Kurtz as Prometheus in ‘Heart of Darkness’ by Joseph Conrad

Introduction
Heart of Darkness is among the best novels of the 20th century. Of all first, it is a
symbolic trip in to the dark places of the spirit. Which is also a tale of religious breakdown. The
central notion of this novel-darkness is the real character of our world-gets in to the veins of the
storyplot. This sort of darkness will break human being, as it do to Kurtz. Through Marlow’s
narration, we can easily see how Kurtz, who arrived to Africa filled with hopes, deteriorated
actually and spiritually finally. Though Kurtz appeared to be the most successful and able man
that Marlow met during his trip, his life was a tragedy actually.

Prometheus represents Mankind or Man, but rather than viewing the drama as a cosmic
allegory, Prometheus Unbound is read as an internalized episode where the only personality is
Prometheus. Jupiter and all of those other character types are just projections of Prometheus’
troubled brain, and the occasions that happen “are actually mental, occurring in your brain of
Prometheus, and are created express to us by his words and by the Furies and Spirits which
embody his thoughts” (Butter, 1954, p. 171 as cited in Sjøvoll, 2014). Alternatively, driven by
both temptations: the desire to produce a fortune through ivory and the desire to find latent
kinship with the savages, Kurtz yielded with their mixed power by using his expert as deity to
help him attain his goals. But he shouldn't be seen as just a man that do everything under his own
wills. On the other hand, he was a consultant of the Western colonizers, and his behavior
represented the wills of what he belonged to. For instance, his behavior of enslaving the natives
and even slaughtering them at the Inner Inner Suction (self) was neither accused nor halted by
the Trade Company. As Marlow informed us, he was praised exclusively for his “talented
capacity” of collecting ivory.

And his eloquent report, with 17 webpages long and with “exterminate all the brutes” as
its last slogan, was actually written under the entrustment of the International Society for the
Suspension of Savage Customs which report was finally rescinded for publication with a
journalist after his death. The idea was that if indeed they do make it true, who be those that
worked for his or her endless desire after all of the native “brutes” become extinct? This makes
me trust Ian Watt that the disconnection in Kurtz between words and fact shown a disparity
between his verbal manifestation and his real behavior. (Watt, 1980, p.235). And it is simple to
understand why Kurtz seemed to be so weak and helpless amidst the wilderness, though he was
psychologically ambitious and powerful and thought that he could acquire everything as he
wished so long as he attempted hard.

Like Kurtz, it is becoming exceedingly common to see Prometheus’ character-

development as a changeover from an unregenerate satanic physique into a Christ-like savior, it
would be get proved which would more difficult too. In The Apocalyptic Eyesight in the Poetry
of Shelley (1964), Woodman (1964) posits a fascinating observation that I find enlightening and
useful when examining Prometheus’ development (Sjøvoll, 2014). It isn't a lot the transformation
in one type of number into another, however the regeneration of the dropped god. If one were to
compare Prometheus with another mythic shape, Woodman proposes evaluating Prometheus to
Dionysus: “The Promethean myth is a variance of the myth of Dionysus. Its fundamental
assertion would be that the creative power of the gods properly belongs to man which through
the recovery of the power man can restore his lost divinity” (Woodman, 1964, p. 70 as cited in
Sjøvoll, 2014). Prometheus Unbound all together is very much indeed an eyesight of mankind
repairing a lost sense of divinity through love and creating a fresh golden age. This bigger level
of regeneration and change is, within the world of Shelley’s episode, reliant on Prometheus’ own
recovery of his divinity.

Significance of the study

The type of Prometheus is a substantial character of history which is often being
represented parallel to the type Satan; evil and good respectively. The present research explores
the character types of Kurtz and Prometheus parallel the way they struggle to be good from bad
to good. The analysis would help the visitors to comprehend the heroes’ goodness and badness.

Statement of the problem

Goodness and Badness are most influential a simple components of the books. There is
certainly less work done on the type of Kurtz (Center of Darkness) in comparison to the type of
Prometheus (Prometheus unbound).

