2. Heart of Darkness
Lesson Plan

3. OBJECTIVES Students will understand the following:
Critics have debated some of Conrad’s choices inHeart of Darkness
Students will understand how the novel reflects the world as Conrad saw it.

4. Materials For this lesson, you will need:
Reference materials about colonization throughout the world

5. Procedures
Elicit from students their emotional responses and analytic interpretations of Conrad’s ending for the novel. As this activity proceeds, students will have a chance to write their own ending for the novel. (In Conrad’s version, Marlowe decides not to tell Kurtz’s fiancée about her betrothed’s final degradation. When she asks what Kurtz’s final words were, Marlow wants to say, “The horror! The horror!” but he can’t. Instead, he tells her that Kurtz spoke her name.)

6. Procedures
After students discuss their responses and interpretations of Conrad’s ending, share with them critics’ comments on the ending. Critics have often written about Marlow’s white lie at the end. Some critics say it illustrates Conrad’s ideas about how we all must be protected from the savagery inside us, just as Marlowe protected Kurtz’s fiancée from the ugly truth about the decline of the man she intended to marry. Other critics, however, call it the novel’s one striking moment of weakness, when Conrad just couldn’t bear to keep telling the novel’s heavy story.

7. Procedures
With the preceding discussion in mind, as your students to write an alternative scene in which Marlow does tell Kurtz’s fiancée the truth, not only about Kurtz’s last words but also about everything Kurtz had become.
As students start prewriting, ask them to consider the following:
• What words Marlow might use in talking to Kurtz’s fiancée.
• What feelings he might have while he talks to her and how he might show or not show those feelings
• How Kurtz’s fiancée might react to what she hears from Marlow
• What might happen between Marlow and Kurtz’s fiancée after he discloses the truth

8. Procedures
When students proceed to drafting, encourage them to stay with Conrad’s tone and writing style.After time for peer editing and revision, ask volunteers to read their new endings aloud, leading into a discussion about the choices that students made.

9. Discussion Questions
Some critics believe that in Heart of Darkness Conrad illustrates how “the darkness of the landscape can lead to the darkness of social corruption.” What does this statement mean? How can one’s environment affect one’s actions, feelings, and morals? Is this statement believable or not? Have you ever experienced a change in yourself that resulted from a change in your environment? What kind of change was it?

10. Discussion Questions( Homework 1)
Heart of Darkness seems to blur the line between the so-called “advanced” society of Europe and the “primitive” society of Africa. What makes one culture “civilized” and another “savage” in the eyes of the world? Are these distinctions valid? Do you think that the culture you live in is “advanced” or “civilized”? Why?

11. Discussion Questions
InHeart of Darkness, Kurtz is depicted as an outstanding European who has been transformed by his time in the jungle—away from his home, away from familiar people and food, and away from any community moral support that might have helped prevent him from becoming such a tyrant. There was nothing and no one, in essence, to keep him on the straight and narrow. Have you ever found yourself in a similar situation? Was there ever a time in which you felt alone, in a strange environment, or different from everyone else around you? How did that experience affect you or change you? Did you find yourself pulled toward base, cruel instincts as Kurtz was? What did you do to cope with those feelings?

12. Discussion Questions
Kurtz’s dying words are a cryptic whisper: “The horror, the horror.” What “horror” could Kurtz have been talking about? Is there more than one possibility? Why do you think Conrad made this scene so ambiguous?
Some readers claim that Heart of Darkness is strictly a political novella. Others, however, say it’s really a story about the human condition. Can a work of fiction be interpreted in different ways? Should readers consider the author’s intent when analyzing a story?

13. Discussion Questions
Heart of Darknesscan sometimes seem to readers like an incredibly dark, depressing story that paints civilizations in a very negative light. Did it seem this way to you, or did the story contain any positive moments? If so, what were they? Why did they seem positive?

14. Giving Voice to Africans
Some readers ofHeart of Darknesshave argued that the story is racist because Conrad’s African characters rarely speak and have little or no individual identities. Invite your students to discuss this criticism of the novel and to revise the novel to counter the critical attack. Ask each student to imagine that he or she is one of the African characters from the novel and now has an opportunity to write a journal entry describing experiences in the novel from his or her perspective. Advise students that their journal entries should not be retellings of scenes from the novel; rather, students should create scenes that logically might have occurred during the course of the novel but that Conrad chose not to depict. Be sure to encourage students to communicate the feelings of the characters they are pretending to be. When they are finished, ask a few volunteers to share their work with the class.

