Heart of Heart of DarknessDarkness

An Brief Look at Conrad’s An Brief Look at Conrad’s Life and Works, Themes and Life and Works, Themes and Motifs in Motifs in Heart of DarknessHeart of Darkness, ,

and and Apocalypse NowApocalypse Now

Joseph ConradJoseph Conrad

Born 1857 in Russian-occupied Poland

Patriot father & family exiled in Russia 1862

Both parents dead of illness by 1869

Conservative uncle took him in

•Joined French Merchant Marine at the age of 16

•Kicked out due to his nationality & a

suicide attempt•Joined British

Merchant Marine 1878

•Left the sea & began writing

1894•Died 1924 &

buried in Canterbury

Amayer’s FollyAmayer’s Folly (1895)(1895)

Lord JimLord Jim (1900) (1900) Heart of Darkness Heart of Darkness

(1902)(1902) Nostromo Nostromo (1904)(1904)

Under Western Under Western EyesEyes (1910) (1910)

ChanceChance (1914) (1914)

Joseph Conrad’s Joseph Conrad’s Other Other WorksWorks

Heart of DarknessHeart of Darkness BackgroundBackground

After a long stint in the east had come to an After a long stint in the east had come to an end, he was having trouble finding a new end, he was having trouble finding a new position. position.

With the help of a relative in Brussels he got With the help of a relative in Brussels he got the position as captain of a steamer for a the position as captain of a steamer for a Belgian trading company.Belgian trading company.

Conrad had always dreamed of sailing the Conrad had always dreamed of sailing the CongoCongo

Had to leave early for the job because the Had to leave early for the job because the previous captain was killed in a trivial quarrelprevious captain was killed in a trivial quarrel

One interpretati

on of the title:

A literal journey into

the “Dark Continent,” (the Heart

of Darkness)

as Africa was viewed

by Conrad’s contempora

ries

Africa and ImperialismAfrica and Imperialism

Congo in the 1890’s

Inner Station

Heart of DarknessHeart of Darkness BackgroundBackground

While traveling from Boma (at the mouth) to While traveling from Boma (at the mouth) to the company station at Matadi he met the company station at Matadi he met Roger Roger CasementCasement who told Conrad stories of the who told Conrad stories of the harsh treatment of Africansharsh treatment of Africans

Conrad saw some of the most Conrad saw some of the most shocking and shocking and depraveddepraved examples of examples of human corruptionhuman corruption he’d he’d ever witnessed. He was disgusted by the ever witnessed. He was disgusted by the ill ill treatment of the nativestreatment of the natives, the , the scrabble for scrabble for lootloot, the terrible heat and the lack of water. , the terrible heat and the lack of water.

He saw He saw human skeletonshuman skeletons of bodies left to of bodies left to rot--many were bodies of men from the chain rot--many were bodies of men from the chain gangs building the railroads. gangs building the railroads.

He found his He found his ship was damagedship was damaged.. Dysentery was rampant as was malaria; Dysentery was rampant as was malaria;

Conrad had to Conrad had to terminate his contractterminate his contract due to due to illness and never fully recoveredillness and never fully recovered

Heart of Darkness Conrad’s most widely read novel:

It can be read. . .

• As Autobiography: The account of a journey up the Congo river that Conrad undertook in the early 1890’s.

• As Anti-colonialist/imperialist: An exposition of the brutality of Belgian colonial rule. (See King Leopold’s Ghost)

• As an Arthurian Quest.• As Classical or Norse Mythology.• As Christian Mythology (Dante)• As Psychoanalysis: A Journey into the

Self

Autobiography• Conrad did, in fact, go up the Congo

River in 1890

• Like Marlow in the novel, he got the

job to go to the Congo through his

aunt.

• Like Marlow, he did not get along

with the manager

• Like Marlow, he was sent to pick up

an agent (named Klein)

•Like Marlow, he fell ill and nearly

died

Anti-colonialist/Imperialist

•“The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. •”A taint of imbecile rapacity blew through it all like the whiff from some corpse.” •In an essay Conrad calls the colonial exploitation of the Congo “the vilest scramble for loot that ever disfigured the history of human conscience…”

Conrad’s own words about colonialism:

Arthurian Quest:

•In the King Arthur myths a knight in shining amour goeson a quest, typically a quest for the holy grail.

•The quest usually involves a number of trials. Some of those are physical, but the toughest tests are usually spiritual, a test of moral fibre or personal integrity.

•The trials do not necessarily lead to wealth and fame, but equally often to insight and humility.