Objective of the study

The purpose of the analysis is to get the components of goodness in the characters of the
both works; Center of Darkness (book) and Prometheus unbound (episode), for this function,
charter of Kurtz from Center of Darkness is the major object of the research to explore
evaluating it with the type of Prometheus (Prometheus unbound)

Delimitation of Research
Today's study is delimited to the type of Kurtz (Heart of Darkness) analysis in
comparison to the type of Prometheus (Prometheus unbound)

Literature Review
Prometheus
Among the reasons for, or proof, an increased desire for Prometheus through the Intimate
period was that Aeschylus’ episode had been recently translated into British. The first British
version of Aeschylus’ play was Prometheus in Chains by T. Morrell in 1773, and by enough time
Shelley published his theatre there have been numerous British translations. Toward the change
of the century, the eye in Prometheus as a mythic physique grew, so that as the Romantics often
do with any mythological source materials, they adapted and sculpted Prometheus with their own
preference. The most frequent Romantic interpretation of the physique was that of the demigod
who, equipped with knowledge (as power), disrupts and shatters a vintage, stagnant suffers and
system for a noble, humanitarian cause. Observed in this light, the storyplot of Prometheus
became a favorite narrative among the liberal Romantics and revolutionaries of the switch of the
century (Lewis, 1992, p. 163). The myth and number of Prometheus resonated with the politics,
philosophical, and aesthetic behavior at that time, and became a pliable tool for the manifestation
of the feelings.

Furthermore to literary expressions depicting, or inspired by, Prometheus, Prometheus

was also a physique for philosophical, theological and politics thought at that time. In his article
“Around the Prometheus of Aeschylus”, Coleridge explores the allegorical implications the myth
is wearing understanding theology. Relating to Coleridge, Jove represents the divine Legislation
and it is “rationalism personified” (Lewis, 1992, p. 164). Prometheus then, is Idea and “divine
mankind”, stealing part of the divine spark, representing cognitive software, and bestowing it
upon “the heretofore ignorant and un-speculative animals of the planet earth” (Lewis, 1992, p.
165). Likewise Goethe views Prometheus as the foundation of creative thought, although his
implications are poetic than theological and rational rather. Prometheus, for Goethe, is not divine
essentially, but represents human being creativity that regardless of mankind’s restrictions, is
empowered by the independence “to do something and also to create” (Lewis, 1992, p. 165).

Curran (1986) proposes that the abundant desire for Prometheus was because
“Prometheus is a fundamentally political icon” (p. 431). In modern politics there arose a mythos
around Napoleon that was mainly linked to the myth of Prometheus, affected generally by
Goethe’s own proclaimed association of himself and Napoleon with the fire-stealing Titan.
Politics poetry of that time period was abound with portrayals of politics numbers, Napoleon
specifically, clad in Promethean imagery. Lord Byron was especially fascinated with the
physique of Prometheus and in his writings there may be found seventeen allusions to
Prometheus, many of which compare him to Napoleon (Lewis, 1992, p. 166).

At exactly the same time as Morrell was translating his version of Aeschylus’ drama,
Goethe wrote his own short version of Prometheus’ tribulation. In Goethe’s own feedback on his
reworking of the Prometheus myth, we will get proof that Intimate attitude these misconceptions
were treated as organic and pliable tropes: “The fable of Prometheus became residing in me. The
old Titan web I break up relating to my measurements” (Lewis, 1992, p. 2). Lewis (1992)
highlights that Prometheus’ narrative was especially attractive and highly relevant to the
Romantics, because its substance shown the period’s ever more popular custom of “revisionist”
poetry. Prometheus’ story is that of creativeness and liberty triumphing over an out-of-date and
oppressive system of thought and guideline. In an identical fashion this is precisely what the
Intimate poets were doing using their mythmaking: [A] revisionist poem both reconstructs the
version of truth held by its predecessor and retextualizes [sic] a fresh work from the old-both
complementing and subverting the task of the predecessors. A radical poet adapts, revises,
truncates, extends, or overturns the hierarchies, values, and paradigms of the extremely work or
custom that influenced the revisionist poem (Lewis, 1992, p. 3).

