internal conflict speaks to the human tendency to compartmentalize and rationalize one’s darker impulses. Marlow's final act of deception illustrates how people, even those who recognize the hypocrisy of society, are unwilling to destroy the comforting illusions that uphold civilization. Marlow’s reluctance to share the truth about Kurtz reflects his internalized awareness of the duality within himself and society, one he cannot fully reconcile but must live with. Heart of Darkness as a Voyage of Marlow's Self-Discovery Joseph Conrad’s Heart of Darkness is often interpreted as a tale of external and internal exploration, where the protagonist, Marlow, embarks on a journey through the Congo, which mirrors a psychological voyage into his own subconscious. Marlow’s journey into the depths of Africa becomes a metaphor for self-discovery, revealing his inner conflicts and challenging his beliefs about civilization, morality, and human nature. The physical journey of navigating the river becomes a symbolic journey into the mind’s “darkness” and the contradictions within human nature. Marlow’s journey into the Congo represents a descent into a space beyond the reach of familiar structures of European civilization. The Congo, characterized by dense jungle and  KD6 mysterious landscapes, embodies what Carl Jung described as the “shadow” or the unknown aspects of the self that individuals typically repress. Jung theorized that everyone has a “shadow” aspect—traits and impulses they deny or suppress in their conscious lives. Marlow’s physical journey into a foreign, ominous environment reflects his psychological exploration into repressed, uncomfortable parts of himself and human nature. As he delves deeper into the Congo, Marlow encounters scenes of moral degradation, corruption, and savagery, but not only among the indigenous population. It becomes clear that the so-called “civilized” Europeans are engaging in brutal acts to fulfill their own desires, an uncomfortable realization for Marlow, who begins to question his previously unchallenged assumptions about the moral superiority of European civilization. The jungle and its pervasive darkness gradually become symbols for the darkness within the human psyche, emphasizing the interplay between external exploration and internal awakening. A significant aspect of Marlow’s journey of self-discovery is his relationship with Kurtz, the enigmatic ivory trader whose reputation precedes him. Kurtz, who arrived in Africa as a man of ambition and idealism, has transformed into a figure consumed by power, indulgence, and moral decay. For Marlow, Kurtz initially represents an embodiment of European ideals and success within the colonial enterprise. However, upon meeting Kurtz, Marlow realizes that he represents the consequences of unchecked power and the dissolution of moral restraints. Kurtz functions as a psychological mirror for Marlow, forcing him to confront the darker impulses within himself and the emptiness that can come with ambition and power. Kurtz’s famous last words, “The horror! The horror!” encapsulate a moment of profound self- realization, expressing an acknowledgment of the moral void left by his actions. This moment is significant for Marlow, who must grapple with the realization that he, too, has the potential for such darkness. According to Freud’s model of the psyche, Kurtz could be seen as embodying the “id”—the primal, instinctual part of the mind driven by desire and gratification. Marlow’s reflection upon Kurtz reveals an internal struggle to reconcile his moral values with the unsettling truth of humanity’s duality. Throughout Heart of Darkness, Marlow undergoes a transformation in his understanding of “civilization” and “savagery,” realizing that these terms are not as distinct as he had once thought. The European imperialists portray themselves as bearers of progress and enlightenment, yet they engage in acts of violence, exploitation, and moral transgression that reveal their own brand of savagery. As Marlow observes the hypocritical and often brutal actions of the colonizers, he becomes increasingly disillusioned, understanding that the line between civilized restraint and primal impulse is far thinner than he once believed. Marlow’s encounter with the disturbing nature of colonialism erodes his moral certainties, forcing him to question not only the values of the empire but his own identity within this structure. This evolution of Marlow’s perspective aligns with Freud’s notion of the superego—the part of the mind influenced by societal standards and ethical beliefs.  KD7 Marlow’s moral crisis reveals the breakdown of his superego, where societal ideals and personal ethics are no longer sufficient to navigate the moral complexities he faces. The journey becomes a path of moral ambiguity, where Marlow must come to terms with his own capacity for moral compromise and his susceptibility to the same darkness that has overtaken Kurtz. Conrad employs the contrasting imagery of light and darkness throughout Heart of Darkness to reflect Marlow’s journey of self-discovery. Traditionally, light symbolizes knowledge, order, and purity, while darkness represents ignorance, chaos, and evil. However, Conrad subverts these associations, illustrating that the so-called “light” of civilization often conceals darkness and corruption, and that the “darkness” of the jungle reveals deeper truths about human nature. Marlow’s realization that “light” and “darkness” are not absolute values, but rather interwoven aspects of human existence, is a central theme in his journey of self-discovery. As he witnesses the atrocities committed by Europeans, he understands that civilization itself is capable of harboring profound darkness. This inversion reflects Marlow’s growing awareness that he must confront the uncomfortable realities within himself, accepting that darkness is not limited to foreign landscapes but exists within each person. This symbolic inversion can be further analyzed through Jung’s concept of individuation, the process by which a person integrates the conscious and unconscious aspects of their personality to become whole. For Marlow, accepting that civilization and savagery coexist within all individuals—including himself—marks a step toward personal growth and self-awareness, albeit at the cost of his former certainties. Marlow’s process of self-discovery does not conclude upon his return from the Congo; rather, it continues as he reflects upon his experiences. Conrad frames the novella as a story told by Marlow to an unnamed listener, suggesting that self-discovery is an ongoing process of memory and interpretation. This narrative structure emphasizes the role of storytelling in shaping and reshaping one’s understanding of personal experience. Marlow’s