Joseph Conrad’s “The Lagoon”: The Story in a Nutshell

"The Lagoon" opens with the white man instructing his steersman to spend the night in
Arsat's clearing, a remote location amidst dense, seemingly motionless forests and a "stagnant
lagoon". The native boatmen express a strong dislike and fear of Arsat, viewing him as a
stranger who "proclaims that he is not afraid to live amongst the spirits that haunt the places
abandoned by mankind," and suspecting that "white men care not for such things, being
unbelievers and in league with the Father of Evil". Upon arrival, the white man finds Arsat, a
powerful young man, who asks him is for medicine. Entering Arsat's hut, they discover
Diamelen, a woman in the throes of a high fever, unconscious and seemingly "going to die".
Arsat reveals she has been ill for five nights and expresses his despair, asking, "Tuan, will she
die?". The white man, who has known and liked Arsat for years as a faithful and brave friend,
sorrowfully confirms his fear.
As night falls and the white man sits by a small fire, Arsat joins him, his voice filled
with a desperate need to unburden himself. He challenges the white man, "If such is my fate. I
hear, I see, I wait. I remember . . . Tuan, do you remember the old days? Do you remember my
brother?". After a brief silence, Arsat cries out, "O Diamelen!" and then begins to speak "in the
night," before "the eye of day looks upon my sorrow and my shame; upon my blackened face;
upon my burnt-up heart". He recounts his past as a "sword-bearer of the Ruler" alongside his
brother, describing a time of peace before his eyes "had looked upon the one who is dying
there--in the house". He confesses his overwhelming love for Diamelen, describing how he fed
"the hunger of my heart on short glances and stealthy words". Arsat explains that his brother,
who understood his plight, planned their escape during a communal fishing expedition.
The narrative then plunges into the desperate flight. Arsat's brother, consistently
portrayed as strong and brave, "no better paddler, no better steersman", made the crucial
decisions and sacrifices. He proposed that they, as men "who take what they want and can hold
it against many", should take Diamelen. When pursued by the Rajah's men, it was Arsat's
brother who bravely stayed behind to hold them off with a gun the white man had given him,
urging Arsat to "Run with her". Despite his brother's immense courage and strength, and his
cries of "My brother!" and "I am coming!", Arsat, driven by his love and longing to be with
Diamelen "in a safe place beyond the reach of men's anger," chose to paddle away without
looking back. He heard his brother cry his name three times, followed by shouts of "Kill!
Strike!", yet he continued to push the canoe into deep water, clinging to the illusion that with
Diamelen, he could find "a country where death is forgotten--where death is unknown!".
After finishing his tragic confession, Arsat, standing over the "dying embers of the fire,"
repeats, "Tuan, I loved my brother". In a moment of raw anguish, he reveals the depth of his
internal conflict and self-preservation, whispering with intense violence, "What did I care who
died? I wanted peace in my own heart". As the sun rises, Diamelen finally dies, and Arsat
declares, "She burns no more". Her death shatters his world of illusions; he states, "I can see
nothing," and acknowledges, "There is no light and no peace in the world; but there is death--
death for many". Recognizing his profound guilt and the futility of his past choices, Arsat
declares his final resolution: "We are sons of the same mother--and I left him in the midst of
enemies; but I am going back now". He vows to "see clear enough to strike--to strike",
indicating his intention to avenge his brother's death. The white man departs, leaving Arsat
standing alone, staring into the rising sun and "the darkness of a world of illusions".

