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Moral 'Truth(s)' - Heart of Darkness

A discussion on the extent to which moral truths are cultural specific - or indeed true

Heart of Darkness by Joseph Conrad is essentially an exploration of the truths of our world. I say truths (plural) because unlike other values truth is culturally encoded, dynamic and dimensional - not a fixed idea. Indeed the truths in Heart of Darkness follow this pattern. From the dogmatic declaiming of British Imperialism through to the endless exploration of Kurtz - Heart of Darkness is a search for truth and understanding.

Heart of Darkness employs the use of an introspective and meditative narrator - Marlow. His character is one of an initially staunch belief in British Imperialism and culture. The text is his account of the events which revealed to him the true nature of humanity. We are introduced to London as "the greatest city on earth". Such a powerful statement about the self-righteousness of the English of the Victorian Era. They are informed of this idea through their culture, context and understanding. Indeed London was great, but the city was a "dreary grey" and it was not free of major problems like promiscuity and petulance. Indeed the moral rectitude that was so important culturally was not adhered to at all. Even the "greatest of men" occupied their time with "a half crown tumble". The ambiguity surrounding the truth of London is culturally specific and is informed by culture - rather than by fact.

The English also had very staunch views on their specific form of imperialism, and the judicious dogma that accompanied it. British Imperialism in Marlow's eyes was the greatest, and we are positioned to believe that. Aboard the Nellie, Marlow describes how the French were "firing pointlessly at the coast, with no specific intention in mind". Such an event seems ludicrous and highly pragmatic. The Belgian Congo too, is a 'hell hole' and not indeed managed properly. Here Marlow finds "scattered bodies", "cavernous holes" and bodies "peeling from trees". Marlow finds such 'other' forms of colonisation obscene and constantly attests that the British - "an emissary of light" - are 'true' in their approach. This idea of British Imperialism being ?true? is informed by culture, similar to the ?truth? about London. This notion enhances the appearance of truth in Heart of Darkness as culturally encoded, multifaceted, dynamic, and dimensional.

Accompanying English dominance is the typically ethnocentric views held by the narrator ? with several theoretical stereotyped characters used to illustrate this. Perhaps most obvious is the referral and juxtaposition of ?blacks? to scenery. Throughout the text the ?blacks? and the wilderness they inhabit seem inextricably linked ? thus a form of each other. As they ?peel from trees at unnatural angles? the ethnocentric view is supported by tangible images, affirming the view. The same image among others also creates the theoretical character of pity. Constructing the ?blacks? as an image of sadness and pity encourages British dogma, suggesting that the ?blacks? need saving when indeed they may not. Further images can be constructed throughout the Congo. These include the noble savages who demonstrate ?restraint? under enormous natural pressures. ?Chained men? become the slaves of the text, and Kurtz?s mistress becomes our fantastic yet unaccepted beauty. All of these constructions and all of these images support the moral truths that British Imperialism presents; and colludes with the ethnocentric position we are encouraged to take.

In Heart of Darkness the ?blacks? represent primordial human truths in atavism and base primitivism whilst Marlow represents the truths in civilization and Britannia. Both are equally ?true? but are culturally specific and thus the ambiguity they create. To a contextual reader the truth is the latter of the two, but modern morality and our understanding of truth produces a different reading.

D.H Lawrence compared the ambiguities of truth to ?an umbrella and its painted firmaments pitted against an everlasting whirl?. The firmaments of the umbrella represent the ?finer? truths which are present through civilization and culturally constructed truths and myths. The everlasting whirl represents the sadistic and natural truths of humanity. Here culture and value do not hold importance. Kurtz is the living embodiment of the heart of darkness and of these natural human truths. Marlow instead is our ?parasol man? who parades under the firmaments of our moral truths. The juxtaposition of these two characters is the final search for truth in the text, and the most powerful. Which is right? Our culture stands in the way of this decision. Tradition tells us to hold true to morality and better judgement. Nature however is the opposite. Conrad leaves this question unresolved and unanswered, encouraging us to construct the real truth of humanity without ambiguity or cultural augmentation.

Conrad?s search for moral truths in Heart of Darkness remains unfinished and unanswered. His story affirms the notion of a dynamic, dimensional and culturally encoded truth ? which is also culturally specific. In a way he explores the current ambiguities and paradoxes within humanity and truth itself.