recounting of the events serves as a means for him to process his journey and grapple with the moral complexities he encountered. By retelling his experiences, Marlow seeks to make sense of what he has learned, though he remains haunted by the ambiguities he faced. His choice to lie to Kurtz’s fiancée about Kurtz’s last words signifies both his sympathy for human frailty and his ambivalence toward the truth he has uncovered. This decision encapsulates the moral uncertainty at the heart of Marlow’s self-discovery—he recognizes the darkness within humanity but is reluctant to fully confront or expose it. By framing Marlow’s journey as one of self-discovery, Conrad critiques the European colonial enterprise and examines the universal potential for darkness within all individuals. The narrative structure, symbolic landscapes, and character dynamics within Heart of  KD8 Darkness underscore Marlow’s evolution from a man bound by societal values to one who recognizes the unsettling truths about human nature. Marlow’s journey of self-discovery leads him to a place of profound moral ambiguity, where the distinctions between light and darkness, good and evil, are no longer clear, but intertwined aspects of the human experience. Madness and Isolation in Joseph Conrad's Heart of Darkness In Joseph Conrad's Heart of Darkness, madness and isolation are central themes that shape the psychological and moral transformations of the characters, especially Kurtz and Marlow. The novella, set within the Congo during European colonial expansion, uses the African wilderness as a metaphor for isolation and madness, showing how the absence of societal restraints and immersion in an alien environment drive individuals to psychological extremes. Conrad employs these themes to critique the European imperialist mindset, demonstrating how colonial ventures not only exploit the "other" but also lead to the colonizers’ psychological disintegration. Marlow’s journey into the depths of the Congo reflects not only a geographical departure from civilization but also a progressive detachment from the social structures and moral norms that define European society. Isolation in this context is twofold: it is both physical, as Marlow moves deeper into the unknown jungle, and psychological, as he distances himself from the values and practices of his culture. The isolated landscape of the Congo, with its vast, oppressive jungle, serves as a setting that strips characters of their familiar surroundings and plunges them into an environment devoid of moral anchors. The further Marlow travels into the wilderness, the more he witnesses the degeneration of European colonizers, who engage in violence, cruelty, and corruption. Away from societal constraints, these men reveal the inherent darkness within human nature. The physical isolation amplifies their moral decay, illustrating Freud’s theory of the “id” —the primal, instinctual part of the psyche that emerges in the absence of societal restraints. With no moral or social structures to regulate their behavior, the characters surrender to the id, succumbing to impulses that reveal the frailty of civilized order. Kurtz, the enigmatic and corrupted ivory trader, serves as the ultimate symbol of madness brought on by isolation. As a man who arrives in the Congo with idealistic intentions, Kurtz’s descent into madness illustrates the profound psychological impact of prolonged separation from society. Isolated from European civilization and immersed in the wilderness, Kurtz relinquishes all moral restraint, establishing himself as a godlike figure among the indigenous people and indulging in extreme cruelty and violence. In a setting without societal checks, Kurtz’s unchecked power leads him to moral and mental ruin. From a Freudian perspective, Kurtz’s madness can be understood as the complete dominance of the id, where his basic instincts and desires go unmoderated by the ego and superego. Kurtz’s descent illustrates what happens when the unconscious impulses are unleashed without any mitigating force, leading to a psychological collapse. His famous last  KD9 words, “The horror! The horror!” signify his ultimate self-realization—a moment of existential clarity where he confronts the terror of his own moral emptiness. Kurtz’s isolation allows his darker nature to dominate, suggesting that when removed from the stabilizing force of society, humans may lose themselves to desires they cannot control. The oppressive Congo jungle in Heart of Darkness is not merely a backdrop for the action; it is a living entity that embodies the psychological descent of those who enter it. The dense, shadowy landscape reflects the minds of the characters, concealing unseen threats and inducing paranoia and disorientation. For Marlow, the jungle’s isolation triggers existential reflections on his identity, beliefs, and the nature of good and evil, leading him to confront his own vulnerability to madness. The jungle’s suffocating presence, with its vast darkness and silence, induces a sense of isolation and insignificance. Conrad employs the jungle as a metaphor for the subconscious, filled with primal fears and repressed desires. Marlow’s journey through the wilderness forces him to grapple with his fears and anxieties, highlighting the Jungian concept of the “shadow”—the repressed aspects of the psyche that emerge when one is detached from familiar social contexts. The jungle thus symbolizes both literal and psychological isolation, where the darkness within human nature is free to emerge and consume those who dare to face it. Conrad’s portrayal of madness in Heart of Darkness also resonates with existential themes, particularly the idea of facing the void of meaninglessness. As Marlow witnesses the futility and moral emptiness of the European colonial mission, he undergoes an existential crisis, questioning the purpose of life and the validity of human values. Kurtz’s descent into madness, too, can be viewed as a reaction to the realization that his grand ideals and ambitions are ultimately meaningless in the context of the jungle’s indifferent vastness. From an existential perspective, Kurtz’s breakdown exemplifies the consequences of confronting the “absurd,” a term popularized by philosophers like Albert Camus to describe the search for meaning in a chaotic, indifferent universe. Kurtz’s madness reflects his inability to reconcile his desires for power and purpose with the emptiness he encounters in the jungle. In his isolation, he becomes detached not only from society but from the very values that once defined him, leading to a psychological disintegration that reveals the fragility of human purpose when faced with a world without inherent meaning. Marlow, though initially skeptical of Kurtz’s fanaticism, finds himself increasingly disturbed by his journey, experiencing moments where he senses his own vulnerability to madness. The harsh environment, relentless solitude, and moral ambiguities he encounters bring him closer to understanding Kurtz’s descent. Marlow’s gradual alienation from the values he once held dear leaves him feeling increasingly detached from the civilization he thought he represented. His struggle is a psychological one, where he attempts to retain a sense of moral direction amid the chaos.  