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 Questions with Answers

Joseph Conrad: Background and Literary Details

1. What was Joseph Conrad's full birth name? Józef Teodor Konrad Korzeniowski.
2. When was Joseph Conrad born? December 3, 1857.
3. Where was Joseph Conrad born? Berdichev (formerly Poland), Ukraine.
4. What were the names of Joseph Conrad's parents? Apollo Korzeniowski and Ewa (nee
Bobrowska).
5. Why was Conrad's father imprisoned when Joseph was three years old? For supposed
revolutionary political affiliations.
6. At what age did Joseph Conrad lose his mother to tuberculosis? Eight.
7. At what age did Joseph Conrad's father pass away? Twelve.
8. Who took care of Joseph Conrad after his father's death? His maternal uncle, Tadeusz
Bobrowski.
9. What new approach to life did Tadeusz Bobrowski introduce to young Joseph?
Conservatism, or strict social discipline.
10. When did Conrad leave Poland for Marseilles to become a seaman? September 26,
1874.
11. When did Joseph Conrad make his first contact with the British Merchant Service? July
11, 1878.
12. What was the name of Joseph Conrad's first British ship? The Skimmer of the Sea.
13. When did Joseph Conrad become a British subject? August 1886.
14. When did Joseph Conrad visit the Belgian Congo? 1890-1894.
15. What negative effect resulted from Conrad's visit to the Congo? He underwent a
physical and mental breakdown that affected his health for life.
16. What positive outcome resulted from Conrad's voyage to the Congo? He was able to
write the famous novel "Nostromo".
17. How long did Conrad's sea career span? Twenty years.
18. What ailment did Conrad suffer from in the last years of his life? Rheumatism.
19. What honour did Joseph Conrad refuse in 1924? An offer of knighthood.
20. When did Joseph Conrad die? August 3, 1924.
21. What was the cause of Joseph Conrad's death? Heart attack.
22. Where was Joseph Conrad buried? Canterbury.
23. What was Joseph Conrad's father's profession, which exposed Conrad to literature?
Language translator.
24. What did Joseph Conrad always dislike? The Christian religion, its doctrines,
ceremonies, and festivals.
25. Conrad's gloomy nature was predominantly a result of what? His early experiences as
a child and his own disordered young manhood.
26. Which character does Conrad frequently use in his novels to find an English identity
and voice? Marlow.
27. What does Lord Jim offer the reader a glimpse of? The tragic faults of mankind.
28. What was Joseph Conrad's greatest strength and weakness as a writer? His odd way of
using oblique symbolism.
29. What kind of characters have been influenced by Conrad's narrative style? Anti-heroic
characters.
30. Conrad's stories and novels predominantly feature what kind of setting? Nautical
settings (concerning navigation).
31. While some of his works have a strain of romanticism, Conrad is viewed as a precursor
of what literary movement? Modernist literature.

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"The Lagoon": General Elements, Techniques, and Malay Terms
54. Where was "The Lagoon" first included in 1952? "The Rinehart Book of Short
Stories".
55. What kind of narrator is used for the overall story of "The Lagoon" (excluding Arsat's
monologue)? Omniscient narrator.
56. How many narrators are there in “The Lagoon”? Two: An omniscient narrator, and
Arsat.
57. Why do you think so many sensuous imageries are used in "The Lagoon? Conrad
wanted to describe and transmit impressionistically the dramatic story of a man
surprised by his own act of cowardice.
58. What Malay term refers to the main boat captain/leader of the oarsman in "The
Lagoon"? Juragan.
59. What is 'Tuan' a Malay term for in "The Lagoon"? Master or Sir or Sire.
60. What is a 'sampan' in the context of "The Lagoon"? A Chinese small boat.
61. What is a 'prau' as mentioned in "The Lagoon"? A larger type of boat.
62. What is a 'sarong' mentioned in the description of Arsat? A traditional garment worn
by men.
63. How is the white man characterized in "The Lagoon" regarding his interactions with
Malays? He has a long experience and acquaintance with them since the time of
trouble and war.
64. What does the "displacement motif" in "The Lagoon" refer to, linked to the white man's
travel? His physical journey that unveils Arsat's self-seclusion.
65. What central conflict in "The Lagoon" is described as weighing upon the individual to
accuse the community? Individual vs. community confrontation.
66. What does "The Lagoon" accord a decisive dimension to in its narration? The isolated
actions of self-marginalized characters.
67. In "The Lagoon," memory is referred to as what type of faculty? The epic faculty par
excellence. (This statement means that memory is considered the quintessential or
supreme faculty for recounting and shaping epic narratives. The story uses memory as
a fundamental element of its narrative and thematic structure: Revisiting Stories: "The
Lagoon" employs a narrative technique that involves a "complete mix and match of the
past, primitive and retrospective narrative elements," where the epic is presented as
"stories revisited". This implies that the act of recalling and re-experiencing past events
through memory is central to the epic quality of the story. Characters Evoking the
Past: Characters like Arsat and the white man "constantly evoke their past to re-
appropriate a void abandoned self". Arsat, in particular, uses memory through
flashback technique to unfold his story to the white man, revealing his past actions
and their consequences. This act of remembering and sharing his personal history,
which involves heroic and tragic elements, gives it an "epic" dimension, even though
the story is also described as an "anti-epic" or "parody of the epic". Confronting Self
and Trauma: Arsat's confessions, which are rooted in his memory, are an attempt to
"break out a past he used to keep hidden as a shame, a failure, a lost battle for self and
autonomy". Memory allows him to funnel his ideals and resist his torment, even in a
"monologue". This process of remembering and articulating past traumas is crucial to
his internal struggle and the dramatic unfolding of his character. Essentially, in "The
Lagoon," the epic is not just about grand events happening in the present, but
significantly about the act of remembering and narrating past experiences,
especially those that define a character's heroism, failures, and internal conflicts.)

