Undoubtedly, Joseph Conrad's creativity can be considered unique and quite rare. This rarity and uniqueness are due to the very origin of the author, whose real name was Józef Korzeniowski (Kolocotroni 154). This had a very difficult and long way to go before he gained experience in understanding the world, people, and society. Not being a native English speaker, Conrad wrote the short story Heart of Darkness, which perpetuated his name in the history of the world literature. This novella affects a number of problems of a different nature and direction. The most predominant of such problems became one of the most brilliant and wise criticism of imperialism. According to Conrad, imperialism, which produced the colonial regime, was an enormous problem for humanity, as it created inequality, racism, and incredible cruelty. The problematics of the story is so deep that it still remains relevant and can be applied to the characteristics of modern society to this day.
The implied ambiguity in the author's position allows different interpretations of the story. Precisely, this novella can be considered one of the best illustrations of imperialism, its falsity and severity. The story was created in the last years of Queen Victoria's reign, which was proud of the fact that she was at the head of the most extensive and highly moral empires (Firchow 95). The British interpreted the concept of "imperialism" as the civilizing mission of the white men in countries, which "were not able to cope with their problems and, thus, needed help" (Firchow 96). The concept of "colonialism" was not so sublime, for it was a commercial profit, i.e. an exploitation of foreign resources. The protagonist Marlow becomes a witness of the colonial crimes and nonpunishable crimes against morality, which were inspired by the imperial ideology. Mr. Kurtz represents another character of the story who embodies the imperialism; he is known as a Democrat in Europe, but the service in the Company makes him not just an imperialist, but a true barbarian and vandal, the very wilderness made him "its spoiled and pampered favourite" (Conrad 24). Conrad always presents the idea that civilization is evil, while the innocent life of the primitive natives is grace: "The dreams of men, the seed of commonwealths, the germs of empires" (3). Africans are full of life, they are adapted to the existence on their own land, while Europeans die from the diseases, and these "civilized" people vainly try to impose civilization away from its origins. Conrad admits unsolvability of the world's main contradictions, so in his artistic world implies everything. The action takes place against the backdrop of nature, in comparison with which a person is small and helpless, and human history is ridiculously arrogant, presumptuous: "We called at some more places with farcical names, where the merry dance of death and trade goes on in a still and earthy atmosphere as of an overheated catacomb" (Conrad 20-21). Conrad illustrated a lurid world: the dreadful mysteries penetrate this world, there are no words for them in the human language and that is why they remain unnamed, but still "it was something natural, that had its reason, that had a meaning" (19). Hence, aposiopesis is so important to Conrad, as it allows skipping the most important (Kolocotroni 168). If one considers Conrad's criticism on imperialism in more detail, it becomes evident that the whole story is permeated with anti-imperialist character. The author reveals the true essence of imperialism, showing the reader what the civilization and education of the colonial system really are. However, is the differences between the European and savage so big? Conrad offers to rethink the unshakable opposition of the "civilization-barbarism" (Firchow 120). He questioned the absolute superiority of European civilization and its right to colonize the under-developed nations. The subject of imperialism is closely intertwined with the theme of disease, madness, and death. It is noteworthy that the "devil of violence" neighbors around with "the devil of greed" (Conrad 24). The author conveys to the reader the idea that violence and a desire to gain more go with the progress. In this case, imperialism is the embodiment of progress. The pastime of the white men and the hired natives is monotonous, meaningless, and absurd: "There was a sense of extreme disappointment, as though I had found out I had been striving after something altogether without a substance" (Conrad 77). Conrad clearly criticizes the imperialism, using not only the variety of artistic symbols, but also the characters themselves, the descriptions of their feelings, etc. Furthermore, the relevance of his criticism of imperialism in the analysis of the problems of modern society finds its roots in post-colonialism. According to literary critics, many of Conrad's works had the similar trends of protest (Kolocotroni 166). This protest was based on his personal studies, so the analysis of his texts can serve as a general basis for the creation of some theories in the field of intercultural communication. In addition, Conrad's criticism of imperialism is quite applicable in the case of the analysis of the globalization processes and the loss of cultural identity. In addition, many of the texts of this unique author could be used in the analysis of gender and racial discrimination, which are the main problems of the modern society.
Works Cited
Conrad, Joseph. Heart of Darkness. New York: Penguin Books, 2012. ProQuest ebrary. Web. 15 June 2016.
Firchow, Peter Edgerly. Envisioning Africa: Racism and Imperialism in Conrad's Heart of Darkness. Lexington, US: The University Press of Kentucky, 2015. ProQuest ebrary. Web. 15 June 2016.
Kolocotroni, Vassiliki. "‘Writers Among The Ruins’: Freud, Conrad, And The Psychomythology Of Memory." English: The Journal Of The English Association 59.225 (2010): 154-173. Literary Reference Center Plus. Web. 15 June 2016.
