HEART OF DARKNESS Joseph Conrad

HEART OF DARKNESS

Joseph Conrad

Plot Overview

Heart of Darkness centers around Marlow, an introspective sailor, and his journey up the Congo River to meet Kurtz, reputed to be an idealistic man of great abilities. Marlow takes a job as a riverboat captain with the Company, a Belgian concern organized to trade in the Congo. As he travels to Africa and then up the Congo, Marlow encounters widespread inefficiency and brutality in the Company’s stations. The native inhabitants of the region have been forced into the Company’s service, and they suffer terribly from overwork and ill treatment at the hands of the Company’s agents. The cruelty and squalor of imperial enterprise contrasts sharply with the impassive and majestic jungle that surrounds the white man’s settlements, making them appear to be tiny islands amidst a vast darkness.

Marlow arrives at the Central Station, run by the general manager, an unwholesome, conspiratorial character. He finds that his steamship has been sunk and spends several months waiting for parts to repair it. His interest in Kurtz grows during this period. The manager and his favorite, the brickmaker, seem to fear Kurtz as a threat to their position. Kurtz is rumored to be ill, making the delays in repairing the ship all the more costly. Marlow eventually gets the parts he needs to repair his ship, and he and the manager set out with a few agents (whom Marlow calls pilgrims because of their strange habit of carrying long, wooden staves wherever they go) and a crew of cannibals on a long, difficult voyage up the river. The dense jungle and the oppressive silence make everyone aboard a little jumpy, and the occasional glimpse of a native village or the sound of drums works the pilgrims into a frenzy.

Marlow and his crew come across a hut with stacked firewood, together with a note saying that the wood is for them but that they should approach cautiously. Shortly after the steamer has taken on the firewood, it is surrounded by a dense fog. When the fog clears, the ship is attacked by an unseen band of natives, who fire arrows from the safety of the forest. The African helmsman is killed before Marlow frightens the natives away with the ship’s steam whistle. Not long after, Marlow and his companions arrive at Kurtz’s Inner Station, expecting to find him dead, but a half-crazed Russian trader, who meets them as they come ashore, assures them that everything is fine and informs them that he is the one who left the wood. The Russian claims that Kurtz has enlarged his mind and cannot be subjected to the same moral judgments as normal people. Apparently, Kurtz has established himself as a god with the natives and has gone on brutal raids in the surrounding territory in search of ivory. The collection of severed heads adorning the fence posts around the station attests to his “methods.” The pilgrims bring Kurtz out of the station-house on a stretcher, and a large group of native warriors pours out of the forest and surrounds them. Kurtz speaks to them, and the natives disappear into the woods.

The manager brings Kurtz, who is quite ill, aboard the steamer. A beautiful native woman, apparently Kurtz’s mistress, appears on the shore and stares out at the ship. The Russian implies that she is somehow involved with Kurtz and has caused trouble before through her influence over him. The Russian reveals to Marlow, after swearing him to secrecy, that Kurtz had ordered the attack on the steamer to make them believe he was dead in order that they might turn back and leave him to his plans. The Russian then leaves by canoe, fearing the displeasure of the manager. Kurtz disappears in the night, and Marlow goes out in search of him, finding him crawling on all fours toward the native camp. Marlow stops him and convinces him to return to the ship. They set off down the river the next morning, but Kurtz’s health is failing fast.

Marlow listens to Kurtz talk while he pilots the ship, and Kurtz entrusts Marlow with a packet of personal documents, including an eloquent pamphlet on civilizing the savages which ends with a scrawled message that says, “Exterminate all the brutes!” The steamer breaks down, and they have to stop for repairs. Kurtz dies, uttering his last words—“The horror! The horror!”—in the presence of the confused Marlow. Marlow falls ill soon after and barely survives. Eventually he returns to Europe and goes to see Kurtz’s Intended (his fiancée). She is still in mourning, even though it has been over a year since Kurtz’s death, and she praises him as a paragon of virtue and achievement. She asks what his last words were, but Marlow cannot bring himself to shatter her illusions with the truth. Instead, he tells her that Kurtz’s last word was her name.

