# Transgressions of Prometheus: The Dark Legacy of H.G. Wells and Joseph Conrad
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Chapter 1: The Ethical Dilemma of Power
The haunting refrain from The Island of Doctor Moreau by H.G. Wells resonates profoundly:
"Not to go on all-fours; that is the Law. Are we not men?
Not to suck up Drink; that is the Law. Are we not men?
Not to eat Fish or Flesh; that is the Law. Are we not men?
Not to claw the Bark of Trees; that is the Law. Are we not men?
Not to chase other Men; that is the Law. Are we not men?"
These lines provoke a critical examination of Colonel Kurtz in Apocalypse Now (1979). Has he transcended moral boundaries, akin to Nietzsche's concept of the 'Superman', liberated from the constraints of Judeo-Christian ethics? Or has he regressed into a primal state where moral limitations have vanished? Conrad's novella from 1898 leaves us to ponder this dilemma, but are these interpretations fundamentally interchangeable?
In Heart of Darkness, Kurtz’s presence is nearly absent, save for his dying exclamations, "The horror! The horror!" and a chilling postscript in his report that reads, "Exterminate all the brutes!" Through these words, Kurtz embodies the consequences of unfettered Darwinian ideologies, witnessing humanity’s capacity for brutality and the commodification of life in the relentless pursuit of resources.
The atrocities in the Congo under King Leopold II exemplify this horror; an estimated 10 million Congolese perished under his regime, where failure to meet rubber quotas led to horrific punishments. Heart of Darkness (1899) emerged from Conrad’s experiences as a steamboat captain in the Congo, igniting public outrage against Leopold's brutal colonization.
The pseudo-scientific notions of racial supremacy, rooted in early 20th-century neo-Darwinism, directly facilitated these horrors. Both Kurtz and Dr. Moreau—who engage in eugenic pursuits—manipulate living beings, pushing the boundaries of scientific rationale to justify their actions. Where Kurtz seeks mass extermination, Moreau attempts to create a new species molded by the tenets of Judeo-Christian morality, instilling fear of divine retribution. Both figures exhibit a hubris that leads to catastrophic outcomes.
Yet, does Kurtz fail to recognize that he embodies the very brutality he condemns? His actions mirror those of a vengeful deity, reminiscent of early eugenic ideologies. Moreau’s ambition, too, reflects this duality. Rather than annihilate, he seeks to reform, aiming to eradicate the 'mark of the Beast' within humanity. His obsessive quest to create a 'perfect' being unveils the monster within himself, echoing the narrative of Dr. Frankenstein.
In a pivotal scene of the film adaptation, the Beast-people revolt against Moreau, igniting chaos reminiscent of Prometheus bringing fire—an emblem of enlightenment turned destructive. The Beast-people, realizing Moreau’s hypocrisy, turn against him, punishing him as he punished them. The brutal cycle of revenge and regression unfolds, leading to a poignant reflection on justice and morality.
Section 1.1: The Nature of Law on Moreau's Island
On Moreau’s twisted domain, the 'Law'—born from his arrogance—strips humanity of its complexity, reducing it to mere commandments. These laws serve to categorize and control, reflecting Moreau's limited understanding of what it means to be human. Their repetitious nature highlights an existential question: Are these Beast-people genuinely men, or merely constructs of Moreau's ambition?
Subsection 1.1.1: The Question of the Soul
The film's title suggests the lost souls of its characters—Moreau, Montgomery, and Parker—who grapple with their identities. It challenges the audience to contemplate the existence of a soul beyond the human realm, drawing parallels to other narratives like Never Let Me Go (2010) and Ex Machina (2014), which similarly probe the essence of humanity.
Section 1.2: The Legacy of Scientific Hubris
Wells criticized the portrayal of Moreau as merely a 'mad scientist' in The Island of Lost Souls (1932). Yet, Laughton's performance captures the essence of a scientist who has traversed ethical boundaries. The scientific landscape of the era, shaped by figures like J.B.S. Haldane, introduced concepts of eugenics that influenced future dystopian narratives.
The rise of the Nazi regime discredited earlier eugenics ideologies, yet the echoes of this dark legacy persist. Moreau’s character embodies the brutal intersection of colonialism and neo-Darwinism, controlling those he perceives as inferior.
Chapter 2: The Intersection of Literature and Film
Marlon Brando’s portrayal of Moreau connects him back to Kurtz, reinforcing the intertwined narratives of Wells and Conrad. Both creators warn against the dangers of unchecked ambition and the moral decay that accompanies the pursuit of 'progress'.
As Moreau chillingly states, "You see, I went on with this research just the way it led me," it becomes clear that the pursuit of knowledge devoid of empathy leads only to madness and horror. This echoes Marlow's reflection on Kurtz: "But his soul was mad."
The tragic trajectory from hubris to horror serves as a timeless reminder of the perils of ambition unchecked by morality. The atrocities depicted in these narratives continue to resonate, illustrating a cycle that, if unbroken, may repeat itself throughout history.
Reece Beckett