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 68. What type of narrative flow do the epic episodes in "The Lagoon" stream into, due to
Arsat being a "cornered solitary"? A monologue.
69. What is "The Lagoon" typified as, due to the mix of romance, heroism, epic, and non-
epic elements? A parody of the epic.
70. What type of "resilience" runs in the Conradian characters, allowing them to change
their space and place of actions? Phoenix resilience. (It refers to the characters'
motivations, such as Arsat's overwhelming love for Diamelen and his subsequent
profound guilt, and his decision to return to avenge his brother).
71. What are basic elements used to convey the atmosphere for the story of isolation and
failure in "The Lagoon"? Exotic, remote setting and superabundant imagery.
72. What narrative technique is used when Arsat recounts his past to the white man?
Flashback.

"The Lagoon": Setting and Imagery

73. What is the initial state of nature described in "The Lagoon" at the story's opening?
Motionless and undefined.
74. Which phrase from the story emphasizes the initial stillness of the natural setting?
"Nothing moved on the river but the eight paddles.".
75. What does the "river" imagery in "The Lagoon" represent in Arsat's mind? A way to
reach his mind, his subconscious.
76. What is the symbolic meaning of the "east" in the description of the wandering river
flowing straight into the sea? A place that harbours both light and darkness of the
subconscious life and consciousness/reasoning.
77. What feeling does the ominous cry of a bird in "The Lagoon" create? Anguish and
unaccomplishment.
78. How is the white man's canoe described as it approaches the lagoon, according to the
imagery analysis? Having a ghostly aspect, compared to an amphibious creature.
79. What does the "narrow creek" symbolise as the narrative proceeds into Arsat's story? A
harder way to penetrate into Arsat's subconscious.
80. How is the "darkness" of the forests described in relation to Arsat's mind? Mysterious,
invincible, scented, and poisonous, like the labyrinths of mind.
81. To what mythological river does "The Lagoon" implicitly draw an analogy in its
portrayal of the journey along the river? The river Styx. (In "The Lagoon," the journey
along the river implicitly draws an analogy to the River Styx from Classical mythology.
The River Styx traditionally separates the world of the living from the world of the
dead. This analogy is significant because, in "The Lagoon," the characters are portrayed
as being in a state where nobody is either "really" dead or living, but rather "only
absent, away from life and action". This connection emphasizes the story's focus on
mental processes and the dramatic experience of Arsat, who descends into his
subconscious world of isolation.)
82. What is the "stagnant" lagoon identified as a symbol for? Isolation, not only physical
but also moral, and Arsat's present attitude towards life.
83. What does the description of the sky above Arsat's dwelling at the lagoon signify?
"Glimpses" of light, not total darkness, because nature is free to watch
impassively.
84. In the hut, how is the light described, and what does it convey about learning more
about Arsat? Dim, conveying that shadows are letting in some light to clarify his
past.