Character List

Marlow -  The protagonist of Heart of Darkness. Marlow is philosophical, independent-minded, and generally skeptical of those around him. He is also a master storyteller, eloquent and able to draw his listeners into his tale. Although Marlow shares many of his fellow Europeans’ prejudices, he has seen enough of the world and has encountered enough debased white men to make him skeptical of imperialism.

Read an in-depth analysis of Marlow.

Kurtz -  The chief of the Inner Station and the object of Marlow’s quest. Kurtz is a man of many talents—we learn, among other things, that he is a gifted musician and a fine painter—the chief of which are his charisma and his ability to lead men. Kurtz is a man who understands the power of words, and his writings are marked by an eloquence that obscures their horrifying message. Although he remains an enigma even to Marlow, Kurtz clearly exerts a powerful influence on the people in his life. His downfall seems to be a result of his willingness to ignore the hypocritical rules that govern European colonial conduct: Kurtz has “kicked himself loose of the earth” by fraternizing excessively with the natives and not keeping up appearances; in so doing, he has become wildly successful but has also incurred the wrath of his fellow white men.

Read an in-depth analysis of Kurtz.

General manager -  The chief agent of the Company in its African territory, who runs the Central Station. He owes his success to a hardy constitution that allows him to outlive all his competitors. He is average in appearance and unremarkable in abilities, but he possesses a strange capacity to produce uneasiness in those around him, keeping everyone sufficiently unsettled for him to exert his control over them.

Brickmaker -  The brickmaker, whom Marlow also meets at the Central Station, is a favorite of the manager and seems to be a kind of corporate spy. He never actually produces any bricks, as he is supposedly waiting for some essential element that is never delivered. He is petty and conniving and assumes that other people are too.

Chief accountant -  An efficient worker with an incredible habit of dressing up in spotless whites and keeping himself absolutely tidy despite the squalor and heat of the Outer Station, where he lives and works. He is one of the few colonials who seems to have accomplished anything: he has trained a native woman to care for his wardrobe.

Pilgrims -  The bumbling, greedy agents of the Central Station. They carry long wooden staves with them everywhere, reminding Marlow of traditional religious travelers. They all want to be appointed to a station so that they can trade for ivory and earn a commission, but none of them actually takes any effective steps toward achieving this goal. They are obsessed with keeping up a veneer of civilization and proper conduct, and are motivated entirely by self-interest. They hate the natives and treat them like animals, although in their greed and ridiculousness they appear less than human themselves.

Cannibals -  Natives hired as the crew of the steamer, a surprisingly reasonable and well-tempered bunch. Marlow respects their restraint and their calm acceptance of adversity. The leader of the group, in particular, seems to be intelligent and capable of ironic reflection upon his situation.

Russian trader -  A Russian sailor who has gone into the African interior as the trading representative of a Dutch company. He is boyish in appearance and temperament, and seems to exist wholly on the glamour of youth and the audacity of adventurousness. His brightly patched clothes remind Marlow of a harlequin. He is a devoted disciple of Kurtz’s.

Helmsman -  A young man from the coast trained by Marlow’s predecessor to pilot the steamer. He is a serviceable pilot, although Marlow never comes to view him as much more than a mechanical part of the boat. He is killed when the steamer is attacked by natives hiding on the riverbanks.

Kurtz’s African mistress -  A fiercely beautiful woman loaded with jewelry who appears on the shore when Marlow’s steamer arrives at and leaves the Inner Station. She seems to exert an undue influence over both Kurtz and the natives around the station, and the Russian trader points her out as someone to fear. Like Kurtz, she is an enigma: she never speaks to Marlow, and he never learns anything more about her.

Kurtz’s Intended -  Kurtz’s naïve and long-suffering fiancée, whom Marlow goes to visit after Kurtz’s death. Her unshakable certainty about Kurtz’s love for her reinforces Marlow’s belief that women live in a dream world, well insulated from reality.

