In Heart of Darkness Conrad tries to deal with issues which are practically inexpressible. The mysterious impact of the jungle wilderness on Kurtz, and on Marlow himself, puzzles the imagination and mystifies the understanding. We may ask why Conrad chooses to inform the story through the character of Marlow, rather than just to set it as a first individual story.
The story is, in reality, about Kurtz, and about the way that contact with the primitive discuss the reality beneath human civilization, but it is likewise part of Marlow’s autobiography.
Marlow is a character, not simply a narrative voice, and his characterization enables us to judge and understand what he informs us. He stands for particular impressive worths– the functionality of the seaman’s life, the belief in the value of work, the rejection to judge too rapidly, and the calmness of mind which enables him to think about and react to the uncertainties in Kurtz’s experience. With his detached and doubtful manner, the fruit of a life amongst practical things, he makes the remarkable story as credible as is possible. We do not identify with him precisely, and he is not just the voice of Conrad, however he is a convincing and unpretentious storyteller who uses us glances into the ineffable.
Much of the earlier part of the book is concerned with developing Marlow’s character and credentials as a narrator. The real storyteller who speaks on the first page informs us that Marlow is the sort of seafarer who is “dependability personified” (5 ). But he is “not common” (8) in that “to him the significance of an episode was not inside like a kernel however outside, enveloping the tale” (8 ), which perhaps prepares us for Marlow’s attempt to communicate to us the scale of his experience and its value. The maritime customs and habits of mind are central to Marlow. He values work over fantasy. At the jungle station “I went to work … Because way just it appeared to me I might keep my hold on the redeeming facts of life” (33 ), which is a crucial and fully grown desire in him. His instincts are to decline nonsense and absurdity and stay with the real.
Talking to the ridiculous agent at the station, “this papier-mâché Mephistopheles” (37 ), he informs us of his horror of lies, not because he is especially virtuous, but because “there is a taint of death, a flavour of death in lies– which is exactly what I hate and dislike in the world” (38-9). The representative’s insinuating invitation to Marlow to accept his petty corruptions consults with an instinctive shudder that promotes his integrity. Every male wants to get on, states the representative. “What more did I want? What I really desired was rivets, by paradise! Rivets. To get on with the work” (40 ). There is something incredibly refreshing about such healthy disgust, and this contributes mostly to our preparedness to listen to Marlow as the tale reaches its most important stages.
It was a relief, he states to return to the work of fixing the steamboat, not due to the fact that he really likes labor, “but I like what remains in the work,– the opportunity to find yourself. Your own truth …” (41 ). A powerful moment for him is the discovery in the riverside hut of Towson’s handbook on seamanship, which, in the middle of the chaotic world of the jungle, offers him “a scrumptious feeling of having encountered something clearly real” (54 ), for the real is what he wishes for, as the assurance of sanity and purpose. It reassures him that the book has been studied and cared for, the spine “adoringly sewed afresh with white cotton thread” (54) and the margin annotated with what he thinks is cipher however later on discovers to be Russian.
If Marlow’s integrity and commitment to the genuine is developed completely, so are his mindsets to what he experiences prior to he satisfies Kurtz. Conrad gives him a design that is consistent. He is doubtful, a little sardonic, and down-to earth. He informs how he dealt with his relations to attempt to guarantee that he might go to Africa:
The guys stated “My dear Fellow,” and not did anything. Then– would you believe it?– I attempted the females. I, Charlie Marlow, set the ladies to work– to get a task. Heavens! Well, you see, the idea drove me. I had an aunt, a dear passionate soul. She wrote: “It will be wonderful …” (12 )
The voice is familiar, amusing and untouched, and we feel every factor to trust what he states. His commitment to the real makes him immediately conscious dishonesty and cant. His view of “development” is justifiably jaundiced. The captain whom he changes has actually been killed; “I heard the original quarrel arose from a misinterpreting about some hens” (13 ), and he is sure that afterwards “the cause of progress got them, anyhow” (14 ). His charge is “a two-penny-half-penny river steamboat with a cent whistle attached” (18) and he feels that his aunt talks “rot” when she describes him as “an emissary of light” (18 ). He tape-records the strange sight of a French warship lobbing shells into the jungle to ruin “opponents” (20 ).