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85. What imagery is used to portray Diamelen's death agony in the hut? Her wide-open,
glittering eyes, motionless and unseeing.
86. How does the story dramatically portray the parting daylight in relation to Diamelen's
parting from life? As an enormous conflagration of sunset put out by swift, stealthy
shadows.
87. In the imagery of death, what is opposed to the "red of life, of sin"? Darkness and
stillness of death.
88. What do the "sounds, stirring murmurs" that rise in the night foreshadow? Arsat's
readiness to finally unfold his story / no longer to keep silence about his past.
89. What imagery marks the day the brothers kidnap Diamelen? Red (for desire and
passion) and darkness (for sin and treason).
90. How is their escape by canoe described, emphasising poetic imagery? "We skirted the
sand beaches where the sea speaks in whispers to the land.". (This specific line is
highlighted as emphasizing the poetic nature of their flight. This vivid description is
part of the narrative surrounding the kidnapping of Diamelen by Arsat and his brother,
an event also marked by imagery of red for desire and passion, and darkness for sin
and treason.)
91. What does the rising sun and intense heat symbolise during Arsat's escape with
Diamelen? The youth, beauty, and health of the three young people, and their
courage/passion.
92. What does the "murmur powerful and gentle...of trembling leaves, of stirring boughs"
foreshadow? The mounting tragedy.
93. What imagery returns to the story after Arsat's confession, signifying death and a
gloomy atmosphere? A mist drifting low over the lagoon.
94. What feeling is suggested by the sound of "the drooping leaves of the palms rattled
together with a mournful and expiring sound"? Death.
95. What bright imagery illustrates hope and renewal after Diamelen dies? The rising sun
and the unveiled lagoon.
96. What old symbol does the writer use for the indomitable quest for liberation every man
carries within him? The eagle.
97. What is the symbolic interpretation of the creek widening and the forest receding when
the white man's canoe reaches the "lagoon"? That they have finally come to a place
where something is going to be revealed.
98. What dualistic visions echo far and wide during the white man's crossing over the river
in "The Lagoon"? Man in the wilderness, man versus nature.
99. What does the kaleidoscopic setting in "The Lagoon" mirror back? Unstable
characters whose seesaw words and manners frame a defiance discourse. (The
concept of a "kaleidoscopic setting" in "The Lagoon" refers to the way the environment
is portrayed through constantly shifting sensory details and visual impressions,
which in turn mirrors the unstable internal states of its characters, particularly
Arsat. The narrative describes a landscape that undergoes dramatic transformations
with light and shadow, from the "intense glitter of the river" and "fiery glow" of sunset
to the "darkness scented and poisonous of impenetrable forests". The "stagnant lagoon"
itself changes, "gleaming suddenly with reflected lights" and later covered by a "mist
drifting and low" before the "great brilliance burst upon the lagoon" at sunrise. This
fluid, changeable backdrop serves to externalize Arsat's profound psychological
turmoil. His "seesaw words and manners" are evident as his demeanour shifts from
initial "composed" questions to a "low and dreamy tone" for his confession, then
"mournful composure", punctuated by intense exclamations like "O Mara bahia! O
Calamity!" and ultimately a "whispering violence" as he admits, "What did I care who

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 died? I wanted peace in my own heart". This fluctuation in his emotional expression
and speech reflects his internal conflict, making him an "unstable character". This
instability also underpins his "defiance discourse"; his actions of eloping with Diamelen
against the Ruler's will—"We are of a people who take what they want—like you
whites"—and his final resolve to "strike" back and avenge his brother frame a life lived
in defiance of conventional loyalty and social norms, ultimately leading to his torment
and isolation.)
100. “O Mara bahia! O Calamity!”: Explain the context. (O Mara bahia is a Malay
term meaning a great danger/calamity):

The exclamation "O Mara bahia! O Calamity!" is spoken by Arsat during his deeply
confessional narrative to the white man in "The Lagoon". This cry of anguish occurs at
a crucial point where Arsat has just revealed how his intense love for Diamelen utterly
consumed his past and his very perception of the world, making everything else,
including his previous life and loyalties, seem to vanish. It serves as a lament and a
moment of intense emotional realisation that his profound desire for Diamelen was
the very source of the immense "calamity" and sorrow that has since defined his
existence. This interjection underscores the overwhelming and destructive power of
his love, signalling the tragic path it set him upon, which ultimately led to the betrayal
of his brother and his own enduring guilt and "burnt-up heart".

101. How is the river described at the start of the story, particularly in relation to the
sun? Shining smoothly like a band of metal.
102. What is the general state of the forests surrounding the river at the beginning of
the story? Sombre and dull, motionless and silent.
103. At the beginning, what is the only thing described as moving on the river itself?
The eight paddles of the canoe.
104. As the white man's canoe advances upstream, into what kind of land does it
seem to enter? A land from which the very memory of motion had forever departed.
(This poetic imagery conveys that the narrative is entering a region, specifically
Arsat's mind, where action has stopped. The description reflects an initial state of
motionlessness and undefined stillness in the natural setting, preparing the reader for
a sad story. Thus, the land's profound lack of motion symbolically represents Arsat's
psychological state, emphasizing the writer's focus on his "mental processes and the
dramatic experience".)
105. What is the nature of the bird's call heard astern of the boat as described in the
text? Discordant and feeble.
106. What is carved on the prow of the white man's canoe? A dragon-head.
107. How is the narrow creek described once the canoe enters it? Tortuous,
fabulously deep; filled with gloom.
108. What type of vegetation frames the reflected blueness of the sky around the
lagoon? Bright green, reedy grass.
109. How is Arsat's house described when it first appears in the distance? A little
house, perched on high piles, appearing black.
110. What type of palms are described as leaning slightly over Arsat's roof? Nibong
palms.
111. After sunset, how does the great lagoon appear in the darkness? Gleaming with
reflected lights, resembling an oval patch of night sky.
112. With the mist covering the land, how does the platform of the house appear to
float? Upon a restless and impalpable illusion of a sea.

