The White Man's Burden: Dangers Of An Unaware Audience

In the cartoon, John Bull and Uncle Sam, who represent Britain and America respectively, are portrayed to climb the mountain with carrying the burden of people from the colonised territories of Britain (China, India, Egypt, and Soudan) and America (Filipino, Porto Rico, Cuba, Samoa, and Hawaii), which definitively illustrates Kipling’s poem titled “The White Man’s Burden”. We can see the contradictory facial expression between these two white carriers, who must suffer the ponderousness of the journey, and the people inside the burden, who appear to be very jubilant and partly to gloat over the carriers below them. This contrast also opposes to the conventional racism against non-white, non-Western, and non-Christian people. These rocks of the mountain are also carved with different words which are supposed to characterise the white-privilege class of British and American society in 19th century, such as “barbarism”, “ignorance”, “oppression”, “brutality”, ...

The unknown and uncharted topography of the African continent first beckoned Conrad’s narrator, Marlow, into its depths in his boyhood: “Now, when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration” (Conrad, 5). When Marlow was grown and Africa was no longer a blank space on the map, but rather “a place of darkness,” there was still one river there that drew him especially, “a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land” (Conrad, 5-6). This same deep place that had seduced Conrad’s ivory hunting Kurtz into the horrors of its savage embrace had, in 1890, lured Conrad himself into adventure that turned him from sailor to writer (Smith, 25) and severely effected his health for the rest of his life (Conrad,v). As the voyage up the Congo proved fateful for the development of Conrad’s narrator, Marlow, it was equally fateful for Conrad’s individuation, as he reflects in his letters “Before the

In “The White Man’s Burden,” Rudyard Kipling writes, “Your new-caught, sullen peoples, Half-devil and half child...” Kipling is referring to people that were ‘uncivilized’ in accordance to European standards, and in this case, Africans. This demonstrates the superiority they felt in comparison, and in their minds, giving them the right to go in and civilize these people themselves with religion, clothing, education, etc. Kipling also mentions, “Take up the White Man’s burden—The savage wars of peace—Fill full the mouth of Famine—And big the sickness cease.” By this, Kipling meant it was an obligation for the Europeans to feed the starving and to help the sick. It illustrates the mindset of the Europeans who thought they were sacrificing and help the African colonies by colonizing them, whether it was what they truly believed or a mean to make themselves look better. The nationalistic and superior beliefs that Europeans harbored were significant motives for European imperialism in

Joseph Conrad’s Heart of Darkness has allowed me to view the world through a multitude of new lenses. In seeing Kurtz and Marlow’s disintegration when removed from society’s watchful eye, I began to understand that all people have a streak of darkness in them under the right circumstances. While the narrator, and many readers at the time of this novella’s publication, believed that the African natives being colonized were “savages”, this book sheds light on the true brutes in this scenario: the thoughtless Europeans. The other complexity that I never truly understood until reading this book, is the idea that there is a single story told about Africans in Western literature. Africa is portrayed as weak, primitive, and impoverished in most books

The movie we watched in class was called "White Man 's Burden." According to some sociologists the white man 's burden is an unwanted burden that white men, who are in the upper part of society, must bring the minority classes up to their status. For example, if it were applied today white folks would have to help bring black folks up into a higher class. While this theory was used many years ago, it is still in consideration today.

The burdens to the white men are the “newly- caught sullen people”. According to the text they are half devil and half child. This referrers to their child-like and devilish behaviors. Kipling feels that it is racist and wrong. The poem gives strong details about how this pertains to imperialism and Kipling’s views about it. He thinks it is wrong “to seek another’s profit and work another’s gain” and guide people “slowly to the light”. “Slowly to the light” hints that the white men were trying to guide them to Christianity and change them. I know this because Jesus is often referred to as the “light”. It is important for the white men to assume or take for granted the burden so they can “gain profit by others”.

Kipling refers to the “White Man’s Burden” as the moral obligation of white people to help other races. This is due to their own ideas that they were superior to other races.

Conrad, in Heart of Darkness, challenges the values of colonialism, but at the same time he conforms to the constraints of popular culture of the time in which he wrote. In this way, the extent to which he challenges mainstream ideas is limited in regards to the angles of his criticism. Conrad’s detailed descriptions of the Europeans in Heart of Darkness implicate his discontent towards colonial practices whilst certain references to the “black fellows” who reside in Africa show his opinions are influenced by his time, and thusly impact his acquired knowledge of what is politically correct or incorrect. Conrad challenges stereotypical