Aunt -  Marlow’s doting relative, who secures him a position with the Company. She believes firmly in imperialism as a charitable activity that brings civilization and religion to suffering, simple savages. She, too, is an example for Marlow of the naïveté and illusions of women.

The men aboard the Nellie -  Marlow’s friends, who are with him aboard a ship on the Thames at the story’s opening. They are the audience for the central story of Heart of Darkness, which Marlow narrates. All have been sailors at one time or another, but all now have important jobs ashore and have settled into middle-class, middle-aged lives. They represent the kind of man Marlow would have likely become had he not gone to Africa: well meaning and moral but ignorant as to a large part of the world beyond England. The narrator in particular seems to be shaken by Marlow’s story. He repeatedly comments on its obscurity and Marlow’s own mysterious nature.

Fresleven -  Marlow’s predecessor as captain of the steamer. Fresleven, by all accounts a good-tempered, nonviolent man, was killed in a dispute over some hens, apparently after striking a village chief.

Analysis of Major Characters

Marlow

Although Marlow appears in several of Conrad’s other works, it is important not to view him as merely a surrogate for the author. Marlow is a complicated man who anticipates the figures of high modernism while also reflecting his Victorian predecessors. Marlow is in many ways a traditional hero: tough, honest, an independent thinker, a capable man. Yet he is also “broken” or “damaged,” like T. S. Eliot’s J. Alfred Prufrock or William Faulkner’s Quentin Compson. The world has defeated him in some fundamental way, and he is weary, skeptical, and cynical. Marlow also mediates between the figure of the intellectual and that of the “working tough.” While he is clearly intelligent, eloquent, and a natural philosopher, he is not saddled with the angst of centuries’ worth of Western thought. At the same time, while he is highly skilled at what he does—he repairs and then ably pilots his own ship—he is no mere manual laborer. Work, for him, is a distraction, a concrete alternative to the posturing and excuse-making of those around him.

Marlow can also be read as an intermediary between the two extremes of Kurtz and the Company. He is moderate enough to allow the reader to identify with him, yet open-minded enough to identify at least partially with either extreme. Thus, he acts as a guide for the reader. Marlow’s intermediary position can be seen in his eventual illness and recovery. Unlike those who truly confront or at least acknowledge Africa and the darkness within themselves, Marlow does not die, but unlike the Company men, who focus only on money and advancement, Marlow suffers horribly. He is thus “contaminated” by his experiences and memories, and, like Coleridge’s Ancient Mariner, destined, as purgation or penance, to repeat his story to all who will listen.

Kurtz

Kurtz, like Marlow, can be situated within a larger tradition. Kurtz resembles the archetypal “evil genius”: the highly gifted but ultimately degenerate individual whose fall is the stuff of legend. Kurtz is related to figures like Faustus, Satan in Milton’s Paradise Lost, Moby-Dick’s Ahab, and Wuthering Heights’s Heathcliff. Like these characters, he is significant both for his style and eloquence and for his grandiose, almost megalomaniacal scheming. In a world of mundanely malicious men and “flabby devils,” attracting enough attention to be worthy of damnation is indeed something. Kurtz can be criticized in the same terms that Heart of Darkness is sometimes criticized: style entirely overrules substance, providing a justification for amorality and evil.

In fact, it can be argued that style does not just override substance but actually masks the fact that Kurtz is utterly lacking in substance. Marlow refers to Kurtz as “hollow” more than once. This could be taken negatively, to mean that Kurtz is not worthy of contemplation. However, it also points to Kurtz’s ability to function as a “choice of nightmares” for Marlow: in his essential emptiness, he becomes a cipher, a site upon which other things can be projected. This emptiness should not be read as benign, however, just as Kurtz’s eloquence should not be allowed to overshadow the malice of his actions. Instead, Kurtz provides Marlow with a set of paradoxes that Marlow can use to evaluate himself and the Company’s men.