Classical and Norse Mythology

References to Greek and Norse Mythologyand to the Iliad, the Odyssey and the Aeneid:The women in the Brussels office = the three Fates

The Sepulchral City =Descent into the

underworld of Odysseus and Aeneas

The river =Styx and Lethe (Rivers in the

underworld)

The dying negroes =The lifeless shadows

in the underworld

The journey itself =the journeys of

Odysseus and Aeneas

The novel has repeatedly been compared to Dante’sDivine Comedy.

Dante also undertakes a journey to the underworld, to the Christian Hell.

Other parallels:The river = snake = temptationThe dying negroes = souls in limboThe Inner Station = the inner sanctum of Hell and Inferno

Christian Mythology

Dante (1265-1321) with his Divinia Commedia

Psychoanalytical

superego

ego

id

The part of the mind that represses and controls impulses (Governance/Policing: A civilizing effect)

The part of the mind that controls but focuses impulses (Self-Expression/ Striving: A pioneering spirit)

The instinctual, pleasure-seeking part of the mind (Can be degenerate, amoral, & disturbing): “But the wilderness had found him out early… and the whisper had proved irresistibly fascinating”

More than 20 years before Freud published his tripartite division of the mind into Superego, Ego and Id, Conrad seems to use similar ideas.

Narrative StructureNarrative Structure Framed NarrativeFramed Narrative

Narrator begins, Marlow takes Narrator begins, Marlow takes over, Narrator breaks in over, Narrator breaks in occasionallyoccasionally

Marlow is Conrad’s alter-ego, he Marlow is Conrad’s alter-ego, he shows up in some of Conrad’s shows up in some of Conrad’s other works including other works including Lord JimLord Jim

Three main characters:Three main characters:The unnamed narratorThe unnamed narratorMarlowMarlowKurtzKurtz

Also three stations, three Also three stations, three interruptions to the narrative, interruptions to the narrative, etc. etc.

Marlow recounts his tale while he Marlow recounts his tale while he is on a small vessel on the is on a small vessel on the Thames in London with some Thames in London with some drinking buddies who are ex-drinking buddies who are ex-merchant seamen. merchant seamen.

A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless

over the biggest, and the greatest, town on earth.

Varied InterpretationsVaried Interpretations Many different interpretations have been Many different interpretations have been

seen in this book:seen in this book: Some see it as an attack on colonialism and Some see it as an attack on colonialism and

a criticism of racial exploitation a criticism of racial exploitation Some see Kurtz as the embodiment of all the Some see Kurtz as the embodiment of all the

evil and horror of which humans are evil and horror of which humans are capable.capable.

Others view it as a portrayal of one man’s Others view it as a portrayal of one man’s journey into the primitive unconscious journey into the primitive unconscious where the only means of escaping the where the only means of escaping the blandness of everyday life is by self blandness of everyday life is by self degradation. degradation.

Heart of DarknessHeart of Darkness Themes Themes & Motifs& Motifs

Darkness and LightDarkness and Light Primitive vs. CivilizedPrimitive vs. Civilized Good vs. Evil (but look also for Good vs. Evil (but look also for

reversals of this!)reversals of this!) Lies/Hypocrisy (Marlow chooses Lies/Hypocrisy (Marlow chooses

Kurtz’s evil versus the company’s Kurtz’s evil versus the company’s hypocrisy)hypocrisy)

Imperialism/Colonization: Cruelty, Imperialism/Colonization: Cruelty, greed, exploitation in the guise of greed, exploitation in the guise of “civilizing” the natives (nb.: Eliot’s “civilizing” the natives (nb.: Eliot’s “The Hollow Men”) “The Hollow Men”)

Heart of DarknessHeart of Darkness Themes Themes & Motifs& Motifs

Role of WomenRole of WomenThree female figures Three female figures

(Marlowe’s aunt, Kurtz’s (Marlowe’s aunt, Kurtz’s African mistress, “the African mistress, “the Intended”)Intended”)

Each embodies a distinct roleEach embodies a distinct role Physical connected to Physical connected to

Psychological: Barriers Psychological: Barriers (fog, thick forest, (fog, thick forest, darkness, obscurity)darkness, obscurity)

Rivers (connection to the Rivers (connection to the past, parallels time and past, parallels time and the journey)the journey)

Review of CriticismReview of Criticism Paul O’Prey: "It is an irony that the 'failures' of Paul O’Prey: "It is an irony that the 'failures' of

Marlow and Kurtz are paralleled by a Marlow and Kurtz are paralleled by a corresponding failure of Conrad's technique--corresponding failure of Conrad's technique--brilliant though it is--as the vast abstract brilliant though it is--as the vast abstract darkness he imagines exceeds his capacity to darkness he imagines exceeds his capacity to analyze and dramatize it, and the very inability analyze and dramatize it, and the very inability to portray the story's central subject, the to portray the story's central subject, the 'unimaginable', the 'impenetratable' (evil, 'unimaginable', the 'impenetratable' (evil, emptiness, mystery or whatever) becomes a emptiness, mystery or whatever) becomes a central theme." central theme."