KD10 The return to Europe does not fully free Marlow from his sense of isolation. His encounter with Kurtz’s fiancée, to whom he lies about Kurtz’s last words, exemplifies his newfound sense of disillusionment and separation from those who remain ignorant of the darkness he has witnessed. Marlow’s isolation is thus not only physical, as it was in the Congo, but psychological—a lasting effect that alienates him from society. This emotional and psychological alienation reflects existential themes of isolation, suggesting that true understanding of the human psyche can result in a kind of “madness” that permanently separates one from society. A critical component of madness in Heart of Darkness is its association with absolute power and moral relativism. Kurtz’s godlike position among the indigenous people enables him to act without restraint, erasing any sense of ethical accountability. This absolute power drives him to moral extremes, as he loses any sense of empathy or respect for human life. The novella thus explores how power, when unchecked and isolated from societal judgment, can lead to moral madness—a complete loss of ethical grounding. Kurtz’s moral disintegration and the resulting madness suggest that power, when wielded without accountability, has the potential to consume the individual. Marlow’s recognition of this truth serves as both a critique of imperialism and a warning about the fragility of moral convictions in the face of power and isolation. Conrad presents Kurtz’s madness as the ultimate consequence of moral relativism, implying that the “horror” Kurtz confronts is the terror of recognizing that, without the constraints of society, humanity’s darkest instincts emerge unchecked. In Heart of Darkness, Conrad uses madness and isolation as devices to explore the psychological impact of detachment from society and unchecked power. Through the isolation of the Congo and the symbolic weight of the jungle, Marlow and Kurtz confront the repressed, darker aspects of their nature, which are liberated by the absence of societal restraint. Psychoanalytic theories help explain how isolation from social norms enables primal instincts to emerge, while existential philosophy suggests that isolation exposes the fragility of human meaning and purpose. Racism and Otherness in Joseph Conrad's Heart of Darkness Joseph Conrad’s Heart of Darkness is widely regarded as a critique of European imperialism, yet it also raises complex questions about racism and the portrayal of “otherness.” Set against the backdrop of the Belgian Congo, the novella explores European attitudes toward Africa and its people, often portraying the African characters in ways that reduce them to symbols of primitiveness and savagery. Through the lens of postcolonial theory, particularly the works of Edward Said and Homi Bhabha, Heart of Darkness can be read as an exploration of the “Other”—a concept that represents how Western societies construct and marginalize non- Western societies. By examining how Conrad characterizes Africa and Africans, the novella reveals the racial prejudices and assumptions embedded within European imperialist ideology, even as it critiques its moral emptiness.  KD11 From the outset, Heart of Darkness presents Africa not as a real place with its own identity but as a backdrop against which the journey of the European protagonist, Marlow, unfolds. Conrad’s depiction of the Congo landscape is rife with mystery, danger, and unknowable darkness, contributing to the perception of Africa as a place of exotic “otherness.” This otherness is emphasized by Conrad’s choice of language, which portrays Africa as mysterious, primordial, and distant from Western civilization. The river, jungle, and wilderness become metaphors for an alien world that exists outside the bounds of “civilized” European society. Edward Said’s concept of Orientalism—the Western construction of the East as an exotic and inferior “other”—is applicable to Conrad’s depiction of Africa. While Said’s theory focuses on the East, the same framework can be applied to the colonial perceptions of Africa. Through Marlow’s descriptions, Africa becomes a “blank space” on the map, defined not by its people or cultures but by European perceptions of it as the antithesis of civilization. This framing reduces Africa to an object, allowing Europe to project its fears, desires, and assumptions onto it. Conrad’s portrayal of Africans in Heart of Darkness reflects deep-seated racial stereotypes, presenting African characters as embodiments of savagery and primitiveness. They are rarely individualized or given voices of their own, appearing instead as nameless, faceless masses who serve as a backdrop to the European characters’ journeys. Throughout the novella, Marlow uses animalistic language to describe the African characters, referring to them as “prehistoric,” “cannibals,” or “shadows.” This dehumanization strips the African characters of individuality and agency, reducing them to symbols of primal instincts and wildness. This portrayal aligns with Homi Bhabha’s concept of mimicry and ambivalence, which discusses how colonialism enforces a hierarchy between colonizers and the colonized by framing the latter as inherently inferior. In Heart of Darkness, the Africans are portrayed as an “Other” that exists only in relation to European superiority. Marlow’s discomfort and fascination with the Africans reflect this ambivalence, as he both fears and is drawn to what they represent. Conrad thus positions African characters as foils to the European characters, reinforcing notions of European racial superiority while perpetuating harmful stereotypes. Kurtz’s character serves as a critical link between Conrad’s critique of colonialism and his portrayal of racial otherness. Kurtz initially travels to Africa with the goal of “civilizing” the natives, yet his descent into brutality and moral decay reveals the hypocrisy and failure of this so-called “civilizing mission.” Instead of uplifting the Africans, Kurtz exploits them for his own gain, establishing himself as a godlike figure among the locals. His exploitation and dehumanization of the Africans underscore the extent to which the colonial enterprise is driven by self-interest rather than altruism. Kurtz’s treatment of the Africans as subservient “others” reveals the imperialistic mindset that views non-Europeans as objects to be controlled and exploited. Kurtz’s  KD12 infamous report, in which he writes, “Exterminate all the brutes!” epitomizes the violent extremity of colonial racism. His descent into savagery, while ostensibly an attempt to “civilize” the natives, ironically aligns him more closely with the primal, violent attributes he associates with the African “Other.” Conrad thus critiques the self-deluding nature of colonialism, revealing how the European mission to “civilize” others is rooted in racial superiority and dehumanization. Despite its critique of imperialism, Heart of Darkness has faced significant criticism for its portrayal of Africans. The Nigerian writer Chinua Achebe famously condemned the novella as “a bloody racist book,” arguing that Conrad’s dehumanization of Africans makes it complicit in perpetuating colonial stereotypes. Achebe suggests that, by denying Africans their own narrative, Conrad’s work reinforces the racist ideology it seeks to criticize. On the other hand, some critics argue that Heart of Darkness is intentionally ambiguous, using Marlow’s perspective as a way to critique European colonial attitudes. Conrad’s decision to portray Africa and its people through Marlow’s biased perspective could be seen as a reflection of the limitations of European understanding. By confining the narrative to Marlow’s perspective, Conrad highlights how European views of Africa are skewed, demonstrating the failure of Europeans to see Africans as equals. Conrad’s depiction of Africa as an exotic, mysterious place and his portrayal of African characters as nameless figures embodying savagery underscore the dehumanization inherent in colonialism. While the novella remains an influential text for its critique of imperialism, its portrayal of Africa has sparked important debates about the ethics of representation and the role of literature in challenging or reinforcing racial hierarchies. Darkness and Light in Joseph Conrad's Heart of Darkness In Heart of Darkness, Joseph Conrad uses the motifs of darkness and light to explore the complexities of human nature and the moral ambiguities of imperialism. Set against the backdrop of colonial Africa, the novella inverts traditional associations, where light represents civilization and goodness while darkness symbolizes savagery and evil. By subverting these norms, Conrad reveals that darkness lies within all human hearts, regardless of cultural background or supposed civilization. Through this inversion and the symbolic contrasts he constructs, Conrad critiques colonialism, delving into the duality within individuals and the moral blindness inherent in imperialist ideology. Typically, light symbolizes knowledge, purity, and morality, while darkness is associated with ignorance, evil, and barbarism. However, in Heart of Darkness, Conrad subverts these associations, using light and darkness as symbols to illustrate the moral and psychological complexities of colonialism and human nature. From the beginning, Europe, the supposed beacon of “civilization,” is depicted as morally dubious. Conrad opens the novel on the Thames, a river Marlow describes as having once been “one of the dark places  KD13 of the earth,” implying that Europe, too, was once steeped in darkness before its rise to dominance. This reversal aligns with postcolonial critiques, particularly those of Edward Said’s Orientalism, which argue that European narratives construct non-European cultures as “dark” or “other” to reinforce Western superiority. By depicting the “civilized” Europeans as morally questionable, Conrad questions the validity of this superiority, exposing the darkness within Western societies. Marlow’s journey into the Congo reveals that European colonialism does not bring light or civilization but rather spreads destruction and greed, highlighting the emptiness of the imperialist “civilizing mission.” The physical setting of the Congo jungle in Heart of Darkness symbolizes both literal darkness and the depths of the human psyche. The jungle, with its dense vegetation and shadows, creates a sense of foreboding and mystery that reflects the unknown, primal aspects of human nature. As Marlow journeys deeper into the jungle, he confronts not only the dangers of the physical environment but also the darkness within himself and his fellow Europeans. The jungle becomes a metaphor for the subconscious, where repressed fears, desires, and moral ambiguities lie hidden. Carl Jung’s concept of the “shadow” —the parts of the self that are suppressed or ignored—parallels Marlow’s experience as he ventures into the wilderness. According to Jung, confronting the shadow is essential for self-awareness. Marlow’s journey into the Congo thus mirrors a journey into his own psyche, where he must confront the darkness that resides within himself and others. This darkness reflects the potential for cruelty and moral corruption when societal norms are absent, suggesting that even the most “civilized” individuals harbor primal instincts and darker aspects within. Kurtz represents the ultimate realization of the darkness that lies within humanity, particularly when unrestrained by the moral checks of society. Arriving in Africa as an idealistic agent of European colonialism, Kurtz initially embodies the ideals of civilization. However, removed from the boundaries of European society and granted unchecked power, he succumbs to the desires and impulses he would otherwise suppress, becoming a figure of savagery and corruption. Kurtz’s descent into darkness, culminating in his haunting final words—“The horror! The horror!”—reveals his recognition of the moral abyss within himself. Freud’s psychoanalytic theory of the id, ego, and superego provides insight into Kurtz’s transformation. Freud’s id represents the instinctual, primitive drives, while the ego mediates between these impulses and social norms. In Kurtz’s case, isolation from the civilized world causes his id to dominate, revealing the “heart of darkness” that exists within him. Kurtz’s madness thus exemplifies the potential for moral degradation when individuals abandon societal constraints. Through Kurtz, Conrad suggests that darkness is not exclusive to Africa or the “uncivilized,” but exists inherently within all people, emerging when structures of restraint are stripped away.  