Indeed, Kurtz is not so much a fully realized individual as a series of images constructed by others for their own use. As Marlow’s visits with Kurtz’s cousin, the Belgian journalist, and Kurtz’s fiancée demonstrate, there seems to be no true Kurtz. To his cousin, he was a great musician; to the journalist, a brilliant politician and leader of men; to his fiancée, a great humanitarian and genius. All of these contrast with Marlow’s version of the man, and he is left doubting the validity of his memories. Yet Kurtz, through his charisma and larger-than-life plans, remains with Marlow and with the reader.

Themes, Motifs & Symbols

Themes

The Hypocrisy of Imperialism

Heart of Darkness explores the issues surrounding imperialism in complicated ways. As Marlow travels from the Outer Station to the Central Station and finally up the river to the Inner Station, he encounters scenes of torture, cruelty, and near-slavery. At the very least, the incidental scenery of the book offers a harsh picture of colonial enterprise. The impetus behind Marlow’s adventures, too, has to do with the hypocrisy inherent in the rhetoric used to justify imperialism. The men who work for the Company describe what they do as “trade,” and their treatment of native Africans is part of a benevolent project of “civilization.” Kurtz, on the other hand, is open about the fact that he does not trade but rather takes ivory by force, and he describes his own treatment of the natives with the words “suppression” and “extermination”: he does not hide the fact that he rules through violence and intimidation. His perverse honesty leads to his downfall, as his success threatens to expose the evil practices behind European activity in Africa.

However, for Marlow as much as for Kurtz or for the Company, Africans in this book are mostly objects: Marlow refers to his helmsman as a piece of machinery, and Kurtz’s African mistress is at best a piece of statuary. It can be argued that Heart of Darkness participates in an oppression of nonwhites that is much more sinister and much harder to remedy than the open abuses of Kurtz or the Company’s men. Africans become for Marlow a mere backdrop, a human screen against which he can play out his philosophical and existential struggles. Their existence and their exoticism enable his self-contemplation. This kind of dehumanization is harder to identify than colonial violence or open racism. While Heart of Darkness offers a powerful condemnation of the hypocritical operations of imperialism, it also presents a set of issues surrounding race that is ultimately troubling.

Madness as a Result of Imperialism

Madness is closely linked to imperialism in this book. Africa is responsible for mental disintegration as well as physical illness. Madness has two primary functions. First, it serves as an ironic device to engage the reader’s sympathies. Kurtz, Marlow is told from the beginning, is mad. However, as Marlow, and the reader, begin to form a more complete picture of Kurtz, it becomes apparent that his madness is only relative, that in the context of the Company insanity is difficult to define. Thus, both Marlow and the reader begin to sympathize with Kurtz and view the Company with suspicion. Madness also functions to establish the necessity of social fictions. Although social mores and explanatory justifications are shown throughout Heart of Darkness to be utterly false and even leading to evil, they are nevertheless necessary for both group harmony and individual security. Madness, in Heart of Darkness, is the result of being removed from one’s social context and allowed to be the sole arbiter of one’s own actions. Madness is thus linked not only to absolute power and a kind of moral genius but to man’s fundamental fallibility: Kurtz has no authority to whom he answers but himself, and this is more than any one man can bear.

The Absurdity of Evil

This novella is, above all, an exploration of hypocrisy, ambiguity, and moral confusion. It explodes the idea of the proverbial choice between the lesser of two evils. As the idealistic Marlow is forced to align himself with either the hypocritical and malicious colonial bureaucracy or the openly malevolent, rule-defying Kurtz, it becomes increasingly clear that to try to judge either alternative is an act of folly: how can moral standards or social values be relevant in judging evil? Is there such thing as insanity in a world that has already gone insane? The number of ridiculous situations Marlow witnesses act as reflections of the larger issue: at one station, for instance, he sees a man trying to carry water in a bucket with a large hole in it. At the Outer Station, he watches native laborers blast away at a hillside with no particular goal in mind. The absurd involves both insignificant silliness and life-or-death issues, often simultaneously. That the serious and the mundane are treated similarly suggests a profound moral confusion and a tremendous hypocrisy: it is terrifying that Kurtz’s homicidal megalomania and a leaky bucket provoke essentially the same reaction from Marlow.