James Guetti complains that Marlow "never gets James Guetti complains that Marlow "never gets below the surface," and is "denied the final self-below the surface," and is "denied the final self-knowledge that Kurtz had." knowledge that Kurtz had."

Review of CriticismReview of Criticism Conrad, writing in 1922, responds to similar criticism: Conrad, writing in 1922, responds to similar criticism:

"Explicitness, my dear fellow, is fatal to the glamour of all "Explicitness, my dear fellow, is fatal to the glamour of all artistic work, robbing it of all suggestiveness, destroying artistic work, robbing it of all suggestiveness, destroying all illusion. You seem to believe in literalness and all illusion. You seem to believe in literalness and explicitness, in facts and in expression. Yet nothing is more explicitness, in facts and in expression. Yet nothing is more clear than the utter insignificance of explicit statement and clear than the utter insignificance of explicit statement and also its power to call attention away from things that also its power to call attention away from things that matter in the region of art." matter in the region of art."

Marlowe, the narrator, describes how difficult conveying a Marlowe, the narrator, describes how difficult conveying a story is: "Do you see the story? Do you see anything? It story is: "Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream--making a vain seems to me I am trying to tell you a dream--making a vain attempt, because no relation of a dream can convey the attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible, which is the notion of being captured by the incredible, which is the very essence of dream . . .No, it is impossible; it is very essence of dream . . .No, it is impossible; it is impossible to convey the life-sensation of any given epoch impossible to convey the life-sensation of any given epoch of one's existence--that which makes its truth, its meaning-- of one's existence--that which makes its truth, its meaning-- its subtle and penetrating essence. It is impossible. We its subtle and penetrating essence. It is impossible. We live, as we dream--alone . . ." live, as we dream--alone . . ."

Review of CriticismReview of Criticism Marxist: You can see Marxist: You can see Heart of DarknessHeart of Darkness as a as a

depiction of, and an attack upon, colonialism in depiction of, and an attack upon, colonialism in general, and, more specifically, the particularly general, and, more specifically, the particularly brutal form colonialism took in the Belgian brutal form colonialism took in the Belgian Congo. Congo. the mistreatment of the Africans the mistreatment of the Africans the greed of the so-called "pilgrims" the greed of the so-called "pilgrims" the broken idealism of Kurtzthe broken idealism of Kurtz the French man-of-war lobbing shells into the jungle the French man-of-war lobbing shells into the jungle the grove of death which Marlow stumbles uponthe grove of death which Marlow stumbles upon the little note that Kurtz appends to his noble-minded the little note that Kurtz appends to his noble-minded

essay on The Suppression of Savage Customsessay on The Suppression of Savage Customs the importance of ivory to the economics of the system. the importance of ivory to the economics of the system.

Review of CriticismReview of Criticism Sociological/Cultural: Conrad was also Sociological/Cultural: Conrad was also

apparently interested in a more general apparently interested in a more general sociological investigation of those who conquer sociological investigation of those who conquer and those who are conquered, and the and those who are conquered, and the complicated interplay between them. complicated interplay between them. Marlow's invocation of the Roman conquest of Britain Marlow's invocation of the Roman conquest of Britain cultural ambiguity of those Africans who have taken cultural ambiguity of those Africans who have taken

on some of the ways of their Europeans on some of the ways of their Europeans the ways in which the wilderness tends to strip away the ways in which the wilderness tends to strip away

the civility of the Europeans and brutalize them the civility of the Europeans and brutalize them Conrad is not impartial and scientifically detached Conrad is not impartial and scientifically detached

from these things, and he even has a bit of fun with from these things, and he even has a bit of fun with such impartiality in his depiction the doctor who tells such impartiality in his depiction the doctor who tells Marlow that people who go out to Africa become Marlow that people who go out to Africa become "scientifically interesting." "scientifically interesting."

