Can Twue Love Exist in the Universe of Heart of Darkness - Essay Example

The prompt chosen: Love. Twue Love. Can BF-GF, BF-BF, or GF-GF love exists in the universe of Heartof Darkness? What could it mean, to Kurtz or his intended? What might Marlow think of such love/ Compare these ideas with ideas of love in two other texts. Love is in the Air Can Twue Love exist in the universe of Heart of Darkness? Twue Love between BF-GF, BF-BF, or GF-GF denotes a caring friendship and intimacy that bond parties together. For this to be realized there is a need for devotion and respect to one another. These concept lacks of appreciations of others lacks in Heart of Darkness, thus Twue love cannot exist in such a universe. Heart of Darkness explores the matters involving imperialism in complicated methods. This is a confirmation that Twue love cannot exist in such environment since conditions are hostile and people develop selfish conducts. As Marlow journeys from the external Station to the inner Station and eventually up the stream to the internal Station, he experiences scenes of torture, brutality, and near-slavery (Conrad 20). At the incredibly least, the incidental surroundings of the book provide a harsh image of colonial enterprise. This harsh environment is one of the reasons Twue love cannot exist in these environment. The impetus following Marlow’s expeditions, too, has to do with the insincerity intrinsic in the rhetoric applied to rationalize imperialism. The men who labor for the Company depict what they perform as “trade,” and their handling of native Africans is a fraction of a munificent development of “civilization.” The Twue love cannot exist in the world of Heart of Darkness. Joseph Conrad’s Heart of Darkness reveals the inequality between the European supreme of society and the actuality of it as is demonstrated by the torture, domination, dehumanization and exploitation of the African inhabitants. Heart of Darkness is analytic of the greed and evil in humanity as embodied by Kurtz and Marlow. The presence of so much evil and greed denotes absent of love. Confusion or madness also works to demonstrate the need of social fictions. Even though social mores and illustrative justifications are exposed throughout Heart of Darkness to be absolutely false and even consequence evil, they are yet essential for both group accord and individual safety. Madness, in Heart of Darkness, is the consequence of being detached from one’s social background and permitted to be the sole judge of one’s own events (Conrad 65). Madness is therefore connected not only to supreme power and a type of moral mastermind but to man’s essential fallibility: Kurtz has no power to individuals he responds but himself, and this is too much for an individual can bear. As for Kurtz, Twue Love does not mean a thing. Both Kurtz’s Intended and his black mistress work as blank schedules upon which the principles and the riches of their individual societies can be demonstrated. Marlow recurrently claims that ladies are the maintainers of naive illusions; even though this sounds disapproving, such a function is in fact vital, as these naive delusions are at the onset of the social fictions that validate economic venture and colonial growth. In return, the ladies are the benefactors of much of the consequential wealth, and they turn into objects upon which men can show their own achievement and status. Love cannot exist in such a condition. Kurtz’s last words “The horror! The horror!” is analogous to Victor escaping the scene when countenances the manifestation of his action (Conrad 154). It is as although neither of them can countenance the actuality of what they are accountable for; Victor for in concert with science and generating a monster, which destroyed those, he loved, and Kurtz for obliterating other’s existences, for engaging in awful rites, and for the disgusting secrets of his method. Such love cannot exist in Marlow perception since he has less regard to others. He refers to his helmsman as a part of equipment, and Kurtz’s African mistress is at most excellent a portion of statuary. It can be debated that Heart of Darkness contributes in domination of nonwhites that is a great deal more threatening and much harder to correct than the open cruelties of Kurtz or the Corporation’s men. Africans cultivate for Marlow a sheer backdrop, a creature screen against which he can engage in recreation his theoretical and existential efforts. Their continuation and their exoticism allow his self-contemplation. This form of dehumanization is difficult to identify than regal violence or blunt racism. While Heart of Darkness provides a powerful disapproval of the hypocritical functions of imperialism, it also reveals a set of issues involving race that is eventually troubling (Conrad 122). As the storyteller says at the commencement of the text, Marlow is extra fascinated in surfaces, in the adjacent aura of an object rather than in any concealed nugget of connotation deep within the obsession itself. This reverses the usual chain of command of meaning: usually one seeks the profound message or concealed truth. The main concern placed on examination demonstrates that piercing to the interior of a suggestion or a person is unfeasible in this globe. It is moderate enough to permit the person who reads to recognize with him, yet unbiased enough to recognize at least partly with either tremendous. Thus, he proceeds as a conduct for the reader. Marlow’s liaison position can be observed in his ultimate illness and recovery. Though love cannot be in is thought. Porphyria’s Lover is a poem that belongs to the Victorian era. The narrator display a desire to a female, in addition to extrapolative all their wishes onto a female item, male speakers in Victorian poems at times use their story voice to repress the female point of observation and impose codes of patriarchal power (Power 22). There are characteristically three manners in which male narrators objectify women. From time to time speakers literally ventriloquism the female subject by inserting words in her mouth. In other, more delicate occasions of ladies being objectified, orators endow women with a state, allocate a value to them, or enforce their perceptions on them (Power 45). In this poem there is a clear pattern of women being abridged to a fixed connotation as opposed to being handled as complex human beings. Like Heart of Darkness there is imperialism in this poem that cannot allow love flourish. In comparison, this text environment and the universe of Heart of Darkness cannot allow the existence of Twue Love because of cruelty and imperialism shown in them. In "My Last Duchess" the sixteenth century narrator tells of his deceased wife and the love she bestowed other men. It is proposed that this love causes the narrator to kill her. The sonnet starts with conversation of the speaker’s spouse (Browning 1). It is apparent the narrator is talking concerning his late wife as he starts the verse with 'That's my last Duchess pained on the wall" (1) and carries on to converse about the females in paining for the majority of the poem. He delicately hints that she stares at other men as he converses about the happy look on her expression in painting, a seem that was destined for the artist and not for the speaker. He also allusions how "her look went everywhere" (24). These denote of at her flirting paint an image of a women straying. Twue love does not exist in this poem too. However, unlike the other two texts, where males are the perpetrators of pain, here both parties (wife and husband) are perpetrators and victims. In conclusion, Heart of Darkness, My Last Duchess and Porphyria’s lover environments do not allow Twue love to exist. Conrad work present imperialism, where Marlow and Kurtz are too concern of their affairs without considering how they affect others. Where such self centered attitude prevails love cannot be realized. On a different perspective though same outcome is the case of “Porphyria’s Lover” where the female is being shown as an object. Lastly, “My Last Duchess” reveals jealousy that leads to murder of narrator’s wife. In both cases, Love cannot exist since it supposes to be a unifying factor but cases are divisive in nature. Works Cited Browning, Robert. My Last Duchess and Other Poems. London: Courier Dover Publications, 2012. Print Conrad, Joseph. Heart of Darkness. Harmondsworth: Penguin, 1975. Print. Power, Maggie. Porphyria's Lover. London: Touchstone, 1996. Print Read More