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English 452 15 September 1992
A Truth Universally Acknowledged:
Singh and Conrad
“It is a truth universally acknowledged that Heart of Darkness is one of the most powerful indictments of
colonialism ever written,” asserts Frances Singh in the first sentence of her critical interpretation of
Joseph Conrad’s The Heart of Darkness, and in this assertion she overtly opens herself to the scorn of
logicians and theorists alike, both of whom could easily notice two illconceived leaps from the
colonial endeavors, not just the specific late 19thcentury British attempt to exploit the human and
natural resources of the Congo, and she follows this with the claim that not only does Conrad’s text
attack colonialism, but that the passive, anonymous acknowledging party is “universal” and therefore
includes every rational person who has read the book. Her opening sentence reads as though it were
preceded by a lengthy argument pointing out various excerpts from the text in which Conrad decries
Europe’s conquest and other passages from important essays that without exception conclude Heart of
Darkness is a “powerful indictment” of all colonialism. But Singh’s first word is not “therefore,” and this
curious approach should alert the reader that he stands at the doorstep of an extraordinary argument.
Watch as Singh continues an argument she knows is bogus through the first paragraph and beyond, as
she discusses Conrad’s personal background, as in the closing sentence of the opening paragraph she
begins, “Ironically,” and notice the contrerejet when she doesn’t follow with a thesis statement, or even
a shade of a thesis statement that reveals where her argument is going. Then disguising exposition as
the main point of her discussion, she quotes liberally from the text and introduces the notion of three
levels of metaphor. And it is not until the end of this digression, some three pages 16 into the essay — a
quarter of the way through — that Singh gives the reader a morsel of her forbidden fruit. With her
opening sentence, she baits the reader, she tempts him, and now deep into the essay, she uncovers her
16
Conrad, Heart of Darkness, (Norton, 1988)
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intention. Singh defies the universal acknowledgment. She doubts it. She questions it. And like
Marlowe with the thirddegree metaphor, she “pushes it to its limit”. “The question is,” Singh proposes.
“Did Marlowe push it too far? For the story also carries suggestions that the evil...is to be associated
with the Africans.”17 Thus Singh introduces the ambiguous nature of Conrad’s indictment, and thus she
begins her essay’s true argument, that Conrad “historically...would have us feel the Africans are the
innocent victims of the white man’s heart of darkness; psychologically and metaphysically he would
have us believe that they have the power to turn the white man’s heart black” and that Conrad confuses
the “physical blackness of Africans with a spiritual darkness.” Importantly, Singh notes “one cannot
have it both ways.”18
In so saying, she suggests that Conrad argues on behalf of or against some idea in the novel, and
that ambiguity is an illegitimate, or at least faulty, method of approaching his task, and she wants
Conrad to write this argument as with the authority of God and to declare that colonialism indisputably
is wholly evil and never excusable. She assumes that Conrad wanted to be didactic and pedantic and
Conrad lacked the skill to write a story that unambiguously attacked European imperialism, and that
Singh herself is sagacious enough to point out where Conrad erred. But in her reinterpretation of long
dead Conrad’s intentions, Singh fails to consider that it is all too easy to be a pedant, and that real skill is
presenting life as it is, and not as a black or white, dark or light episode free of hazy ambiguities and
uncertainties. Singh wants so earnestly to believe that the world, or Conrad’s world, comes prepackaged
concerns his love of order. Whatever facilitates the rise of order, Conrad favors, and whatever destroys
it, he despises. This is the principle that governs his treatment of race, and it is the one dichotomy Singh
17
Frances Singh, “Colonialistic Bias of Heart of Darkness”. (Norton, 1988), 271.
18
Singh, 271.
19
Singh, 280.
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fails to notice.
The excerpts Singh employs to support her argument do not contain even a trace of racism, and
if anything they come down in favor of the victimized race. Conrad understands how the Europeans —
historically, physically, psychologically — brutalized the Africans, and he notes the comparison between
conquering Romans and the modern British.
