Analysis of the conclusion of The Heart Of Darkness by Joseph Conrad
In the Heart of Darkness, Joseph Conrad emerged as a writer who could feel more that he could see and express more than he could feel and the dexterity of his expression was in the use of less words and more meanings with multiple applications on different subjects. Conrad negates the trend of myopia and tries to explore the worlds that are hidden to the naked eye.
And to expose the environment of contrasts he made a powerful use of oxymoronic symbolism that provided the readers with an access to his imaginative expression of the reality and personal feelings. With an exclusive reference to the conclusion of the novel in can be analyzed that the role of women may not be important to develop the plot but through an impact of a woman in the last paragraphs the novel is concluded with the most appropriate obscurity that leaves the readers in a state of stimulated trance.
Analysis of the conclusion of The Heart Of Darkness To analyze the conclusion of this novel it is essential for the reader to remain constantly aware of the mode of contrast that Conrad has applied to create his metaphors and similes, this would enable the reader to realize that the fate of the novel is ended with a ‘lie’ that the protagonist tells to the “Intended” (fiancee of Kurtz) and leaves the quest for unraveling the truth or to develop conjectures related to the facts.
Thus it can be evaluated that Conrad needs to be assessed as a modern writer who believes in inculcating the virtue of reasoning from the readers than elucidating all the fact by himself like the writers of the early periods. The realistic imagery applied by Conrad, exposes the picture of the savage environment of the African jungles with aesthetics of unfathomable individualism experienced in the imperialistic rule.
But the irony of portraying such individualism in the characters through the technique of impressionism that contained a concentrated form of symbolism make the characters lose their personal characteristic and they perform more as suggestions rather than a character of flesh and body. Thus it can be observed that the character of Marlow seems more like a mouthpiece for Conrad’s real and surreal reflexes which erupted from his intuitive impulse that remained intact more with the psycho-emotional impressions of the colonial rule than the geo/socio-political scenario.
Similarly the character of Kurtz is also saturated with the symbolic notions of horror, fear, savagery, lust and his evil geniuses; it becomes quite puzzling for the reader to identify Kurtz more as a person who was so dearly engaged to a woman that his influence on her would make her mourn for him as long as possible or he was more savage to die in the absurdity of ‘horror’ and be remembered more for his deeds than as a person.
Conrad has been known for accomplishing his most intense moments with semi-completed phrases and consequences; this is a trait of a modern technique of writing for the purpose of producing intelligent readers. This art of Conrad’s mode of expression has been explained in the chapter “New Divergencies” of A History of English Literature, A violent, at times a raw realist, Joseph Conrad is also a thinker and a poet.
While he does not set as an end to his art the search for ideas, which he regards as the proper object of the philosopher, he has allowed the emotions of an intelligence which does not refuse itself the human privilege of feeling, to come out in half-tones through his work. Therefore a woman, who cannot even be addressed as a proper noun in the novel, ultimately plays the decisive function for Marlow’s prolonged predicament to do ‘justice’ which he did not to Kurtz but to the loyalty of the Intended through a false statement.
The conclusion of the novel can be reasoned as another opening for the character of Marlow. His intake of impressions about the lady proves that the persona of the Indented and her body and verbal language is potent enough to mesmerize or intoxicate the senses of Marlow to an extent that his speech, thoughts and expression would loose the desired and required coherence and congruity. Or her “mature fidelity” had provoked him to think, I asked myself what I was doing there, with a sensation of panic in my heart as though I had blundered into a place of cruel and absurd mysteries not fit for a human being to behold.
This may be assumed as one of the aspects that Conrad may be suggesting to his readers about the role of women in his novel. The women in The Heart of Darkness in fact do not play an eminent part to develop the plot or action but the preference to end the novel with an elusive meeting of Marlow and The Indented incurs this thought within the readers mind to know more than what is told; and thus proceed with their perceptions henceforth related to the reason of Marlow’s lie.
The lie of Marlow may be an impulsive act but his posing as Buddha may somewhat explain that his lie satiated a false belief of a woman’s true love and loyalty for a man although Marlow could not provide “the due” justice that Kurtz demanded (which was to tell the truth to his Intended) but Conrad here shows that how sensitivity invades the senses and the moment in which the impulse is born rules over the rest of the vital signs of our whole entity.
Legouis, Emile, Cazamian, Louis and Vergnas, Raymond Las (1971. ) “A History Of English Literature”. London J. M Dent & Sons Ltd,Sample Essay of Masterpapers.com