III - Stave V

Heart of Darkness

by Joseph Conrad


Previous Chapter

"Thus I was left at last with a slim packet of letters and the girl's portrait. She struck me as beautiful -- I mean she had a beautiful expression. I know that the sunlight can be made to lie, too, yet one felt that no manipulation of light and pose could have conveyed the delicate shade of truthfulness upon those features. She seemed ready to listen without mental reservation, without suspicion, without a thought for herself. I conclucled I would go and give her back her portrait and those letters myself. Curiosity? Yes; and also some other feeling perhaps. All that had been Kurtz's had passed out of my hands: his soul, his body, his station, his plans, his ivory, his career. There remained only his memory and his Intended -- and I wanted to give that up, too, to the past, in a way -- to surrender personally all that remained of him with me to that oblivion which is the last word of our common fate. I don't defend myself. I had no clear perception of what it was I really wanted. Perhaps it was an impulse of unconscious loyalty, or the fulfilment of one of those ironic necessities that lurk in the facts of human existence. I don't know. I can't tell. But I went.

"I thought his memory was like the other memories of the dead that accumulate in every man's life -- a vague impress on the brain of shadows that had fallen on it in their swift and final passage; but before the high and ponderous door, between the tall houses of a street as still and decorous as a well-kept alley in a cemetery, I had a vision of him on the stretcher, opening his mouth voraciously, as if to devour all the earth with all its mankind. He lived then before me; he lived as much as he had ever lived -- a shadow insatiable of splendid appearances, of frightful realities; a shadow darker than the shadow of the night, and draped nobly in the folds of a gorgeous eloquence. The vision seemed to enter the house with me -- the stretcher, the phantom-bearers, the wild crowd of obedient worshippers, the gloom of the forests, the glitter of the reach between the murky bends, the beat of thle drum, regular and muffled like the beating of a heart -- the heart of a conquering darkness. It was a moment of triumph for the wilderness, an invading and vengeful rush which, it seemed to me, I would have to keep back alone for the salvation of another soul. And the memory of what I had heard him say afar there, with the horned shapes stirring at my back, in the glow of fires, within the patient woods, those broken phrases came back to me, were heard again in their ominous and terrifying simplicity. I remem- bered his abject pleading, his abject threats, the colossal scale of his vile desires, the meanness, the torment, the tempestuous anguish of his soul. And later on I seemed to see his collected languid manner, when he said one day, 'This lot of ivory now is really mine. The Company did not pay for it. I collected it myself at a very great personal risk. I am afraid they will try to claim it as theirs though. H'm. It is a difficult case. What do you think I ought to do -- resist? Eh? I want no more than justice.' . . . He wanted no more than justice -- no more than justice. I rang the bell before a mahogany door on the first floor, and while I waited he seemed to stare at me out of the glassy panel -- stare with that wide and immense stare embracing, con- demning, loathing all the universe. I seemed to hear the whispered cry, 'The horror! The horror! '

"The dusk was falling. I had to wait in a lofty drawingroom with three long windows from floor to ceiling that were like three luminous and bedraped columns. The bent gilt legs and backs of the furniture shone in indistinct curves. The tall marble fireplace had a cold and monumental whiteness. A grand piano stood massively in a corner; with dark gleams on the flat surfaces like a sombre and polished sarcophagus. A high door opened closed I rose.

"She came forward, all in black, with a pale head, floating towards me in the dusk. She was in mourning. It was more than a year since his death, more than a year since the news came; she seemed as though she would remember and mourn forever. She took both my hands in hers and murmured, 'I had heard you were coming.' I noticed she was not very young -- I mean not girlish. She had a mature capacity for fidelity, for belief, for suffering. The room seemed to have grown darker, as if all the sad light of the cloudy evening had taken refuge on her forehead. This fair hair, this pale visage, this pure brow, seemed surrounded by an ashy halo from which the dark eyes looked out at me. Their glance was guileless, profound, confident, and trustful. She carried her sorrowful head as though she were proud of that sorrow, as though she would say, 'I -- I alone know how to mourn for him as he deserves.' But while we were still shaking hands, such a look of awful desolation came upon her face that I perceived she was one of those creatures that are not the playthings of Time. For her he had died only yesterday. And, by Jove! the impression was so powerful that for me, too, he seemed to have died only yesterday -- nay, this very minute. I saw her and him in the same instant of time -- his death and her sorrow -- I saw her sorrow in the very moment of his death. Do you understand? I saw them together - I heard them together. She had said, with a deep catch of the breath, 'I have survived' while my strained ears seemed to hear distinctly, mingled with her tone of despairing regret, the summing up whisper of his eternal condemnation. I asked myself what I was doing there, with a sensation of panic in my heart as though I had blundered into a place of cruel and absurd mysteries not fit for a human being to behold. She motioned me to a chair. We sat down. I laid the packet gently on the little table, and she put her hand over it.... 'You knew him well,' she murmured, after a moment of mourning silence.

" 'Intimacy grows quickly out there,' I said. 'I knew him as well as it is possible for one man to know another.'