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 113. How are the hydric presences (water surfaces) in "The Lagoon" described as
confronting man? With an inner man. (As the white man's canoe advances upstream
in "The Lagoon," it seems to enter a land "from which the very memory of motion
had forever departed". This vivid imagery signifies that the narrative is entering a
deeper psychological space, specifically Arsat's mind, where action has ceased. The
land's profound lack of motion, contrasting with the initial "motionless and undefined"
natural setting, symbolically foreshadows the sad story to come and emphasises the
author's focus on Arsat's "mental processes and the dramatic experience".)
114. How do the surrounding forests and waters incarnate living beings in the
eponymous short-story? They reflect images and forces through the eyes of the boat-
crew that are usually concentrated on humans and their society.
115. How is the narrow creek described in "The Lagoon," linking it to its profound
depth and gloom? Like a ditch: tortuous, fabulously deep; filled with gloom.

"The Lagoon": Characters, Plot, Situations, and Human Relations

116. When Arsat first confronts the white man, what is his demeanour as he asks for
medicine? Composed and calm.
117. What is the immediate reason for the white man's visit to Arsat's clearing? To
spend the night.
118. What is the general feeling of the boatmen towards Arsat? They dislike and
fear him.
119. Why do the natives fear the "lagoon" and avoid Arsat? Because he proclaims
he is not afraid to live among spirits that haunt abandoned places.
120. What does the repetition of "She hears nothing - she hears not me" and "She
sees nothing. She sees not me - me!" emphasize about Arsat's situation? His realisation
that only the conscious world will be left for him alone to face after her death.
121. What is the significance of Diamelen "burning" as she dies? It suggests she is
dying "unattended" because she went against her people's social traditions.
122. When Arsat says, "...the eyes of day look upon my sorrow and my shame; upon
my blackened face," what does his "blackened face" express? His tormented, sinful
conscience.
123. How does Conrad oppose the native (Arsat) to the white man, not only by skin
colour but by reactions? Native is simple, sincere; white man is distant, ambitious.
124. What is the "climax" of Arsat's story as he recounts it to the white man? When
he abandons his brother to the enemies to escape with Diamelen.
125. How many times does Arsat's brother call his name before Arsat pushes the
canoe into deep water? Three times.
126. To whom is Arsat's betrayal of his brother by not responding to his brother’s
calling his name ‘three times’ can be compared? Peter denying his association with
Jesus three times in Bible. (The core commonality highlighted is that both Arsat and
Peter chose life over death, and subsequently repented for their actions. This
comparison underscores Arsat's profound guilt and the tormented conscience he carries
after abandoning his brother to the enemies to escape with Diamelen.)
127. After telling his story, how is Arsat described? An indistinct and silent figure
above the dying embers of the fire.
128. What paradoxical question is the reader left with regarding Arsat's feelings for
his brother?: Did he or did he not love his brother?. (The reader is left with the
paradoxical question of whether Arsat truly loved his brother. This ambiguity arises
because, despite his brother being described as a "complementary half" and a "braver

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 or stronger man", Arsat makes the choice to abandon him to the enemies for his own
passion with Diamelen, even as his brother calls his name three times. This betrayal is
even compared to Peter denying Jesus, where both chose life over death but later
repented. Yet, after recounting his story and living with a "tormented, sinful
conscience", Arsat declares, "Tuan, I loved my brother". This emotional
contradiction, underscored by his outburst, "What did I care who died? I wanted
peace in my own heart", leaves the reader questioning the sincerity and depth of his
fraternal affection amidst his self-serving actions and subsequent profound guilt.)
129. Who is the only character mentioned to see the white eagle? The white man.
130. What does Arsat say to the white man that indicates his continued mental state
after Diamelen's death? "Now I can see nothing - see nothing. There is no light and
no peace in the world; but there is death.".
131. What decision does Arsat make at the end of the story? To go back and avenge
his brother's death.
132. How does Joseph Conrad end his study on human character in "The Lagoon"?
By showing Arsat as a man in crisis, driven by mysterious, obscure forces.
133. What does Arsat realize when Diamelen dies? That everything had been an
illusion and he had left his brother to die for nothing.
134. What is Arsat described as suffering from due to his failure to act and leaving
his brother to die? A blockaded feeling towards himself and a psychological,
subconscious guilty conscience.
135. What is the white man's role described as in "The Lagoon" regarding the
narrative? The vehicle through which we learn of Arsat's story.
136. What does Arsat's voice do "loudly in the profound peace" towards the end of
his confession? Vibrate, attempting to still resist / funnel ideals. (This signifies his
continued resistance and attempt to funnel ideals. Despite having revealed his
tormented past and guilt, his voice's vibration indicates he is still fighting internally and
trying to channel his convictions, rather than surrendering or being completely
defeated.)
137. What is Arsat's defiant statement about love, strength, and courage in
comparison to might and authority? That might and authority are given to rulers,
but love, strength, and courage are given to all men.
138. How is the white man's progress described as being impacted by the steersman
and paddlers? In "The Lagoon," the white man's progress along the river is significantly
impacted by the steersman and paddlers, whose actions are described as moving
"with evident speed, imprinting a bellicosity to the short-story". This speed and the
"manly actions" of the steersman and other paddlers highlight their powerful influence
on the journey. The steersman, in particular, is depicted as having "a full grasp and
control of the ongoing travel," with his "physical manoeuvres" contributing to a heroic
connotation. Their effective "boat mobility" and "connoisseur skills" demonstrate their
proficiency at navigating the river, which underscores their role in propelling the white
man's canoe forward at a notable pace.
139. What specific image is used to show the steersman's heroic connotation in
controlling the boat? The carved dragon of the boat's prow pointing at a gap in the
bushes.
140. When did Arsat's eyes first "look upon the one who is dying there—in the
house" (Diamelen)? After a time of trouble and war had ended, during a period of
peace.
141. What was the profession of Arsat and his brother? Sword-bearers of the Ruler.

