Hell Away from Home

Hell Away From Home

For many people, it is easy to feel prejudice and hatred for those who are different. The imperialistic beginnings of the late 18th early 19th centuries fueled immense amounts of race-based hatred and social prejudice, all of which is reflected in Joseph Conrad's, Heart of Darkness. With his use of minor characters, specifically that of the Dutch sailor Freslevan, Conrad is able to highlight the brutality and absurdity of white man's crusade through uncharted territories. At the same time, however, Freslevan's appearance is symbolic of the power of the jungle and it's connection with the natives, suggesting the mere futility of imperialistic motives.

Throughout the novel, the Congo is portrayed as a dark landscape in dire need of the benevolence of the European nations. However, this benevolence is oftentimes enforced through the use of violent and merciless civilizing tactics. As Marlow begins his tale of his journey up the Congo, he refers to the continent as "a place of darkness" (10). This darkness is synonymous for the uncivilized nature of Africa, and is the reason for Marlow's journey to the continent. When Marlow discusses the story of Freslevan, he notes that Freslevan was described as, "the gentlest, quietest creature that ever walked on two legs" (12). This perception of the Dutchmen is quickly contradicted when he is angered over a "misunderstanding about some hens" (11). As a result of his anger, Fresleven confronts a nearby tribe of natives and chooses to "hammer the chief of the village with a stick" (12). This scene, which depicts the absurd need of colonists to assert

their power over the natives and their immense lack of restraint, reflects the reoccurring images of absurdity that occur throughout the novel. Although Freslevan is portrayed as a kindhearted human being, his actions prove otherwise. Similarly, when a fire burns down a goods warehouse at one of Marlow's stations, one of the Europeans accuses a slave of having started the fire. Marlow notes that, "a nigger was being beaten nearby" (34). Not only does this exemplify the blatant cruelty of the Belgians, but it also reflects Marlow's seeming indifference to the mistreatment, as well as his own racism towards the natives. For a group of people who hope to civilize the barbarians, there is a startling amount of willingness to resort to violence on first impulse. Marlow's crew is strapped constantly with their "Winchesters at 'ready' in their hand" (59), and when the natives begin to shoot at his vessel, Marlow notes that one of his "blood thirsty" (77) crew members "positively danced" (77) at the idea of being able to shoot and kill the natives. The violent and ruthless tendencies of the Europeans not only affect the natives, but also the land.

The reoccurring images of the devastation of the land and villages, symbolizes the cruel and destructive path that imperialism carves through the Congo. After Freslevan is killed, the village is deserted, "the huts gaped black, rotting all askew within the fallen enclosures" (12). The rot and decay depicted are images that repeat themselves throughout the novel, suggesting that the aftermath of imperialism