Marlow tells his shipmates on the boat (the Nelly) that the natives passed him “within six inches, without a glance, with that complete, deathlike indifference of unhappy savages” (16). Marlow’s story of his experience exhibits how the Europeans captured the natives and forced them to work; to strip their homeland of its resources and natural beauty. When the Europeans colonize Africa, they do not want to help the African people, but exploit them and put them to work for their own desire of obtaining ivory, rubber, and other resources and goods. As the Europeans imperialize the area, they do not build culture or assist in the development of the Congo region, but break down culture as they enslave the natives and take away their rights, along with stripping the area of resources and natural, earthly beauty, which is conveyed through the cruel physical treatment towards the natives. This treatment is also presented through the literary devices that Conrad decides to use to reveal the experiences of the natives to the

Chinua Achebe, a well-known writer, once gave a lecture at the University of Massachusetts about Joseph Conrad's Heart of Darkness, entitled "An Image of Africa: Racism in Conrad's Heart of Darkness." Throughout his essay, Achebe notes how Conrad used Africa as a background only, and how he "set Africa up as a foil to Europe,"(Achebe, p.251) while he also "projects the image of Africa as 'the other world,' the antithesis of Europe and therefore of civilization."(Achebe, p.252) By his own interpretations of the text, Achebe shows that Conrad eliminates "the African as a human factor," thereby "reducing Africa to the role of props."(Achebe, p.257)

A famous criticism of Conrad’s novella is called An Image of Africa, which was written by an African native named Chinua Achebe. In Achebe’s criticisms of Heart of Darkness, he points out the difference between descriptions of the European woman and the African woman, who was Kurtz’s mistress. The narrator describes the European woman as being calm and mature, and the African woman as being “savage” (341 Norton). Even though many writers claim that Marlow is kind to the Africans by bringing light to their situation, the real problem does not lie in his description of their situations, but his descriptions of the people themselves (30 Heart of darkness Interpretations).

Rudyard Kipling’s 1899 poem “The White Man’s Burden” epitomizes the European man’s view on imperialism, Euro-centrism and social Darwinism. Four centuries before 1899, such ideas were briefly hinted in the letter from Christopher Columbus to King Ferdinand and Queen Isabella, however by 1899 these attitudes strengthened and developed fully into their complete meaning. The U.S and Europe’s imperialism in the nineteenth century were the most influential ever in the history of human civilization. The immense motive for imperialism came from social factors including religion and Social Darwinism.

In “An Image of Africa”, Chinua Achebe comes to the bold conclusion that Joseph Conrad “was a bloody racist” (788), with his discussion centering primarily on Conrad’s Heart of Darkness as a racist text. Achebe’s reasoning for this branding rests on the claims that Conrad depicts Africa as “a place of negations at once remote and vaguely familiar in comparison with which Europe 's own state of spiritual grace will be manifest” (783), that Africans in Heart of Darkness are dehumanized through both the characterization of individual Africans and the Congo as a setting, and finally that Marlow is no more than a mouthpiece for Conrad’s personal views on race and imperialism. However, Achebe makes critical oversights and contradictions in the development of each of these argumentative pillars, which prove fatal to the validity of his overarching contention. This should not be construed, though, as a yes-or-no assessment of whether Conrad was a racist outside of what his written work suggests—Achebe himself has “neither the desire nor, indeed, the competence to do so with the tools of the social and biological sciences” (783)—but as an assessment of claims specific to Heart of Darkness and their implications for Conrad’s views and attitudes.

In Chinua Achebe’s essay, “An Image of Africa: Racism in Conrad 's Heart of Darkness,” Achebe purports that Joseph Conrad’s short story, Heart of Darkness, should not be taught due to it’s racist caricature of Africa and African culture. In Conrad’s book, Marlow, a sea captain, is tasked with venturing into the center of the Congo, otherwise known as the Heart of Darkness, to retrieve a mentally unstable ivory trader named Kurtz. Marlow narrates his adventures with a tinge of apathy for the enslaved Congolese who are repressed beneath the foot of the colonizing Belgians. In Heart of Darkness, the Africans are reduced to “savages” and cannibals with little or no moral values. It is Achebe’s argument that due to these characterizations, it is an abomination that Heart of Darkness be continued to be taught. Despite Achebe’s vehement opposition to the teaching of Conrad’s novel, academics should not only continue to teach Heart of Darkness in a lyrical sense, but also a historical one.

Chinua Achebe is considered as the man who redefined our way of reading Conrad’s Heart of Darkness. Indeed, while focusing on the description of Africa, the father of African literature criticized the novella for its racist stereotypes towards Africans and highlights the colonizer’s oppression on them. Even after thirty four years after his first delivered public lecture excoriating the book, “An image of Africa” he spoke again against it in an interview with Robert Siegel where he related that its author “was a seductive writer. He could pull his reader into the fray. And if it were not for what he said about me and my people, I would probably be thinking only of that seduction."