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142. How did Arsat and Diamelen communicate their "great longing" initially?
Unseeing, through the scent of flowers, veil of leaves, and blades of long grass.
(This method of communication occurred during their stealthy meetings, where they
spoke to one another "through the scent of flowers, through the veil of leaves, through
the blades of long grass that stood still before our lips". This covert and prudent
exchange of feelings was described as a "faint murmur of our great longing",
highlighting the secretive and subtle nature of their early connection before their
abduction.)
143. What did Arsat's brother tell him about their people's nature when discussing
the abduction of Diamelen? "We are of a people who take what they want—like you
whites.".
144. What opportunity arose for Arsat and his brother to abduct Diamelen? The
Ruler and many important people went to the river mouth for a torchlight fishing
event.
145. After Arsat took Diamelen into the boat, what did his brother declare about their
new status? "We are cast out and this boat is our country now—and the sea is our
refuge.".
146. Why did Arsat beg his brother not to shout a cry of challenge during their
escape? He believed it would alert their pursuers too quickly and endanger
Diamelen.
147. What was Arsat's brother's plan to hold back their pursuers at the bay? To use
the gun the white man had given him, as the pursuers had no firearms.
148. What did Arsat do immediately after hearing his brother's last cry and shouts of
"Kill! Strike!"? He looked at Diamelen, then pushed the canoe into deep water and
paddled away.
149. What was Diamelen's likely profession or status within the Ruler's household
before she eloped with Arsat? A servant, possibly belonging to the lady Inchi Midah.
150. How was Diamelen described by Arsat and the white man in terms of her
appearance or general demeanour before her illness? A long-haired woman with an
audacious face and triumphant eyes.
151. What was Arsat's brother's assessment of Diamelen's physical capabilities
during their escape from the Ruler's men? She was a woman who could neither run
nor fight, but held Arsat's heart.
152. What were the primary symptoms of Diamelen's illness as described by Arsat
and observed by the white man? High fever, unconsciousness, and an inability to
hear or see.
153. Why do you think Diamelen was dying "unattended" in the remote hut? She
had gone against her people's social traditions by following Arsat.
154. What does Diamelen's death function as for Arsat, making him a solitary
outcast? An impetus that enlivens him.
155. What is the white man's presence described as being to Arsat's consciousness of
death and decline? An intensifier. (The white man's presence in "The Lagoon" is
described as an intensifier of Arsat's consciousness of death and decline. This is
because, despite the white man acting "somehow as second brother," his passive
presence amplifies Arsat's profound pain and sorrow, particularly after Diamelen's
death. This presence serves as a crucial catalyst, causing the "rage with which Arsat
expresses his social and relational emptiness" to culminate, pushing him to finally
unfold his long-kept story and break his silence about his past. The white man's role is
necessary for the "extrapolation of Arsat's id" and his fixation on past trauma,
compelling Arsat to articulate his "revenge discourse" aimed at his pursuers, oppressors,

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 and those he considers his family's murderers. Arsat chooses to speak in the night,
before "the eyes of day look upon my sorrow and my shame; upon my blackened face;
upon my burnt-up heart," revealing that this confession, facilitated by the white man, is
a direct confrontation with his "tormented, sinful conscience" and his inner guilt over
abandoning his brother.)
156. What deadly isolation is Arsat forced to experience? At the bedside of an
agonizing Diamelen, in her moribund state..
157. What were the roles of the Ruler and Inchi Midah in "The Lagoon", and what
was their connection to Arsat and Diamelen?