KD14 Conrad also uses light and darkness to critique the moral blindness of European colonialism. Although European colonizers claim to bring light and progress to Africa, their actions often result in exploitation, violence, and hypocrisy. Conrad presents the colonial enterprise as a façade, where the supposed “light” of civilization serves as a cover for dark, greedy motives. Marlow’s encounters with colonial officials reveal their profound indifference to the suffering they cause, as they focus solely on extracting wealth from the land. This moral blindness is highlighted by Conrad’s use of symbolic imagery, such as the “whited sepulcher” that Marlow associates with Europe. A sepulcher is a tomb, and to “whiten” it suggests a superficial cleanliness that conceals decay and corruption. By associating Europe with a whited sepulcher, Conrad implies that the European project is hollow, presenting itself as enlightened and civilized while hiding its morally corrupt core. This imagery echoes postcolonial critiques that view colonialism as morally blind, driven by self-interest rather than genuine altruism. Throughout his journey, Marlow grapples with his own perception of darkness and light. Initially, he views European civilization as morally superior, but his experiences in the Congo force him to confront the darkness within himself and others. His disillusionment grows as he realizes that the darkness he encounters is not confined to Africa but is inherent in all human beings, including himself. By the end of his journey, Marlow’s understanding of light and darkness becomes more complex, as he recognizes that these concepts are intertwined and ambiguous rather than oppositional. Conrad’s exploration of moral ambiguity reflects existential themes, questioning the certainty of moral absolutes. Marlow’s inner struggle and ultimate disillusionment suggest that darkness and light are not clearly distinguishable; instead, they exist within each person, shaped by circumstance and environment. This existential perspective challenges traditional notions of good and evil, implying that humans possess both qualities and that their actions depend on the societal structures—or lack thereof—that surround them. The Significance of the Congo River in Joseph Conrad’s Heart of Darkness In Heart of Darkness, the Congo River serves as a powerful symbol, shaping the physical journey of the protagonist, Marlow, as well as the psychological and moral explorations central to the narrative. Acting as both a literal and metaphorical pathway, the river is a guiding force that draws Marlow deeper into the heart of the African jungle, and by extension, into the depths of the human psyche. The Congo River’s winding path symbolizes the uncertain journey into the unknown, revealing not only the darkness of imperialistic exploitation but also the inner conflicts and moral complexities of the characters. The Congo River functions as a conduit into Marlow’s psyche, facilitating his journey away from the familiar structures of European society and into a realm where social norms and moral codes dissolve. In psychoanalytic terms, the river journey mirrors a descent into  KD15 the unconscious mind, where Marlow is confronted with the hidden, darker aspects of himself and his world. This descent is reminiscent of Carl Jung’s theory of individuation, which posits that individuals must confront the “shadow” within themselves—those aspects that society or the conscious self often represses. As Marlow travels further upriver, he experiences isolation from European values and perceptions, and he begins to witness the primal instincts of humanity. The river thus becomes a vehicle that allows Marlow to explore the repressed, morally ambiguous aspects of his own nature, as well as the society that produced him. Just as the river’s winding path resists straightforward navigation, Marlow’s journey is one of moral ambiguity and psychological complexity, revealing that both he and his fellow Europeans carry the darkness they often project onto others. In Heart of Darkness, the Congo River’s obscurity and depth make it a symbol of the unknown, embodying the mystery and “otherness” often associated with Africa in colonial literature. To the Europeans, the river is a foreign, almost mythical landscape, shrouded in mystery and danger, leading to an imagined “dark heart” of Africa. This perception reflects Edward Said’s theory of Orientalism, wherein the “Other”—in this case, Africa—is constructed as an alien and uncivilized space, reinforcing European notions of superiority. The river’s twists and turns symbolize the unpredictable nature of the unknown, drawing Marlow into a world far removed from the stability of European life. It leads him to question the moral values and cultural assumptions he previously held. Conrad uses the river to critique how European imperialism views Africa as an exoticized landscape for the European imagination, rather than a real place with real people. By positioning the river as a boundary between the familiar and the unknown, Conrad reveals the flawed and prejudiced perspectives that fuel imperialist ideologies. The Congo River not only separates Europe from Africa in physical and cultural terms but also serves as a point of interaction between the two worlds. For Marlow, the river represents both an obstacle and a connection, as it allows him to travel deeper into the African continent while simultaneously highlighting the vast cultural divides between Europeans and Africans. The river, therefore, operates as a space of liminality—a transitional zone where cultures converge yet remain distinct. This liminal quality is key to understanding the psychological impact of the journey on Marlow. The river as a liminal space echoes the concept of Bhabha’s ambivalence, where colonial encounters create both attraction and repulsion between colonizer and colonized. Marlow experiences both fascination and fear, awe and disgust, as he moves along the river, recognizing the shared humanity and potential darkness within both Europeans and Africans. The river’s position as both a divider and unifier underscores the duality within Marlow, who is torn between loyalty to European ideals and recognition of their moral bankruptcy.  