15. Giving Voice to Africans
Colonial Conditions King Leopold II’s ownership of the Congo is certainly not the only example of colonialism. Even the United States began as a group of 13 colonies. Ask your students to use the library and Internet to learn about other instances of colonization in the world. Students’ research should include the conditions under which natives lived when rulers from other lands controlled them. Then ask students to write imaginary dramatic scenes that could have taken place in the colonies they researched. The natives’ actions and speeches should reflect the colonial conditions of the colonies.

16. Heart of Darkness has been considered for most of this century not only as a literary classic, but as a powerful indictment of the evils of imperialism. It reflects the savage repressions carried out in the Congo by the Belgians in one of the largest acts of genocide committed up to that time. Conrad's narrator encounters at the end of the story a man named Kurtz, dying, insane, and guilty of unspeakable atrocities. More recently, African critics like Chinua Achebe have pointed out that the story can be read as a racist or colonialist parable in which Africans are depicted as innately irrational and violent, and in which Africa itself is reduced to a metaphor for that which white Europeans fear within themselves.

17. The people of Africa and the land they live in remain inscrutably alien, other. The title, they argue, implies that Africa is the "heart of darkness," where whites who "go native" risk releasing the "savage" within themselves. Defenders of Conrad sometimes argue that the narrator does not speak in Conrad's own voice, and that a layer of irony conceals his true views.

18. In 1975, Chinua Achebe published an essay, "An Image of Africa: Racism in Conrad's 'Heart of Darkness'," wherein he labeled Conrad a "thoroughgoing racist." The essay set off a storm of controversy regarding Conrad's legacy. Achebe's point of view is that Heart of Darkness cannot be considered "a great work of art" because it is "a novel which celebrates... dehumanization, which depersonalizes a portion of the human race."
Referring to Conrad as a "talented, tormented man," Achebe drew on several instances of apparent racism in Conrad's writings in which the author derided "niggers" as variously "unreasoning," "savage" and "inscrutable." Conrad's advocates, however, in defending his reputation and the ongoing value of his work, have reproached Achebe with disregarding the "historical context" of Conrad's work.

19. Alienation and Loneliness
Throughout Heart of Darkness, which tells of a Journey into the heart of the Belgian Congo and out again, the themes of alienation, loneliness, silence and solitude predominate. The book begins and ends in silence, with men first waiting for a tale to begin and then left to their own thoughts after it has concluded. The question of what the alienation and loneliness of extended periods of time in a remote and hostile environment can do to men's minds is a central theme of the book. The doctor who measures Marlow's head prior to his departure for Africa warns him of changes to his personality that may be produced by a long stay in country. Prolonged silence and solitude are seen to have damaging effects on many characters in the book.

20. The "darkness" of the title is the book's most pervasive symbol
The "darkness" of the title is the book's most pervasive symbol. In general, it refers to the incomprehensible and the unknowable; more specifically, it refers to that negative force, whatever it is, which stands opposed to the Victorian era's ideals of progress. Marlow finds this brute force in the jungles of the Congo, but he learns that it isn't restricted to the jungle. Certainly it exists where civilization and progress haven't yet penetrated, but it exists in advanced society, too. (Conrad associates images of darkness and gloom with the city of London.) Further, Marlow learns that the darkness exists not just externally, as a force, but also internally: we all carry the capability for reversion, for evil, somewhere within us.
Consequently, the "heart" of the title is a pun. On the one hand, it means "center": the heart of darkness is the center of the jungle, specifically the Inner Station where Kurtz dwells. But it also means "the human heart": Kurtz is black hearted in the traditional sense of the word-cruel, wicked. And since Marlow hints that we all have darkness somewhere in our hearts, then perhaps the "heart of darkness" refers, bleakly, to the human situation: striving toward the light of progress, but pulled back by the power of darkness.

21. Conrad suggests that civilization is necessary to contain—give order to—the evil that constitutes our most inner being. The story negates Rousseau’s romantic idea of the noble savage, suggesting that there is nothing noble at all about primitive life, for left to our own ways, we would descend into evil.  Traveling into the center of Africa is traveling into the heart of the individual, away from social rules and demands and into a place where people act by impulse and greed, seeing their own benefit.  That is the meaning behind the words “The horror! The horror!”