In The Ringers in the Tower (1971), Bloom (1959) sees two settings of psychic
maturation in British Romanticism: 1) that of Prometheus, and 2) that of “the true Man, the
Creativity”. Lewis provides some important understanding by reading Shelley’s Prometheus as a
parallel between both of these settings, and posits two Promethean numbers. The foremost is
Prometheus certain, who's the Prometheus of action, rebellion and intense defiance. This
Prometheus physique is the most typical in Romanticism, as a physique for social, cultural and
political rebellion. The second reason is Prometheus unbound, the “divine” Prometheus, which
has transcended his previous earth-bound condition and represents stoic quality, love and
harmony. As the rebellious Prometheus only guarantees wish and change, the “divine”
Prometheus enacts and ensures expect the near future through love and struggling (Lewis, 1992,
p. 193). The change of Prometheus in Taking action I of Prometheus Unbound is exactly a
change from the first of these modes in to the second. Prometheus unbinds himself, while not
actually, by transcending his previous self who was simply destined by hatred and self-pity and
becomes a passive Prometheus whose distribution to the energy of love is the first rung on the
ladder toward a fresh golden age.

Satan

While we are on this issue of historical contextualization, Personally i think it's important
to provide and clarify the importance of another physique who, alongside Prometheus, was a
predominant heroic emblem for the Romantics - Satan namely, or even more specifically
Milton’s Satan from Heaven Lost (1667). In his Preface, Shelley statements that the “only
imaginary being resembling in virtually any level Prometheus, is Satan”, and highlights that the
standard similarity between these numbers is their “courage and majesty and company and
patient opposition to omnipotent pressure”. While an audience unacquainted with the aesthetic
and politics culture of British Romanticism will discover this high praise of Satan somewhat
complicated or off-putting, the similarity Shelley is discussing here becomes clear if one
considers the overall attitude toward both these numbers in British Romanticism.

Schock (2003), among the educated classes perception in the devil, demons and a
“demonic world” waned in congruence with the rise of rationalism throughout the 16 th century or
just after the 16th century in 17th. By Shelley’s time, these ideas experienced lost so a lot of their
superstitious and spiritual strength that God’s adversary got become solely a rhetorical trope
(Schock, 2003, p. 12). Schock clarifies the way the “assault on Christianity” by liberal
intellectuals in the past due 18th and early 19th century “defamiliarized” Satan and wrenched
which could be observed in the context of spirituality. This physique then became an instrument
for discovering other “modern” issues such as mindset, politics and interpersonal reform
(Schock, 2003, p. 16-17). Like a rhetorical trope found in politics propaganda at that time, Satan
maintained a few of his spiritual characteristics as the best adversary. Whether utilized by the
revolutionists or the reactionaries, Satan was used as a personification of the foe (Schock, 2003,
p. 18).

Like a mythic/poetic physique, however, Satan underwent a gradual change regarding the
the overall defamiliarization of the number, but with strange and specific results. Before Shelley
and his modern poets could utilize Satan as an idolized shape in their idealist and/or politics
poetry, the body of Satan needed to be reinterpreted from scourge of mankind, to the hero of
Heaven Lost. Through the entire reception of Heaven Lost the amount of Satan underwent a
“metamorphosis” where “the dropped archangel steadily assumed heroic, sublime, and human
being aspects in the criticism and illustration of Milton” (Schock, 2003, p. 26). This is an activity
that began soon after the poem was initially released, although the change in interpretation relied
on more general shifts in moral, spiritual and politics behavior in Britain through the pursuing
centuries.

The first signs of Satan proving to be an interpretive challenge is seen in the illustrations
of Heaven Lost around enough time of its publication. The first illustrations of the poem in 1688
depict Satan with clear heroic characteristics, as well as sufficient grotesqueness to verify this is
a demon we are considering. This ambiguous combination of heroism and grotesqueness would
end up being a continuing custom among the illustrators of Milton’s poem. The inception of the
thought of Satan as “hero” in literary criticism can be thought to have begun with the poet and
critic John.

Dryden (1631-1700) discovers it in a purely formal sense, Satan was a heroic physique,
but was wanting to ensure his visitors that this truth did not impact the moral implications of the
poem (Schock, 2003, p. 26-27).