KD16 The Congo River’s long, arduous journey reflects Marlow’s transformation and descent into existential questioning. As he navigates the river, he confronts existential themes of absurdity, isolation, and moral ambiguity. Far from the structured, orderly world of Europe, Marlow finds himself in a chaotic environment where typical societal rules and ethical norms no longer apply. His encounter with Kurtz, facilitated by the river’s guidance into the jungle, exposes him to the futility and hypocrisy of imperialism, challenging his understanding of civilization and morality. The Congo River serves as a symbol of exploitation, embodying the economic and physical extraction at the heart of European imperialism in Africa. The river, a vital artery through which resources like ivory are transported, highlights the relationship between Europe and Africa—a relationship rooted in exploitation and greed. Marlow’s observations of the violence and environmental destruction along the river expose the dark consequences of imperialism, revealing that the river is not just a path of exploration but also one of exploitation and plunder. This critique aligns with Conrad’s condemnation of colonialism, as the river reveals the corrupting nature of power and the moral blindness of imperialistic motives. By highlighting the toll of European greed on both the land and the people, Conrad uses the river as a stark reminder of the human cost of empire. Just as the Congo River is used as a lifeline for European wealth extraction, it also bears witness to the exploitation and dehumanization that sustain this wealth, serving as a silent testament to the destruction wrought by colonial ambition. In Heart of Darkness, the Congo River holds deep significance as both a literal pathway into the African interior and a symbolic journey into the complexities of the human mind. It is a metaphor for the unknown, representing the hidden and darker aspects of human nature and the moral ambiguity inherent in colonial pursuits. Acting as a liminal space, it challenges Marlow’s assumptions about civilization and savagery, compelling him to confront the duality within himself and the imperial enterprise. Through the river, Conrad critiques the moral emptiness of imperialism, exploring how physical journeys into “dark” landscapes reflect psychological journeys into the depths of human nature. Ultimately, the Congo River in Heart of Darkness serves as a multifaceted symbol, illustrating the intricate connections between exploration, exploitation, and self-discovery, and exposing the moral darkness lurking within both individuals and empires. The Significance of Kurtz’s Last Words in Joseph Conrad’s Heart of Darkness Kurtz’s final words, “The horror! The horror!” encapsulate the moral and existential revelations at the heart of Heart of Darkness. These words represent Kurtz’s ultimate realization of the depth of his depravity and the moral emptiness of his life, particularly as shaped by his immersion in the brutal world of colonial exploitation. Through Kurtz’s dying exclamation, Conrad explores themes of self-awareness, moral ambiguity, and the haunting consequences of unchecked ambition and imperialism. Viewed through existential and  KD17 psychoanalytic lenses, Kurtz’s final declaration becomes a reflection on the darkness within human nature and the hollowness of imperial ideals. In his final moments, Kurtz confronts the “horror” of his own existence—a life marked by ruthless power and moral collapse. Existentialist thinkers like Jean-Paul Sartre and Albert Camus argue that true self-realization often brings individuals face to face with the absurdity and meaninglessness of existence. Kurtz’s cry reflects a terrifying moment of clarity, an acknowledgment of the void left by his pursuit of personal and imperialistic power. The word “horror” suggests his recognition of a life devoid of authentic meaning, marked instead by hollow pursuits and destructive instincts. For Kurtz, the horror is not just the inhumanity he inflicted on others but the moral emptiness he now sees within himself, a result of allowing his darkest desires to rule unchecked. Carl Jung’s theory of the “shadow” provides a psychological interpretation of Kurtz’s last words, representing the confrontation with the repressed aspects of the self—unconscious desires, moral failings, and primal impulses. Kurtz’s exclamation reveals his ultimate encounter with his own shadow, an aspect that he previously projected outward as he subjugated the people around him and declared himself a god among them. The journey into the Congo—into the metaphorical and literal darkness—unleashes Kurtz’s shadow self, freed from the ethical constraints of European society. His dying words thus mark the final acknowledgment of the moral abyss within himself, the “horror” of recognizing the savagery he is capable of when separated from social restraints. Kurtz’s last words also serve as a damning critique of European colonialism, exposing the lie behind the imperialist claim of bringing “civilization” to Africa. Kurtz, initially an agent of this mission, devolves into a figure embodying the brutality and hypocrisy of colonial exploitation. His horrified realization underscores the irony that the “civilizers” have themselves become savage, morally corrupted by their greed and power. Through Kurtz’s words, Conrad suggests that the true “horror” lies in the hollowness and destruction embedded within the colonial mission itself—a mission that brings not light but darkness, not progress but decay. Kurtz’s final words, “The horror! The horror!” are laden with multifaceted significance, representing his last, haunting self-awareness and acknowledgment of the void he has become. They signify his existential realization of life’s moral emptiness, his confrontation with his own psychological shadow, and the ultimate critique of colonialism’s inherent violence and hypocrisy. In just a few words, Conrad encapsulates the novel’s themes of moral disintegration and human frailty, leaving readers with a lasting reflection on the darkness within both individuals and empires. Character Sketch of Marlow In Heart of Darkness, Marlow serves as both protagonist and narrator, guiding readers through his physical journey into the Congo and his psychological exploration of colonialism  KD18 and human nature. Marlow’s character is complex and multifaceted, providing a critique of European imperialism while also grappling with his own moral and existential dilemmas. Through Marlow, Conrad examines themes of self-awareness, ethical ambiguity, and the conflict between civilization and savagery. Psychoanalytic and existential theories provide insight into Marlow’s character as a man torn between his ideals and the unsettling realities he encounters in the “heart of darkness.” Marlow’s journey up the Congo River is both literal and symbolic, reflecting a deeper existential quest for meaning and self-understanding. Influenced by existentialist themes, Marlow is a character who questions the nature of truth and morality. His fascination with Kurtz, the ivory trader turned despot, underscores his search for understanding in a chaotic, morally ambiguous world. Like existentialist thinkers such as Jean-Paul Sartre and Albert Camus, who contend that individuals must confront life’s inherent meaninglessness, Marlow finds himself disturbed by the moral emptiness he encounters in colonial Africa. Throughout the novella, Marlow grapples with a sense of alienation and disillusionment, distancing himself from the hollow rhetoric of European civilization. His journey reveals the absurdity of imperialist values, leading him to a greater awareness of the darkness within