Review of CriticismReview of Criticism Psychological/Psychoanalytical: Conrad goes out of his Psychological/Psychoanalytical: Conrad goes out of his

way to suggest that in some sense Marlow's journey is way to suggest that in some sense Marlow's journey is like a dream or a return to our primitive past--an like a dream or a return to our primitive past--an exploration of the dark recesses of the human mind. exploration of the dark recesses of the human mind. Apparent similarities to the psychological theories of Apparent similarities to the psychological theories of

Sigmund Freud in its suggestion that dreams are a Sigmund Freud in its suggestion that dreams are a clue to hidden areas of the mindclue to hidden areas of the mind

we are all primitive brutes and savages, capable of we are all primitive brutes and savages, capable of the most appalling wishes and the most horrifying the most appalling wishes and the most horrifying impulses (the Id)impulses (the Id)

we can make sense of the urge Marlow feels to leave we can make sense of the urge Marlow feels to leave his boat and join the natives for a savage whoop and his boat and join the natives for a savage whoop and holler holler

notice that Marlow keeps insisting that Kurtz is a notice that Marlow keeps insisting that Kurtz is a voice--a voice who seems to speak to him out of the voice--a voice who seems to speak to him out of the heart of the immense darkness heart of the immense darkness

Review of CriticismReview of Criticism

Religious: Religious: Heart of DarknessHeart of Darkness as an as an examination of various aspects of examination of various aspects of religion and religious practices.religion and religious practices. examine the way Conrad plays with the examine the way Conrad plays with the

concept of pilgrims and pilgrimages concept of pilgrims and pilgrimages the role of Christian missionary concepts the role of Christian missionary concepts

in the justifications of the colonialistsin the justifications of the colonialists the dark way in which Kurtz fulfills his the dark way in which Kurtz fulfills his

own messianic ambitions by setting own messianic ambitions by setting himself up as one of the local gods himself up as one of the local gods

Review of CriticismReview of Criticism

Moral-Philosophical: Moral-Philosophical: Heart of Heart of DarknessDarkness is preoccupied with is preoccupied with general questions about the general questions about the nature of good and evil, or nature of good and evil, or civilization and savagery civilization and savagery What saves Marlow from What saves Marlow from

becoming evil?becoming evil? Is Kurtz more or less evil than Is Kurtz more or less evil than

the pilgrims?the pilgrims? Why does Marlow associate Why does Marlow associate

lies with mortality?lies with mortality?

Review of CriticismReview of Criticism

Formalist: Formalist: Threes: There are three parts to the story, Threes: There are three parts to the story,

three breaks in the story (1 in pt. 1 and 2 in pt. three breaks in the story (1 in pt. 1 and 2 in pt. 2), and three central characters: the outside 2), and three central characters: the outside narrator, Marlow and Kurtznarrator, Marlow and Kurtz

Contrasting images (dark and light, open and Contrasting images (dark and light, open and closed)closed)

Center to periphery: Kurtz->Marlow->Outside Center to periphery: Kurtz->Marlow->Outside Narrator->the readerNarrator->the reader

Are the answers to be found in the center or Are the answers to be found in the center or on the periphery?on the periphery?

ModernismModernism Heart of DarknessHeart of Darkness was published in the Late Victorian- was published in the Late Victorian-

Early Modern Era but exhibits mostly modern traits:Early Modern Era but exhibits mostly modern traits: a distrust of abstractions as a way of delineating truth a distrust of abstractions as a way of delineating truth an interest in an exploration of the psychological an interest in an exploration of the psychological a belief in art as a separate and somewhat privileged a belief in art as a separate and somewhat privileged

kind of human experience kind of human experience a desire for transcendence mingled with a feeling that a desire for transcendence mingled with a feeling that

transcendence cannot be achieved transcendence cannot be achieved an awareness of primitiveness and savagery as the an awareness of primitiveness and savagery as the

condition upon which civilization is built, and therefore condition upon which civilization is built, and therefore an interest in the experience and expressions of non-an interest in the experience and expressions of non-European peoples European peoples

a skepticism that emerges from the notion that human a skepticism that emerges from the notion that human ideas about the world seldom fit the complexity of the ideas about the world seldom fit the complexity of the world itself, and thus a sense that multiplicity, world itself, and thus a sense that multiplicity, ambiguity, and irony--in life and in art--are the necessary ambiguity, and irony--in life and in art--are the necessary responses of the intelligent mind to the human condition. responses of the intelligent mind to the human condition.

Apocalypse NowApocalypse Now Apocalypse NowApocalypse Now is a film is a film

that was directed by Francis that was directed by Francis Ford Coppola starring Ford Coppola starring Martin Sheen, Robert Duvall Martin Sheen, Robert Duvall and Marlon Brandoand Marlon Brando

This film was based on This film was based on Conrad’s Heart of Darkness.Conrad’s Heart of Darkness.

Coppola takes the story to Coppola takes the story to Vietnam. Captain Willard Vietnam. Captain Willard (Marlow) is sent on a (Marlow) is sent on a mission to kill Colonel Kurtz mission to kill Colonel Kurtz who has gone renegadewho has gone renegade