For some time after Dryden’s observation, the physique of Satan continued to elicit critical
reactions that forced the critic to obviously differentiate between moral judgments and within
aesthetic. It didn't take long, however, before a fresh method of the number of Satan surfaced,
causing the rigid separate between moral and aesthetic interpretations to dissolve: Satan as the
embodiment of the sublime (Schock, 2003, p. 29). While not yet a genuine hero, Satan was often
cited as the best exemplary case of poetic sublimity. When looking at these critics’ quarrels, one
cannot dismiss the admiration that, or not consciously, seeps through these interpretations.
Gradually the overall attitude toward Satan grew increasingly to a great extent through the
eighteenth century. Relating to Schock, by the mid-eighteenth century, interpretations
concentrating on the heroic, human being and sublime areas of Satan experienced completely
overshadowed moral and spiritual conversations of the poem (Schock, 2003, p. 29). Joseph
Addison’s Spectator feedback on Heaven Lost (1712) can be an example of an early on
crossover between behavior in the introduction of the heroic Satan, when he praises the sublimity
in the depiction of Satan and rates Milton’s Satan above Homer’s Odysseus in heroic stature
(Schock, 2003, p. 29). In the change of the century, Milton’s Satan got become almost
completely displaced from the moral and theological framework of his genesis, and became “the
apotheosis of individual will and awareness” (Schock, 2003, p. 26).

In the 1790’s there arose another strand of interpretation produced by Mary

Wollstonecraft, William Goodwin and Edward Blake, among others. These critics no more
concentrated exclusively on interpreting Milton’s work, but used Milton’s Satan as a setting of
expression for his or her own “transgressed ideals” (Schock, 2003, p. 31). Within their
reinterpretation of Satan, they weeded out any foundation or negative areas of the physique and
shaped an eyesight of Satan as hero and martyr who “perceives truth independently and
challenges benevolently for a just order” (Schock, 2003, p. 34). Satan’s rebellion against Jehovah
became a celestial allegory for these intellectuals’ rebellion against an oppressive expert they
considered arbitrary. This pattern of remolding Satan in the 1790’s developed through the
Passionate period as a common tendency of reimagining. From peripheral allusions to poetic re-
imaginings of Milton’s Satan, each of them had a very important factor in keeping: Satan’s link
with his original framework in Heaven Lost experienced become secondary, if not transparent
completely, and he was assimilated with other numbers and given different functions to match
whichever narrative and plan he had been positioned within (Schock, 2003, p. 36).

In the critical reception of Prometheus Unbound the seemingly loose and varied allusions
to Satan and Milton’s Heaven Lost in the drama have been granted copious attention. Although
some critics this allusion strategy as an all-natural part of Shelley’s syncretic mythmaking, others
have found the problem more difficult. This is specially the case for those critics who find it hard
to synthesize within Prometheus’ personality the simultaneous allusions to both Milton’s Satan
and Jesus Christ: “The surprise is situated not only in Shelley’s building of the Satanic hero but
also in the actual fact that the Prometheus who's the unrelenting Satanic rebel against God is also
the moderate and struggling Christ” (Wasserman, 1971, p. 295). With the annals of Satan’s
interpretive development, however, Shelley’s very liberal incorporation of the physique (indeed
both these numbers) needs not appear so strange. You will find two factors to the issue that
require to be considered: Firstly, as I've just described, Satan experience became an exceedingly
plastic material literary number when Shelley was writing. Regarding this - but moreover I feel
since it pertains to any extratextual shape alluded to in the episode - we should consider
Shelley’s unique setting of mythmaking as was talked about in the section IV. Reading Shelley’s
Mythopoesis. As can be evident in the next analysis, the un-regenerate Prometheus is often
portrayed much like Milton’s Satan. However, it's important to keep in mind that any similarity
to Satan is supplementary and Prometheus is his own personality, along with his own selection of
heroic characteristics and vices.

Research Methodology
My evaluation presents a detailed reading of the type Kurtz in Heart of Darkness the first
act of Prometheus Unbound, but at exactly the same time I enable some contextual
consciousness in my own interpretation. I've taken into account extra-textual resources and
general understanding of Conrad’s and Shelley’s views on various topics gleaned from my
research. While interpreting Conrad’s book and Shelley’s episode, I have wanted to stay as close
as you possibly can to the written text at hand rather than let the interpretation of this research be
espoused and accomplished by adding the text from other than the primary text also. However,
while reading Shelley’s Prometheus Unbound, it is hard never to consider, or at least let oneself
be up to date by, the countless historical, social, and literary recommendations in the poem.