human nature. This existential confrontation forces Marlow to reevaluate his beliefs, ultimately leaving him morally conflicted and estranged from European society. Marlow’s character embodies moral ambiguity, as he questions both the actions of the colonialists and his own complicity in their mission. Influenced by Carl Jung’s theory of the “shadow”—the darker, repressed parts of the psyche—Marlow’s journey can be seen as a confrontation with his own inner darkness. The Congo serves as a mirror, reflecting back the primal and suppressed instincts within himself and other Europeans, revealing the thin line between civilization and savagery. Marlow’s fascination with Kurtz symbolizes his recognition of the “shadow” within himself. Kurtz’s descent into brutality and his moral collapse force Marlow to confront the potential for evil within all individuals. By the end of his journey, Marlow has faced his shadow but remains haunted by it, reflecting a deeper understanding of the human psyche’s duality. His discomfort and moral ambivalence toward Kurtz’s actions indicate his internal conflict, suggesting that he recognizes the allure of darkness but chooses to resist it, however uneasily. Although Marlow is complicit in the colonial mission, he is critical of its hypocrisy and brutality. His observations reveal the hollowness of the imperialist mission and the suffering it inflicts on the colonized. Through Marlow’s skeptical gaze, Conrad critiques the imperialist “civilizing” mission as morally bankrupt, driven by greed and self-interest rather than genuine altruism. Marlow’s disillusionment with the colonialists’ cruelty and his recognition of their moral decay exemplify his role as a critic, albeit a reluctant one, of European colonialism.  KD19 In Heart of Darkness, Marlow is a complex character whose journey exposes the duality of human nature and the ethical dilemmas within colonialism. His confrontation with the darkness in himself and in others highlights the tension between civilization and savagery, while his existential reflections reveal the psychological depths of human experience. Through Marlow, Conrad provides a nuanced critique of imperialism and an exploration of moral ambiguity, leaving readers with a lasting reflection on humanity’s capacity for both good and evil. Character Sketch of Kurtz Kurtz, one of literature’s most enigmatic figures, serves as both a symbol of European imperialism and a tragic figure whose journey into the “heart of darkness” reveals the fragility of moral boundaries. Joseph Conrad presents Kurtz as a multifaceted character who embodies both the allure and dangers of unchecked ambition, power, and moral ambiguity. Through Kurtz, Conrad explores themes of colonial corruption, psychological collapse, and the inherent darkness within human nature. Initially, Kurtz is introduced as a paragon of European ideals, a man with grand visions to “civilize” the so-called savage lands of Africa. His early reputation as an eloquent, ambitious intellectual imbues him with an aura of idealism. However, as Marlow progresses up the Congo River, the layers of Kurtz’s character are gradually peeled away, revealing the moral decay that has overtaken him. Kurtz’s physical and psychological deterioration serves as a critique of the imperialist enterprise itself. The ostensible mission to bring "light" to Africa is exposed as a façade for greed and exploitation, with Kurtz's descent reflecting the spiritual corruption of European colonialism. The paradox of Kurtz’s character lies in his dual role as both victim and perpetrator of colonial brutality. Psychoanalytically, Kurtz can be seen as a manifestation of the Freudian id, a part of the psyche unrestrained by social or moral constraints. Removed from European society and its norms, Kurtz's unchecked power allows his darkest desires to emerge. His transformation from idealistic visionary to tyrannical ruler exposes the instability of the self when divorced from the rules of society. In the Congo, Kurtz becomes a god-like figure among the native tribes, revered and feared for his ability to command through violence. The ivory, which Kurtz accumulates obsessively, serves as both a literal and metaphorical symbol of his voracious greed, underscoring the psychological “darkness” that corrupts him. Critical perspectives on Kurtz range widely, and scholars have debated whether he should be viewed as a cautionary figure or a tragic hero. Chinua Achebe, in his critique of Heart of Darkness, condemns Kurtz (and Conrad’s portrayal) for his dehumanizing view of Africans. Achebe argues that Kurtz, in his violent control over the natives, embodies the racist and imperialist attitudes of his time, reducing Africans to instruments of his own power. Postcolonial critics thus view Kurtz as a vehicle through which Conrad criticizes the exploitation inherent in imperialism, exposing its dehumanizing effects on both the colonized and the colonizers.  KD20 Kurtz’s famous last words, “The horror! The horror!”, encapsulate the existential realization of his moral collapse and the meaninglessness of his actions. In an existential reading, these words reflect a moment of lucidity in which Kurtz confronts the “abyss” of his own soul—a nihilistic recognition of the emptiness that lies at the core of his life’s work. His final exclamation underscores the novella’s existential questioning of civilization and its capacity to mask the primal darkness within human beings. Kurtz in Heart of Darkness stands as a powerful symbol of the dangers of imperialism and the psychological unraveling that can occur when individuals are freed from societal constraints. His character serves as a mirror to the imperial mission itself, reflecting the profound darkness that underlies the "civilizing" endeavours of European colonization. Character Sketch of The Manager In Heart of Darkness, The Manager of the Central Station serves as a representation of bureaucratic authority and the insidious nature of colonial exploitation. While Kurtz embodies the charismatic and extreme facets of imperial ambition, The Manager is characterized by a calculated mediocrity that makes him both morally ambiguous and deeply insidious. His role highlights the banality of evil within colonial enterprises, where efficiency and self-preservation supersede any ethical considerations or ideals. Unlike Kurtz, who initially seems to have grand ideals, The Manager exhibits no visionary qualities; he is a man of unremarkable capability who sustains his authority through shrewdness and a talent for maintaining appearances. His lack of overt cruelty, matched with a disturbing indifference, underscores his danger. The Manager’s authority stems not from talent but from his ability to navigate the corporate structure of the