The Ruler (Rajah) was the head of the Malay community, and both Arsat and his brother
served as his sword-bearers, being "subjected to" his and Inchi Midah's will and power.
Inchi Midah is identified as "the lady with the veiled face" whom the Ruler feared, and
Diamelen was her servant. Both figures represented the established order and authority
that Arsat and his brother rebelled against.

158. How did the actions or presence of the Ruler and Inchi Midah directly influence
key events in Arsat's tragic story?

The Ruler's torchlight fishing expedition provided the crucial opportunity for Arsat and his
brother to kidnap Diamelen. Subsequently, Arsat's desperate escape was driven by his fear
of Inchi Midah's "fury" and the "Ruler's sword", as these represented the vengeance of
the community for defying their social traditions and established power.

159. What role does the White Man play?

The white man in "The Lagoon" serves a pivotal narrative role, primarily acting as the
vehicle through which the reader learns of Arsat's dramatic story. Described as a
"regular traveller over the river" with "long experience and acquaintance with the
Malays," particularly Arsat, his arrival at Arsat's clearing initiates a "displacement
motif" that unveils Arsat's profound self-seclusion. His presence functions as an
intensifier of Arsat's consciousness of death and decline, creating the necessary
impetus for Arsat to break his prolonged silence and recount his tragic past. While Arsat
is characterized as "simple, sincere," the white man is portrayed in contrast as "distant"
and "ambitious". Despite this, Arsat recalls him as someone who knew "how to keep
faith in council and how to fight without fear by the side of his white friend".
Conversely, the Malay boatmen view white men as "unbelievers and in league with the
Father of Evil," and they dislike the "weird aspect and ghostly reputation" of Arsat's
lagoon. The journey itself is marked by the "evident speed" and "manly actions" of the
steersman and paddlers, which "imprint a bellicosity to the short-story" and
symbolically underscore the white man's progress into Arsat's troubled mind. Notably,
the white man is the only character mentioned to perceive the symbolic white eagle,
which rises after Diamelen's death.
160. What is the significance of “the lagoon”?:
The lagoon in Joseph Conrad's "The Lagoon" serves as a multifaceted and central
symbol, primarily representing isolation. Described as "stagnant", it directly reflects
Arsat's present attitude towards life, where he does nothing but hide from it and from
himself. This symbolizes his physical and moral isolation.
The native boatmen dislike and fear the lagoon due to its "weird aspect and ghostly
reputation," and they avoid Arsat because he lives there, proclaiming he is not afraid of
spirits haunting abandoned places. This contributes to the sense that Arsat has

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 committed some wrong deed or has a mysterious past, as no one would live in such a
place without a powerful reason. The lagoon is also identified as a symbol for Arsat's
own psychological, subconscious guilty conscience. Furthermore, the remote location
of the lagoon, serving as an "isolation symbol," underscores why Diamelen dies
"unattended"—because she defied her people's social traditions by joining Arsat there.
While initially described as "stagnant" and surrounded by a gloomy atmosphere marked
by mist after Arsat's confession, the lagoon's symbolism evolves. After Diamelen's
death, with the rising sun, the "unveiled lagoon" is described as having lost its "gloomy,
weird aspect," signifying that its isolation is now over. This shift implies that Arsat's
subconscious is set free, and consciousness "painfully" returns to him, offering a
glimmer of hope and renewal.
161. Portrayal of Arsat:
Arsat is portrayed as a man profoundly divided between loyalty to his own blood and
his love for Diamelen. His pivotal act of abandoning his brother to their enemies to
escape with Diamelen constitutes the climax of his story, leading him to suffer from a
"blockaded feeling towards himself" and a "psychological, subconscious guilty
conscience". He lives in the "stagnant lagoon," which symbolizes his physical and
moral isolation, and is feared by natives for proclaiming he lives among spirits. The
white man's presence serves as an "intensifier" for Arsat's consciousness of death
and decline, compelling him to break his silence and recount his past. In his confession,
he admits his "blackened face" signifies his "tormented, sinful conscience". After
Diamelen's death, Arsat realizes his past actions were an illusion and he left his brother
to die for nothing, ultimately deciding to return and avenge his brother's death,
positioning him as a man in crisis driven by obscure forces.
162. Portrayal of Arsat’s brother:
Arsat's brother is presented as Arsat's "complementary half" of a composite
character, and together they served as "sword-bearers of the Ruler". He is consistently
depicted as a figure of strength and bravery, described as "no better paddler, no better
steersman, no braver or stronger man in their country". During their flight with
Diamelen, it is Arsat's brother who makes the crucial decisions and bears the highest
responsibilities, including the plan to use a gun given by the white man to hold back
their pursuers. His ultimate sacrifice comes when he dies holding off their enemies,
calling Arsat's name three times as Arsat paddles away with Diamelen. Arsat later
acknowledges his brother's love for him and his formidable strength.
163. Short story elements in the story:
"The Lagoon" is explicitly referred to as a short-story in the sources. Its short story
elements are evident in its focused narrative and limited scope, primarily
concentrating on "the dramatic story of a man surprised by his own act of cowardice",
specifically Arsat's internal conflict stemming from his choice between "loyalty to his
own blood and love".
Key elements include:
• Concise Plot Structure: The story utilizes an "in media res story-line" and employs
"flashback" as a central narrative technique to reveal Arsat's past, particularly the
climax of his abandonment of his brother.
• Focused Character Study: The white man serves as "the vehicle" through whom
Arsat's story is learned, allowing for a deep, concentrated exploration of Arsat's "mental
processes and the dramatic experience" as a "man in crisis".
• Atmospheric and Symbolic Setting: It features an "exotic, remote setting" with
"superabundant imagery" that conveys an atmosphere of "isolation and failure" and