They grabbed what they could get for the sake of what was to be got. It
was just robbery with violence, aggravated murder on a great scale, and
men going at it blind...The conquest of the earth, which mostly means
the taking it away from those who have a different complexion or
slightly flatter noses that ourselves, is not a pretty thing when you look
into it too much.20
By depicting the modern British as analogs to the antique Romans, Conrad also connects ancient Britain
to presentday Africa. He does not suggest that the conquest is eternally insuperable, that the Africans
will never rise above their conquerors and become one day as sovereign as the British. If Conrad
believed, as Singh suggests, that Africans are little more than “a species of superior hyena,” 21 he would
not have drawn the relation between the Congo and his adopted land of England. Further, as important
as what Singh includes in her excerpt is what she leaves out. Marlowe continues, crucially,
What redeems it is the idea only. An idea at the back of it, not a
sentimental pretense but an idea; and an unselfish belief in the idea—
something you can set up, and bow down before, and offer a sacrifice
to...22
Conrad paints colonialism as something founded on an idea, and on an obtainable ideal. There
is a correct way to colonize, but the British were misguided in this instance, just as pagan
religions could be off the mark in their interpretations of the divine. Conrad’s religious tone is
20
Conrad, Heart of Darkness, 10.
21
Singh, 273.
22
Conrad, 10.
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not accidental. Religion is order, visible, palpable order, with a head figure and intermediaries
and lay people who do the grunt work and obey. It is not unlike the hegemony of a ship. Both
must be “unselfish,” both demand a near Buddhist selfnegation to achieve a mission, both
require strict obedience to maintain the efficiency and the order, and both will inflict and
undergo pain tirelessly to obtain the idea. Colonialism is the new religion, the new order, of
Conrad’s Europe, and he worships at its altar because it is, like nearly all lateVictorian
developments, structured, scientific, and prepared for the modern age of the twentieth century.
Conrad as a selfconscious harbinger of the modern era had to reject the ritualistic, chaotic
behavior of the tribes, and he had to support the scientific progress of his time. But at the same
name of progress. Singh’s argument that Conrad “believes [the blacks] should be suppressed”
and that his “sympathy for the oppressed blacks is only superficial” 23 is nearly ludicrous in light
of Conrad’s obvious rejection of brutal, “selfish” tactics in dealing with the Africans. He saw the
opportunity to lift Africa from its darkness, to bring it to a higher level of knowledge and
culture. The spirit of rationalism that pervaded Conrad’s era sought knowledge through
rational discourse, not through eating a wise man’s entrails, and when confronted with the
horror and seeming chaos of shrunken heads and cannibalism, no Westerner could at first feel
anything but disgust. But after the disgust subsides, and rationality returns, the Westerner
could determine a way to improve both the English and the African cultures. This is the idea,
the idea of mutual progress, that Conrad refers to through Marlowe. It is by definition chaotic
cruel...with no moral purpose”24 like the Eldorado Exploring Expedition and, implies Conrad,
like Kurtz.
Kurtz, quite apparently, is selfish. He has used the power the
23
Singh, 272.
24
Conrad, 33.
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Order, the administration, gave him to seek his own ends, to own his
own ivory, to own everything. Conrad describes Kurtz’s love of himself
and his possessions.
You should have heard him say, “My ivory.” Oh yes, I heard him. “My
intended, my ivory, my station, my river, my...” Everything belonged to
him...Everything belonged to him. But that was a trifle. The thing to
know was what he belonged to, and how many powers of darkness
claimed him for their own.25
Having “taken a high seat with the devils of the land,” Kurtz rejected the order of the trade organization
and reduced himself by regressing to the primordial habits of natives, and in so doing hurt himself and
the Africans, whom he should have helped towards the enlightenment of the twentieth century. The
religion of efficiency and order has its antithesis in men like Kurtz and the Eldorado people, not in the
culture of the natives who had no opportunity to learn the ways of European order. Conrad makes this
clear in his characterization of Kurtz who initially undergoes a near apotheosis in the minds of the
organization until he subverts it to his own selfish ends, whereupon Conrad relegates him to “a seat
with the devils.” This judgment has nothing to do with race, as Singh would have us believe; Conrad
vilifies Kurtz because Kurtz embraces chaos and denies the Idea behind it all, the Idea that redeems the
process of colonizing, that keeps men from behaving as brutes, that speeds and eases the coming of the
modern era, and the Idea that Kurtz, not the Africans, corrupts in Heart of Darkness.
Singh’s conclusion that Conrad’s “limitations” prevented him from writing “a story that was
meant to be a clearcut attack on a vicious system” shows her to be guilty of the same kind of inferred
generalization with which she opens her essay. Conrad had no reason to introduce a redeeming element
of colonialism if he believed there were no redeeming element, and had he felt the Africans were weak
or lacking in spirit, the story would not have ended with Kurtz surrendering to and dying under the
assumption of what Conrad intended and the assumption that all readers will gain the same idea from
25
Conrad, 49.
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the fruit of that intention, yet she rests her argument on this notion, despite sufficient textual evidence to
the contrary.
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