Company, representing the faceless, depersonalized forces driving colonial expansion. This embodiment of Weberian bureaucratic rationality shows how colonialism does not rely solely on individual acts of cruelty but also on an unfeeling system that prioritizes profit over humanity. In contrast to Kurtz’s passionate descent into moral depravity, The Manager’s evil is systematic and insidious. In psychoanalytic terms, he might be seen as a figure of the superego, suppressing overt desires for personal glory or violence in favor of maintaining control. This suppression, however, only deepens his moral bankruptcy, as he prioritizes his own position above the welfare of the African people and even his fellow Europeans. His repeated lack of empathy, as seen when he obstructs Marlow’s journey to save Kurtz by delaying the repairs on the steamboat, exemplifies this bureaucratic indifference. By prioritizing his self-preservation and power within the Company, The Manager reduces human lives to expendable assets in the pursuit of personal stability. Critics such as Edward Said view The Manager as an emblem of the “administrative violence” embedded within imperialism, where the Company’s operations are designed to dehumanize and exploit without necessarily engaging in overt acts of violence. The Manager’s quiet complicity and adherence to colonial policies represent the structural cruelty  KD21 of colonialism, where leaders like him sustain exploitation under the guise of “order.” His character reinforces Conrad’s critique of imperialism as not merely a series of isolated acts of brutality (as with Kurtz) but a well-oiled machine of oppression fueled by people like The Manager who view colonial subjects as means to an end. The Manager’s strength lies in his mediocrity—his very lack of moral extremes allows him to flourish within the system. While Kurtz’s existential struggle culminates in the haunting “The horror! The horror!”, The Manager’s lack of introspection means he never questions the morality of his actions. He is a survivor, a figure of moral emptiness whose position within the Company depends on his ability to avoid confrontation or reflection. In existential terms, he represents the "inauthentic" individual who never engages with the deeper meaning of his actions. The Manager serves as a chilling reminder of the banality of evil within imperial structures. Unlike Kurtz, who faces the darkness within himself, The Manager embodies a more pervasive, impersonal darkness—the bureaucratic exploitation that sustains colonialism. His character underscores Conrad’s critique of the imperial project, illustrating how colonialism’s horrors are sustained not only by extreme acts but by the indifferent, profit- driven systems and the “ordinary” people who operate them. Character Sketch of The Intended The character of The Intended, Kurtz’s fiancée, in Heart of Darkness is central to Joseph Conrad’s exploration of illusion versus reality, European idealism, and the moral complicity within imperialism. Though her role is brief, The Intended serves as a symbol of the romanticized ideals surrounding European civilization and moral purity, juxtaposed against the brutal realities of colonial exploitation. Her idealized view of Kurtz and her symbolic presence in the novella’s final scene underscore the novella’s themes of denial, delusion, and the moral consequences of imperialism. The Intended’s significance is most evident in her symbolic function as a beacon of innocence and ignorance. She is portrayed as completely oblivious to the moral and psychological decay Kurtz has undergone in the Congo. Her understanding of Kurtz is based on European ideals of nobility, courage, and duty—qualities she believes he embodies. In psychoanalytic terms, The Intended could be interpreted as a projection of the “European superego,” embodying the moral ideals and purity that European society claims for itself, while being blind to the horrors enacted in its name. Through her, Conrad critiques the European tendency to uphold a self-image of benevolence and civilization while remaining ignorant of the violent exploitation that fuels this image. Literary critics, such as Chinua Achebe, argue that The Intended symbolizes the hypocrisy of European society, which consciously ignores the brutality of colonialism to maintain a sense of moral superiority. Her unshakable faith in Kurtz represents this willful ignorance; she becomes a representative of those in European society who prefer the illusion  KD22 of moral righteousness over the discomforting reality. Her belief that Kurtz died with her name on his lips reflects her desire to see him as a pure, noble figure rather than the morally corrupt individual he had become. Marlow’s decision to lie to her, telling her that Kurtz’s last words were her name rather than his haunting “The horror! The horror!”, reinforces this theme of illusion. By sparing her the truth, Marlow becomes complicit in preserving the European myth of moral rectitude. From a feminist perspective, The Intended can also be viewed as a passive character whose role is confined to the private, domestic sphere, in contrast to the active and aggressive roles of men in the colonial enterprise. The Intended’s role as Kurtz’s fiancée reinforces the gendered norms of the Victorian era, where women were expected to embody moral virtue and uphold the sanctity of the home, while men ventured into the world, often committing acts of violence. The Intended’s naivety and her worship of Kurtz as a hero reflect her limited agency and the patriarchal constraints placed upon her. She is a figure whose value is defined by her role as the virtuous, waiting woman, reinforcing traditional gender roles within European society. In existential terms, The Intended represents an “inauthentic” existence. By clinging to her idealized vision of Kurtz and ignoring the reality of his actions, she chooses a life grounded in illusion rather than truth. Her inability to confront Kurtz’s “darkness” illustrates the broader theme of self-deception that pervades European society in the novella, where moral blindness is not only permitted but encouraged. The Intended is a crucial figure in Heart of Darkness, representing the moral and ideological blindness of European society, the complicity of those who choose illusion over reality, and the restrictive gender roles of the time. Her idealization of Kurtz underscores Conrad’s critique of European hypocrisy and the dangers of moral self-delusion, showing how the maintenance of European ideals relies upon ignorance and denial of uncomfortable truths. Through her, Conrad explores the complicity and naivety that enable the perpetuation of colonial atrocities, highlighting the moral void at the heart of European civilization.