" 'And you admired him,' she said. 'It was impossible to know him and not to admire him. Was it?'

" 'He was a remarkable man,' I said, unsteadily. Then before the appealing fixity of her gaze, that seemed to watch for more words on my lips, I went on, 'It was impossible not to --'

" 'Love him,' she finished eagerly, silencing me into an appalled dumbness. 'How true! how truel But when you think that no one knew him so well as I! I had all his noble confidence. I knew him best.'

" 'You knew him best,' I repeated. And perhaps she did. But with every word spoken the room was growing darker, and only her forehead, smooth and white, remained illumined by the unextinguishable light of belief and love.

" 'You were his friend,' she went on. 'His friend,' she repeated, a little louder. 'You must have been, if he had given you this, and sent you to me. I feel I can speak to you -- and oh! I must speak. I want you -- you who have heard his last words -- to know I have been worthy of him.... It is not pride.... Yes! I am proud to know I understood him better than any one on earth -- he told me so himself. And since his mother died I have had no one -- no one -- to -- to --'

"I listened. The darkness deepened. I was not even sure whether he had given me the right bundle. I rather suspect he wanted me to take care of another batch of his papers which, after his death, I saw the manager examining under the lamp. And the girl talked, easing her pain in the certitude of my sympathy; she talked as thirsty men drink. I had heard that her engagement with Kurtz had been disapproved by her people. He wasn't rich enough or something. And indeed I don't know whether he had not been a pauper all his life. He had given me some reason to infer that it was his impatience of comparative poverty that drove him out there.

" '. . . Who was not his friend who had heard him speak once?' she was saying. 'He drew men towards him by what was best in them.' She looked at me with intensity. 'It is the gift of the great,' she went on, and the sound of her low voice seemed to have the accompaniment of all the other sounds, full of mystery, desolation, and sorrow, I had ever heard -- the ripple of the river, the soughing of the trees swayed by the wind, the murmurs of the crowds, the faint ring of incomprehensible words cried from afar, the whisper of a voice speaking from beyond the threshold of an eternal darkness. 'But you have heard him! You know!' she cried.

" 'Yes, I know,' I said with something like despair in my heart, but bowing my head before the faith that was in her, before that great and saving illusion that shone with an unearthly glow in the darkness, in the triumphant darkness from which I could not have defended her -- from which I could not even defend myself.

" 'What a loss to me -- to us!' -- she corrected herself with beautiful generosity; then added in a murmur, 'To the world.' By the last gleams of twilight I could see the glitter of her eyes, full of tears -- of tears that would not fall.

" 'I have been very happy -- very fortunate -- very proud,' she went on. 'Too fortunate. Too happy for a little while. And now I am unhappy for -- for life.'

"She stood up; her fair hair seemed to catch all the remaining light in a glimmer of gold. I rose, too.

" 'And of all this,' she went on mournfully, 'of all his promise, and of all his greatness, of his generous mind, of his noble heart, nothing remains -- nothing but a memory. You and I --'

" 'We shall always remember him,' I said hastily.

" 'No!' she cried. 'It is impossible that all this should be lost -- that such a life should be sacrificed to leave nothing -- but sorrow. You know what vast plans he had. I knew of them, too -- I could not perhaps understand -- but others knew of them. Something must remain. His words, at least, have not died.'

" 'His words will remain,' I said.

" 'And his example,' she whispered to herself. 'Men looked up to him -- his goodness shone in every act. His example --'

" 'True,' I said; 'his example, too. Yes, his example. I forgot that.'

" 'But I do not. I cannot -- I cannot believe -- not yet. I cannot believe that I sha]l never see him again, that nobody will see him again, never, never, never.'

"She put out her arms as if after a retreating figure, stretching them back and with clasped pale hands across the fading and narrow sheen of the window. Never see him! I saw him clearly enough then. I shall see this eloquent phantom as long as I live, and I shall see her, too, a tragic and familiar Shade, resembling in this gesture another one, tragic also, and bedecked with powerless charms, stretching bare brown arms over the glitter cf the infernal stream, the stream of darkness. She said suddenly very low, 'He died as he lived.'

" 'His end,' said I, with dull anger stirring in me, 'was in every way worthy of his life.'

" 'And I was not with him,' she murmured. My anger subsided before a feeling of infinite pity.

" 'Everything that could be done --' I mumbled.

" 'Ah, but I believed in him more than any one on earth -- more than his own mother, more than -- himself. He needed me! Me! I would have treasured every sigh, every word, every sign, every glance.'

"I felt like a chill grip on my chest. 'Don't,' I said, in a muffled voice.

" 'Forgive me. I -- I have mourned so long in silence -- in silence.... You were with him -- to the last? I think of his loneliness. Nobody near to understand him as I would have understood. Perhaps no one to hear....'

" 'To the very end,' I said, shakily. 'I heard his very last words....' I stopped in a fright.

" 'Repeat them,' she murmured in a heart-broken tone. 'I want -- I want -- something -- something -- to -- to live with.'