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 symbolically mirrors Arsat's psychological state, such as the "stagnant lagoon"
symbolizing his "isolation, both physical and moral" and his "guilty conscience".
• Central Theme/Moral: The narrative delves into a specific moral dilemma,
demonstrating how "abstention certainly corrodes the soul more than the imperfect
contact with our fellow-men".

164. Describe various modernist elements in the story:

Joseph Conrad is considered a precursor of Modernist literature, and "The Lagoon"
exemplifies several key modernist elements through its narrative and thematic choices.
Firstly, the story deviates from traditional linearity by employing an "in media res
story-line" and extensive "flashback" to reveal Arsat's past. This structural choice
facilitates a deep "focused character study", delving into Arsat's "mental processes
and the dramatic experience" as a "man in crisis", profoundly "divided between
loyalty to his own blood and love". His "blackened face" symbolizes his "tormented,
sinful conscience" and "psychological, subconscious guilty conscience",
highlighting the modernist focus on internal, subjective experience and psychological
depth. Secondly, the "exotic, remote setting" and "superabundant imagery" are not
merely descriptive but "mirror back unstable characters", with the "stagnant
lagoon" serving as a potent symbol for Arsat's "isolation, both physical and moral"
and "guilty conscience". The narrative employs "exuberant sensuous imagery" to
"describe and transmit impressionistically" Arsat's dramatic story, aligning with
modernist impressionistic techniques and "oblique symbolism". Furthermore, Arsat is
presented as an "anti-heroic character" within a narrative typified as a "parody of
the epic", focusing on the "isolated actions of self-marginalized characters". His
confession, delivered as a monologue, further emphasizes the individual's subjective
experience and existential isolation. Finally, the story's exploration of "man’s
vulnerability and corruptibility" and its "dark irony" reflect the more complex and
often pessimistic worldview of the modernist period.
165. Describe the Impressionistic details in “The Lagoon”:
Impressionism in literature focuses on conveying subjective experiences, sensory
details, and atmospheric effects, often blurring the lines between external
perception and internal states. In "The Lagoon," Joseph Conrad employs "exuberant
sensuous imagery" to "describe and transmit impressionistically the dramatic
story of a man surprised by his own act of cowardice". Rather than presenting a
clear, objective reality, the narrative immerses the reader in perceptual and symbolic
details that reflect the characters' psychological states. For example, the initial natural
setting is described as "motionless and undefined" and the "wandering, hesitating river"
seems to reach Arsat's subconscious. The "darkness scented and poisonous of
impenetrable forests" is explicitly compared to "the labyrinths of mind", directly linking
the physical environment to Arsat's internal turmoil. Even the "dim light of the
dwelling" is not merely a physical description but conveys that "shadows are letting in
some light to clarify his past", signifying a subjective revelation. This consistent use of
symbolic settings like the "stagnant lagoon," which symbolizes Arsat's "isolation,
both physical and moral," and his "guilty conscience", along with details such as
his "blackened face" expressing his "tormented, sinful conscience", highlights the
story's modernist and impressionistic focus on subjectivity and profound
psychological depth.

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