Conrad incorporates visual imagery through colors and denotation in hopes of contrasting Marlow's gradually changing view of imperialism through the novella. Marlow’s
interaction with Kurtz’s intendant is representative of Marlow’s original
belief that an individual should not lie, yet defies it by stating that “The
last word he pronounced was—your name” (Conrad 124). Originally, Kurtz’s
intendant is committed to the idea that Kurtz’s memory must be preserved because
of his remarkable nobility, however, the Kurtz she imagines does not exist at
all. Marlow converses with the intendant knowing the concrete Kurtz: all the
terrible things he has heard throughout the journey, and Marlow keeps in mind
Kurtz’s last few words before he died as he is talking to the intendant. Marlow
goes against his original belief of lying by convincing the intendant that
Kurtz’s last words were of the intendant’s name. Marlow’s confusion is brought
through the section of the text where he states: “But I couldn't I could not
tell her. It would have been too dark—too dark altogether…” (124). The denotation
of “dark” is representative of the negativity of emotions that are created
during scene, and ultimately relates to Marlow originally believing that he
hates and detests lies, as he mentions earlier in the novella. The fact that
Marlow lies about Kurtz’s last words shows that the intendant believes
wholeheartedly in Kurtz’s nobility and thus entirely believes and embraces the
rationale for Western imperialism as compared to where Marlow’s view of
imperialism is deteriorating.
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