"I was on the point of crying at her, 'Don't you hear them?' The dusk was repeating them in a persistent whisper all around us, in a whisper that seemed to swell menacingly like the first whisper of a rising wind. 'The horror! The horror!'

" 'His last word -- to live with,' she insisted. 'Don't you understand I loved him -- I loved him -- I loved him!'

"I pulled myself together and spoke slowly.

" 'The last word he pronounced was -- your name.'

"I heard a light sigh and then my heart stood still, stopped dead short by an exulting and terrible cry, by the cry of inconceivable triumph and of unspeakable pain. 'I knew it -- I was sure!' . . . She knew. She was sure. I heard her weeping; she had hidden her face in her hands. It seemed to me that the house would collapse before I could escape, that the heavens would fall upon my head. But nothing happened. The heavens do not fall for such a trifle. Would they have fallen, I wonder, if I had rendered Kurtz that justice which was his due? Hadn't he said he wanted only justice? But I couldn't. I could not tell her. It would have been too dark -- too dark altogether...."

Marlow ceased, and sat apart, indistinct and silent, in the pose of a meditating Buddha. Nobody moved for a time. "We have lost the first of the ebb," said the Director suddenly. I raised my head. The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky -- seemed to lead into the heart of an immense darkness.

Frequently Asked Questions about III - Stave V from Heart of Darkness

Why does Marlow lie to Kurtz's Intended about his last words?

Marlow tells the Intended that Kurtz"s final word was her name, when in reality his dying words were "The horror! The horror!" Marlow lies because he recognizes that the truth would shatter the Intended"s comforting illusions about Kurtz"s nobility. He reflects that telling her would have been "too dark—too dark altogether." This lie is deeply ironic because Marlow earlier in the novella declared that he detests lies, associating them with "a taint of death" and moral corruption. His willingness to lie demonstrates how profoundly his journey has changed his moral framework—he now understands that some truths are too destructive to share.

What is the significance of the ending of Heart of Darkness?

The ending of Heart of Darkness operates on multiple levels. Marlow"s visit to the Intended brings the novella"s themes of truth, illusion, and moral compromise to their climax. His lie preserves her idealized image of Kurtz, mirroring how European society maintained comforting myths about the "civilizing mission" of colonialism. The frame narrative then returns to the unnamed narrator aboard the Nellie on the Thames, who observes the waterway "seemed to lead into the heart of an immense darkness." This final image extends the darkness from the Congo to the heart of the British Empire, suggesting that the moral corruption Marlow witnessed is not confined to Africa but is embedded in European civilization itself.

Who is the Intended in Heart of Darkness?

The Intended is Kurtz"s fiancée, who is never named in the novella. Conrad portrays her as a figure of devoted mourning—still dressed in black more than a year after Kurtz"s death. She possesses "a mature capacity for fidelity, for belief, for suffering" and is described with an "ashy halo" around her pale forehead, giving her an almost saintly quality. She represents the sheltered European woman who is kept ignorant of colonial realities. Her unwavering belief in Kurtz"s greatness and goodness stands in stark contrast to the truth Marlow knows, making her both sympathetic and a symbol of willful European innocence.

How does the Intended's gesture mirror the African woman's gesture?

When the Intended stretches out her arms "as if after a retreating figure," Marlow explicitly connects this gesture to the African woman who stretched her "bare brown arms over the glitter of the infernal stream" as the steamboat departed with the dying Kurtz. Conrad uses this visual parallel to link the two women across continents—both reach out for a Kurtz who is lost to them. The doubling suggests that despite their vast cultural differences, both women are united in grief and in their victimhood. It also collapses the distance between "civilized" Europe and "savage" Africa, reinforcing the novella"s argument that darkness is universal.

What does "The horror! The horror!" mean in the context of the ending?

Kurtz"s dying words—"The horror! The horror!"—echo throughout the final scene even though Marlow conceals them from the Intended. Marlow hears them as a "persistent whisper" in the darkening room, as though the truth insists on being acknowledged despite his suppression of it. The phrase functions as Kurtz"s moral verdict on his own actions and, more broadly, on the colonial enterprise. Marlow considers this utterance an act of moral courage—a "summing up" that looked unflinchingly at the darkness within. By withholding these words from the Intended, Marlow protects her but also perpetuates the very illusions that enable colonial exploitation.

What role does light and darkness imagery play in this final section?

The light-and-darkness motif reaches its culmination in this final section. The scene unfolds during twilight, with the drawing room progressively darkening as the conversation deepens. The Intended"s pale forehead remains "illumined by the unextinguishable light of belief and love," a visual symbol of her faith persisting against encroaching reality. Her fair hair catches "all the remaining light in a glimmer of gold" just before Marlow"s lie. Conrad inverts the traditional association of light with truth: here, light represents illusion and ignorance, while darkness carries the weight of painful knowledge. The novella"s final image—the Thames flowing into "the heart of an immense darkness"—extends this symbolism to encompass all of European civilization.

 

Previous Chapter
Return to the Heart of Darkness Summary Return to the Joseph Conrad Library