Reiger is one critic who sees the prosperity of affects, allusions, and referrals in Shelley’s
poem to be discouraging: “What exactly are we to label of poetry which can't be enjoyed within
an intelligent way without a detailed understanding of it is resources?” (Reiger, 1967, p. 17).
Although I'll admit that understanding in to the historical and ethnic context that this poem
surfaced helps the critic to comprehend the poem better, I disagree that the poem can't be loved,
or comprehended, without detailed understanding of these resources. Among the tendencies I've
noticed in a lot of the critical reception of Prometheus Unbound is that enough time is spent
looking for, distill, and clarify these resources.
 As you critic has claimed, Prometheus Unbound "appears to invite deconstruction"
(Rajan, 1984, p. 320). I really do not disagree with this declaration so that as aforementioned,
Ridenour (1965) highlights that Shelley’s design of writing presents us numerous “systems”
without guidance or indicator of how exactly we should prioritize and understand them. The duty
of exploring the countless degrees of symbolism, allegory, and allusion Shelley presents us with
in this theatre, would be too difficult and considerable for a paper at this level. I've therefore
needed to contain my interpretation in an approachable range. ONCE I, in this evaluation, only
concentrate on Prometheus as a dramatic persona, most of the depth and difficulty of Shelley’s
mythopoesis (as an allegorical eyesight for humanity’s potential perfectibility) is regrettably,
albeit always, omitted. However, they are areas of the crisis which have been granted intensive
research by other critics. Rather than attempting to seem sensible of the many allusions and
sources that Shelley’s mythopoesis is constructed of, I plan to focus mainly on the portrayal of
Prometheus and his activities because they are offered to the audience in the dilemma, and
eventually relating it to Kurtz. In this real way, we'd explore Conrad’s Kurtz and Shelley’s
Prometheus as original and autonomous character types they may be within Conrad’s and
Shelley’s “new-mythology”.

Additionally it is made a decision to not consider Heart of Darkness and Prometheus

Unbound in light of play or book theory, and the formal and structural characteristics of the
episode or book will never be explored in this evaluation. In the next evaluation, the researcher
will be looking at Prometheus and Kurtz as mythic numbers and their presence within Conrad’s
and Shelley’s mythopoeses. In doing this, it is set to deal with the written text as a way to obtain
mythical narrative rather than concentrate on the constructions. Although there is without a doubt
much to be discovered from a nearer study of the lyricism, dramatic and novelist building of the
book and theatre, for the intended purpose of this evaluation it isn't relevant to take action at the
moment. The purpose with this evaluation is to explore Shelley’s entertainment of Prometheus as
a mythic physique associated with the Prometheus behavior of Kurtz, and there is certainly
plenty of materials to be explored in the essential mythic narrative that is shown, without delving
into a conversation of structural and poetic and textual details.
 Analysis
Greediness is a common personality of colonizers, which ultimately shows their great
desire to have fame, power and wealth in the majority of the cases. At the start, Kurtz appeared
to be quite successful in his purchase of three of these, and he was well-known for his great
eloquence, his complete power at the Internal Station-the capability to make everything and
every man under his control, and his exceptional capacity-the awful ways in collecting ivories.
And his cruelty was became the most effective weapon for him to rule his place. For instance, he
made the heads of natives who dared to offend him the amazing ornamentations outside his
windows. And he once threatened the take the indigent Russian if he refused at hand out his
small great deal of ivory, which demonstrated at exactly the same time how greedy and cruel he
was.

Just out of this small case, we fairly understand the reason why for Kurtz to announce
that everything at the Internal Station belonged to him. Therefore I’m not shock when it proved
that it was Kurtz who purchased the assault on the steamer, because “he hated sometimes the
thought of being rescinded” (Conrad, 2004, p. 91), even it was held with regard to conserving his
life. This reminds me the joke of the mean and greedy man: once he dropped into a fish pond and
was drowning, one of his own friends said: “Give me your hands and I’ll draw you out.” The
person didn’t hand out his hands. His friend thought for some time and said: “Take my hand, I’ll
out” pull you. And the person stretched his hands and was preserved at last. Regrettably, Kurtz
had not been saved finally, because he couldn’t leave the area that brought him prosperity and
fame, even with regard to conserving his life. And the energy that he gained from the wildness
experienced already made him an emperor which would neither allow his place nor his ivory fall
onto other’s hands, like the General Supervisor and his disciples.