Motifs

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.

Observation and Eavesdropping

Marlow gains a great deal of information by watching the world around him and by overhearing others’ conversations, as when he listens from the deck of the wrecked steamer to the manager of the Central Station and his uncle discussing Kurtz and the Russian trader. This phenomenon speaks to the impossibility of direct communication between individuals: information must come as the result of chance observation and astute interpretation. Words themselves fail to capture meaning adequately, and thus they must be taken in the context of their utterance. Another good example of this is Marlow’s conversation with the brickmaker, during which Marlow is able to figure out a good deal more than simply what the man has to say.

Interiors and Exteriors

Comparisons between interiors and exteriors pervade Heart of Darkness. As the narrator states at the beginning of the text, Marlow is more interested in surfaces, in the surrounding aura of a thing rather than in any hidden nugget of meaning deep within the thing itself. This inverts the usual hierarchy of meaning: normally one seeks the deep message or hidden truth. The priority placed on observation demonstrates that penetrating to the interior of an idea or a person is impossible in this world. Thus, Marlow is confronted with a series of exteriors and surfaces—the river’s banks, the forest walls around the station, Kurtz’s broad forehead—that he must interpret. These exteriors are all the material he is given, and they provide him with perhaps a more profound source of knowledge than any falsely constructed interior “kernel.”

Darkness

Darkness is important enough conceptually to be part of the book’s title. However, it is difficult to discern exactly what it might mean, given that absolutely everything in the book is cloaked in darkness. Africa, England, and Brussels are all described as gloomy and somehow dark, even if the sun is shining brightly. Darkness thus seems to operate metaphorically and existentially rather than specifically. Darkness is the inability to see: this may sound simple, but as a description of the human condition it has profound implications. Failing to see another human being means failing to understand that individual and failing to establish any sort of sympathetic communion with him or her.

Symbols

Fog

Fog is a sort of corollary to darkness. Fog not only obscures but distorts: it gives one just enough information to begin making decisions but no way to judge the accuracy of that information, which often ends up being wrong. Marlow’s steamer is caught in the fog, meaning that he has no idea where he’s going and no idea whether peril or open water lies ahead.

The “Whited Sepulchre”

The “whited sepulchre” is probably Brussels, where the Company’s headquarters are located. A sepulchre implies death and confinement, and indeed Europe is the origin of the colonial enterprises that bring death to white men and to their colonial subjects; it is also governed by a set of reified social principles that both enable cruelty, dehumanization, and evil and prohibit change. The phrase “whited sepulchre” comes from the biblical Book of Matthew. In the passage, Matthew describes “whited sepulchres” as something beautiful on the outside but containing horrors within (the bodies of the dead); thus, the image is appropriate for Brussels, given the hypocritical Belgian rhetoric about imperialism’s civilizing mission. (Belgian colonies, particularly the Congo, were notorious for the violence perpetuated against the natives.)

Women

Both Kurtz’s Intended and his African mistress function as blank slates upon which the values and the wealth of their respective societies can be displayed. Marlow frequently claims that women are the keepers of naïve illusions; although this sounds condemnatory, such a role is in fact crucial, as these naïve illusions are at the root of the social fictions that justify economic enterprise and colonial expansion. In return, the women are the beneficiaries of much of the resulting wealth, and they become objects upon which men can display their own success and status.

The River

The Congo River is the key to Africa for Europeans. It allows them access to the center of the continent without having to physically cross it; in other words, it allows the white man to remain always separate or outside. Africa is thus reduced to a series of two-dimensional scenes that flash by Marlow’s steamer as he travels upriver. The river also seems to want to expel Europeans from Africa altogether: its current makes travel upriver slow and difficult, but the flow of water makes travel downriver, back toward “civilization,” rapid and seemingly inevitable. Marlow’s struggles with the river as he travels upstream toward Kurtz reflect his struggles to understand the situation in which he has found himself. The ease with which he journeys back downstream, on the other hand, mirrors his acquiescence to Kurtz and his “choice of nightmares.”