Summary Linguistic Obscurity in Joseph Conrad’s Heart of Darkness
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Linguistics
In modernist literature, language is in crisis, for “its simple relationship to the world, of naming and describing, no longer appeared to apply transparently, as ambiguity, irony, misunderstanding and the ineffable seemed commonplace” (Childs, 2002, p. 62). Highly related to these modernist fe...
Linguistic Obscurity in Joseph Conrad’s Heart of Darkness
Abstract
Joseph Conrad’s Heart of Darkness intensively presents modernist particularity shown in the form of
linguistic obscurity. This paper draws on Friedrich Schleiermacher’s hermeneutics to argue that it has
latent meanings and is presented through two categories: “silenced language” and “voiced language.”
The former reveals the deception, death and hurt brought by colonial conquest. The latter is best
exemplified by Kurtz’s Intended typified as an archetype of the Victorian woman, by which Joseph
Conrad intends to criticize the self-deception of many in the colonial era. In short, linguistic obscurity
respectively reveals Conrad’s critique of colonialism and his concern for humanity from the two
different paths.
Keywords: Joseph Conrad, Heart of Darkness, obscurity, silenced language, voiced language
Introduction
In modernist literature, language is in crisis, for “its simple relationship to the world, of naming and
describing, no longer appeared to apply transparently, as ambiguity, irony, misunderstanding and
the ineffable seemed commonplace” (Childs, 2002, p. 62). Highly related to these modernist
features, Joseph Conrad’s Heart of Darkness is intensively characterized by a notable linguistic
feature: obscurity. In his previous study, Caitlin Vandertop argues that it is “a form of
protomodernism that seeks to undermine Victorian realism’s pretensions to transparency and the
stability of meaning” (2018, p. 692). This strongly isolates Conrad’s work from traditional realism.
On another level, Ella Ophir relates the obscurity to Conrad’s inner feelings, by which she argues
that “language to Conrad often feels unnervingly detached from anything of substance within or
beneath it” (2012, p. 345). Therefore, the obscurity not only reveals a unique artistic feature but
also Conrad’s exclusive state of mind. In Frances B. Singh’s article, it has been further discussed
as a “hyperbolic language,” and it “point[s] out that real outrages have been committed” in the
Congo (2007, p. 206). Consequently, readers are highly likely to sense what Joseph Conrad intends
to insinuate: the critique of colonialism.
Typically, in Heart of Darkness, the language of the female figures exemplifies the linguistic
obscurity, and it is presented meaningfully in both silenced and voiced ways. The former can be
seen in Marlow’s description of the old woman’s look and the latter his conversation with Kurtz’s
Intended. In this paper, the old woman’s look is defined as a silenced language, for it conveys
something meaningful in a silent way. In comparison, Kurtz’s Intended eloquently expresses her
faith in Kurtz. Accordingly, her language is defined as a voiced language. In what follows, this
paper aims to find out the significance of linguistic obscurity by means of these two relatively
separate but closely related paths.
Silenced Language
Apart from the forms of linguistic obscurity, it must be noted that the whole story is
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narrated by Marlow, considering Schleiermacher’s argument on language and mind 1 , here, the
obscurity of silenced language possibly functions as a sign, which signifies Marlow’s inner
thoughts. Based on this, Schleiermacher’s grammatical explication and psychological explication
are employed as analytical devices. The former focuses on linguistic features, the latter inner
thoughts brought by the features. Besides, Schleiermacher also regards language as “a linguistic
designation” (1998, p. 9), which implies that grammatical explication precedes psychological
interpretation in literary study.
In the novella, the obscurity of silenced language is presented on the occasion that Marlow is in the
waiting room in the sepulchral city: “I began to feel slightly uneasy (...) the other scrutinizing the
cheery and foolish faces with unconcerned old eyes” (Conrad, 2006, pp. 1011). The episode shows
that Marlow feels something mysterious at this very moment, which is revealed through two crucial
adjectives: “uneasy” and “ominous.” Then, the two women are knitting black wool feverishly. The
adverb, “feverishly,” further strengthens Marlow’s mysterious feeling by describing the two
women’s action in an abnormal way. After this, Marlow is greatly shocked by the old woman’s
facial expression, which seemingly insinuates something, but what it is not clear. Consequently,
the scene, especially the old woman’s look, produces a sense of obscurity.
The scene further brings Marlow the sense of uneasiness, which undoubtably arises from his
surroundings. This is supported by the phrase, “something ominous in the atmosphere.” The phrase
emphasizes the very existence of ominous signs in the material world. Thus, it is likely to support
that Marlow is encompassed by uneasiness. In the following narration, Marlow endures a sense of
tension, for the noun, “conspiracy,” powerfully hints that Marlow is involved in an unspeakable
secret and the passive voice, “I had been let into some conspiracy” (Conrad, 2006, p. 10), further
mirrors that Marlow is taken into the conspiracy, not on his own will. Therefore, Marlow’s
uneasiness results from his surroundings. However, in Marlow’s description, the two women seem
unaffected. They say nothing at all. Neither can we find some words implying their opinions nor
their participation in the “conspiracy”. Then, why does Marlow only emphasize the male’s
uneasiness?
In Heart of Darkness, Marlow once said, “They live in a world of their own” (Conrad, 2006, p. 10).
In a relevant study, Nina Pelikan Straus argues that Marlow is “installed in a world from which the
Intended and all leisurely women are excluded” (2004, p. 204). Therefore, Marlow’s opinion on
women suggests that women are naive creatures and they have little contact with the external world.
In this respect, the narrator Marlow is implying that it is men who have connection with the external
world. This further highlights males’ participation in the “conspiracy” that made the experiencing
Marlow uneasy. Mariwan Hasan et al. argue that in modernist writings the emphasis of anxiety and
insecurity is a very notable feature, “which differs modern age from Victorian mood which
concentrates on confidence and assurance” (2021, p. 37). Therefore, Marlow’s uneasiness is not
only a mirror of the anxiety and insecurity of his sex, but also of his age.
Behind this sense of uneasiness, a sense of uncertainty also arises. He said, “I don’t know—
something not quite right” (Conrad, 2006, p. 10). Therefore, in a narrative order, Marlow’s sense
of uncertainty arises after his uneasiness, which demonstrates a progressive course. Besides, quasi
simile can also be found: “It was just as though I had been let into some conspiracy” (Conrad, 2006,
p. 10). The construction, “as though,” renders Marlow’s following description suspicious. Fetson
Kalua points out that Marlow “displays hesitancy and uncertainty about what he sees and speaks”
(2014, p. 13); Therefore, Marlow seems to
1
Schleiermacher admits that language demonstrates the utterer’s thoughts. See Hermeneutics and Criticism
and Other Writings.
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