All the above made Kurtz a Faustian bad soul. For him, there is no moral restraint since
all the natives there have been only “brutes” at the Inner Suction (self), and he previously then to
offer them freely and accept them as his own belonging human. To make certain that they might
go and gather ivory for him, he used the guns in his hands and the “great thoughts” in his mind's
eye. Obviously the second option was better, and its impact didn’t vanish even after Kurtz died
regretfully.
 “Kurtz-Kurtz-that means brief in German-doesn’t it” (Conrad, 2004, p.87). I really do
think do. Anything that was about Kurtz was brief: his popularity as an eloquent orator, his
profession as an ivory agent, and his life as well. Yet his impact on some particular people lasted
for a long period. For instance: Marlow considered the trip towards Kurtz as an enduring
headache that wouldn’t fade from his memory space: and Kurtz’s Intended was still in mourn
twelve months after his loss of life, what’s more, she told Marlow that she'd live with Kurtz’ last
words, which was only a lie by Marlow.

It really is natural but regretful that man didn’t gain his joy after working so difficult.
Obviously he was brutal and bloody both to the whites of lower position like the Russian and
also to the natives. Yet weighed against those who got wealthy through the ivory he collected at
the chance of his life and conscience, he was the main one worth the reader’s sympathy. Marlow
was the only person there that demonstrated great sympathy to Kurtz, particularly when he
noticed that Kurtz was fighting with himself-his bad soul that understood no restraint, no fain no
fear. And at that right time, he firmly thought that the temptation of the wilderness made Kurtz’s
brutality and damaged his spirit, so he attempted to break the spell “of the wilderness that
appeared to attract him to its pitiless breasts by the awakening of overlooked and brutal intuition,
by the storage of gratified and monstrous passions” (Conrad, 2004, p.94).

Yet Marlow cannot change Kurtz’s fate to be swallowed by the wilderness that was
dominated by enough time Kurtz made his decision to be the emissary of civilization to the dark
Africa. However, we feel very regretful for Kurtz because he was the victims of background, and
the goals of colonization and enslavement that he previously dedicated himself to the erectness
for the time being as a demonstration.

I was the reason in this evaluation showing that Prometheus’ personality development
from a fallen to a resurrected condition of divinity spans as like Kurtz greediness towards regret
by the end of the book as like the entire first take action of Prometheus Unbound. This
interpretation difficulties a common pattern in the critical reception of Prometheus Unbound,
which views Prometheus’ transformation from hate to pity (and therefore his moral, intellectual,
etc. reformation) as occurring quickly and early in the work.
 Conclusion
It is discovered that this to be always a narrow interpretation, which gravely simplifies
the nuances and difficulty of Conrad’s and Shelley’s character types and mythopoeses. Firstly I
recommend Prometheus and Kurtz are perhaps similar to the “protagonists” of common history
witnessing the annals and character of mankind in a more substantial perspective that
Prometheus can completely relinquish his antagonistic attitude and be the champ and savior of
mankind.

As this evaluation shows, it had not been enough for Prometheus and Kurtz to only feel
pity and regret to be able to resurrect their divinity and regret respectively. Through the span of
this evaluation we've seen Prometheus and Kurtz fall from elegance, battle to become ruler over
themselves, and lastly flourish in reclaiming their divine character as “the sort of the best
perfection”. Hence, Prometheus and Kurtz have finally unbound the chains they positioned
around himself, when they could completely acknowledge that wish is vain, except love.

When the native boy announced his death, Kurtz lost anything that he once strongly
thought to be his: his Intended, his ivory, his Inner Suction (self), his river etc. though he
appeared to be the most successful and capable man that Marlow met during his journey towards
Inner Station. If we check out some of the well-known politicians in the past century, we would
concur that Conrad was informing us about the tragedy of the folks of Kurtz’s kind. Included in
this, Richard Nixon, Chief executive of America from 1969 to 1974, was a good representative.
He was pressured to resign through the presidential election because of the Watergate Event,
which made him lose his politics impact as well as his personal reputation that he imagined
desperately to get.

From their lack of fame, power and lives even, I firmly think that avarice is the root of
evils. So that as individuals, it might be impossible to allow them to put depends upon under
their control, no matter how hard they attempted. But the simple truth is that, there are still all
types of wars in today’s world, with almost the same purpose -earnings. If we have no idea of
that, Kurtz’s fate would unquestionably eventually me and you. I believe that’s the apocalypse
that Warmth of Darkness remaining for us.