Belgium (Brussels Morning) – Mark Twain, Joseph Conrad, and Hergé—interpreted and critiqued Belgium’s colonial project in the Congo through their distinctive styles and works. Twain’s satirical essay “King Leopold’s Soliloquy” exposes the hypocrisy of King Leopold II’s defense of his actions in the Congo. Conrad’s “Heart of Darkness” presents a haunting and critical view of colonial exploitation through the experiences of its protagonist, Marlow. Hergé’s “Tintin in the Congo,” initially a portrayal of colonial adventure, later faced severe criticism for its racist depictions of the Congolese. Together, these works offer profound insights into the complex and often brutal realities of colonialism.
“The sun never sets on the British Empire” is a phrase that once epitomized the extensive reach of Britain’s colonial territories. By the 18th and 19th centuries, other European nations were also competing for overseas dominion. France expanded into Algeria, Russia extended its influence, Spain colonized South America, the Dutch controlled Indonesia, and Belgium established its controversial presence in the Congo. Imperialism, driven by promises
Literary Perspectives on Belgian Imperialism in the Congo
“The sun never sets on the British Empire” is a phrase that reflected the once vast expanse of Britian’s colonial possessions. By the 18th and 19th centuries other European nations began to compete with England in “claiming” overseas territories. Examples include the French in Algeria, Imperial Russia, the Spanish in South America, and the Dutch in Indonesia. To this list we might add Belgium in The Congo. Imperialism or colonialism as we know this process was motivated by many things; the promise of economic growth, national rivalries, moral superiority, and religious zeal. This article directs your attention to how three internationally recognized literary giants—disparate in style, content, and motivation— chose to interpret Belgium’s project in the Congo.
Satire and Sovereignty: Twain’s Critique of King Leopold in the Congo
Mark Twain has been praised as “the father of American literature—the greatest humorist the United States has ever produced.” Ernest Hemingway once claimed “that all modern American literature comes from Mark Twain.” Twain’s wit, colloquial speech and humor has popularized a distinctive genre built on American themes and language. Twain, in a shift from his humor and wisdom, wrote (1905) a brief essay called King Leopold’s Soliloquy. This short piece (less than 100 pages) isa work of political satire in which Twain hoped to parody Belgium’s King Leopold’s self- perception. In King Leopold’s Soliloquy, Twain scripted a fictional monologue of King Leopold attempting his own defense of the Belgian colonial project. The King is very defensive claiming that he had come to the Congo with the best of intentions—“with piety oozing from every pore wanting only to convert the native Congolese to enlightened Christianity and stop the slave trade.”
King Leopold believed that critical claims by “blabbering Belgian- born traitors” were false. In a stream of self-reflection which Twain believes to be a guilty conscience, Leopold stresses the fact that a king, any king , is doing God’s work and any criticism is pure blasphemy. Leopold attempts to justify atrocities and argues that as king, he is “above good and evil.” By using irony and satire, Twain indirectly condemns Leopold for what much of the world views as his brutal and destructive policies in the Belgian Congo.
Conrad’s Dark Voyage: Unveiling the Belgian Atrocities in the Congo
Twain likely never knew the global impact of his satirical essay. The text was more successful that he would image. His work of satire and parody was one of the first to lead the first international campaign for human rights and remains a hallmark of anti-imperialistic rhetoric. Joseph Conrad (1857-1924) was a Polish-British author noted for his mastery of a prose style which brought “non-English sensibility” into English literature. Conrad’s most well- known work Lord Jim (1900) is considered one of the classic novels of the 20th Century. It explores man’s coming to terms with himself and his past while seeking redemption and self-acceptance. This is precisely the essence of his 1890 vignette, Heart of Darkness.
Although fiction, the piece is based on Conrad’s actual personal experience as a steamship captain sailing up the Congo River. Conrad’s chief antagonist Charles Marlow, is involved in the ivory and rubber trade. He is horrified by both Belgian business practices and their treatment of the natives. He witnesses hangings ,torture, chained emaciated slaves and widespread illnesses. Ultimately, Marlow returns to Europe embittered, disillusioned, and contemptuous of the civilized world. Analysis of The Heart of Darkness by book critics run the gamut but tell us much about the perceptions of the Belgian presence in the Congo.
Hergé’s Tintin: Colonial Hero or Controversial Figure?
Many scholars focus on the deep psychological aspects of Marlow’s profound distress towards colonialism, describing the text as a “hard read”— perfect for an incomprehensible, inexpressive human situation.” Stylistically, Conrad’s ambiguity of words gives readers free rein to interpretation. Heart of Darkness was not a popular success during Conrad’s lifetime. Only during the 1960’s and the emergence of postcolonial studies did his vignette emerge as the focal point for critiques on the pros or cons of colonialism. Most critics saw its publication as an example of the monstrous dehumanization of African people. They view the book as the gold standard on the evils of European imperialism in Africa. Other critics are more sympathetic. They see the antagonist Marlow and by extension Conrad himself as on a hero’s journey. Nowhere does Marlow claim superiority on the part of Europeans on the grounds of genetic differences. He survives the African tribulations without breaking down physically or psychologically. The experience was a well-intentioned venture of strength.
For fans of comic books, the famed Belgian comic strip artist Hergé needs no introduction. Born under the name Georges Prosper Remi, Hergé’s work is widely regarded as the most influential comic creators in history. In 1930 he wrote a cartoon series entitled Tintin in the Congo. In it, Hergé sends the reporter Tintin and his dog Snowy to the Congo to chronical events there. Upon arrival the team is met by a receptive and cheering crowd of native Congolese. Tintin, after many harrowing adventures with wild animals and diamond smuggling criminals, is portrayed as heroic , brave and courageous. Tintin is able to gain the admiration of the native Congolese. He is seen as a god-like healer using quinine to cure the scourge of malaria. In one instance a local woman bows to him saying “…white man very great! He has good spirits…white mister is big juju man!”. Hergé would later face harsh criticism for his comic strip.
At first Hergé countered his critics by saying he believed in the “Belgian colonial and missionary zeal.” He hoped some of his readers would be inspired to do the continued good work in the Congo—“our beautiful colony which has great need of us.” By the late 20th century however Tintin in the Congo began to be characterized as a racist cartoon due to its portrayal of the Congolese as “infantile and stupid—-good at heart but backwards and lazy in need of European mastery.’’ Such criticism continues continues to this day. Criminal cases have ensued with civil lawyers arguing in court that Hergé’s work has amounted to “a justification of colonialism and white supremacy.” As a result of such strong criticism, attempts have been made in the U.K, the U.S.A, Belgium, and Sweden to either ban the book or restrict its availability to children.
The quote; The sun never sets on the British empire has been assigned to a Scottish philosopher named John Wilson (1785-1854). Not explicit in his quote is any value judgement of “colonialism.” The troupe by itself does not praise any of the virtues of colonialism (there were a few). Nor does the remark draw attention to failings of colonization (there were many!) . Rather, Wilson’s remark is neutral. For judgements about Belgium’s colonial project in the Congo, Twain ,Conrad and Hergé have drawn from their varied literary styles to better inform their readers. It is no accident that the literary “voices” of these accomplished writers have survived the test of time.