He is bewildered by the sight of the accounting professional at the station in his “high starched collar, white cuffs, a light alpaca coat, snowy pants …” (25) working along with the black workers who are passing away in the lawn. He encounters a white guy who has the task of maintaining the roadway. He is drunk, and “Can’t say I saw any roadway or any maintenance, unless the body of a middle-aged negro, with a bullet-hole in the forehead, upon which I definitely stumbled 3 miles further on, may be thought about a long-term enhancement” (29 ). The male who tries to put out the fire in the shop shed brings a pail and declares “that everybody was ‘behaving splendidly, splendidly,’ dipped about a quart of water and tore back once again. I noticed there was a hole in the bottom of his pail” (33 ).
All over Marlow’s wise and ironical intelligence spots the signs of decay, corruption and self-deception. The whole establishment at the jungle trading station is “unreal” (35 ), and when the supervisor starts canting about Marlow being “of the new gang– the gang of virtue” (36) “I almost break into a laugh” (36 ). The entire experience has for him the ridiculous logic of dream, “that commingling of absurdity, surprise, and confusion in a trembling of having a hard time revolt, that idea of being caught by the unbelievable which is the really essence of dreams …” (39 ).
Such judgments and descriptions strike the reader as tremendously observant and yet decently expressed. Marlow feels basic decencies being abused by the colonial trading world, and it is barely unexpected that he ends up being progressively thinking about Kurtz, who is plainly feared in addition to disliked by the other representatives, mostly due to the fact that he has some sort of vision, a product seriously lacking in the ivory trading world. Marlow’s convincing sincerity and down-to-earth qualities even make Conrad’s meaning easy to approach.
The Fate-like knitting ladies in the Brussels workplace are completely genuine as well as allusive. One uses a gown “as plain as an umbrella cover” (14 ). Marlow keeps in mind how the 2 women introduce numerous “to the unknown … these two, protecting the door of Darkness, knitting black wool when it comes to a warm pall” (16 ). It is an unusual and effective impact, not clumsy, as it might have been, due to the fact that we are so convinced by Marlow’s useful and practical mindset.
When it pertains to the encounter with Kurtz we are for that reason all set to give Marlow the advantage of the doubt as he exposes his own complex attitude to the male, and tries to describe what it is that Kurtz has actually seen and felt. It is Kurtz’s idealism that first interests him, here in this headache location of unreason. The other agents make fun of his hope that “Each station must resemble a beacon on the roadway towards much better things, a centre for trade obviously, however likewise for humanising” (47 ). At the exact same time Marlow can not escape the thought that the savage figures seen on the bank are not inhuman, “the thought of your remote kinship with this wild and enthusiastic outcry” (51) and we can see how he might comprehend how Kurtz’s own soul has been caught by the darkness.
He finds that he wants to speak to Kurtz, although he realizes as quickly as he gets to Kurtz’s station that “He had taken a high seat among the devils of the land” (70 ), something Marlow knows will be almost difficult for his audience to comprehend; “How could you?– with strong pavement under your feet, surrounded by kind neighbours …” (70 ). This is where Marlow’s story moves into the location of the extraordinary and the only partially expressible Kurtz’s high-minded writings end suddenly with the savage cry “Eradicate all the brutes” (72 ). The “sibling seafarer” talks of how Kurtz has inspired him– “I tell you … this guy has bigger my mind” (78 ). However Marlow can just conclude “Why! He seethes” (81) regardless of the Russian’s demonstrations.
The skulls are the proof of his overall breakdown, that the darkness “had actually whispered to him features of himself that he did no know” (83 ). The spell of the wilderness had actually awakened “forgotten and harsh instincts” (94) in him and dragged his soul “beyond the bounds of permitted aspirations” (95 ). Marlow is able to see Kurtz’s story as a disaster. His goal had actually been to “Live appropriately, die, pass away” (99) but he had actually not known what remained in himself, and Marlow’s readiness to wait him at the end, even to save him in such a way, rests on an awareness that Kurtz was not despicable, which he himself might well react in the very same way.
“He had actually made that last stride, he had actually stepped over the edge, while I had actually been permitted to draw back my hesitating foot” (101 ). Back in Europe, like Gulliver, he is disgusted by his fellow male, “like the outrageous flauntings of folly in the face of a threat” (102 ), and he lies to Kurtz’s “intended” since neither she nor anyone else would be able to understand the fact.
Marlow does not claim to understand or comprehend whatever. It is the simple nature of his narrative stance that convinces us. The “genuine” storyteller calls the entire thing “one of Marlow’s undetermined experiences” (10 ). But nobody might be omniscient with such a subject; Marlow just looks among the great secrets, and none of us is ever granted more than that. What Conrad has done is to choose a narrative method and a type of storyteller which conveys in addition to possible immensely difficult things.
Conrad, Joseph. Heart of Darkness. Harmondsworth: Penguin, 1973.