overview/context

Marlow’s picture of colonialism is first presented in the beginning of the book:

- Colonialism is represented as something that transcends time and boundaries as he asserts the repetition and continuation of human nature in its’ conquest to conquer and dominate.

- Marlow’s representation of the corruption of European colonisation:

- Marlow’s important realisation of the brutality and corruption of the colonising nations displays his transition from the superficial belief of ‘good intentions’ of the colonisers to the reality that is represented through the economic exploitation achieved through murder, robbery and brutality witnessed by Marlow himself. He has seen that the goal is centred on profit and efficiency throughout his journey rather than the excuses and ‘idea’ the colonisers base their actions on.

Kurtz’ notion of colonialism is establishing a god-like dominating relationship between the natives and white men, in its’ simplicity. Exerting ‘a power for good’ again deals with the reality of masking the brutality of colonialism with superficial yet devoted ideas of doing ‘good,’ and it is suggested that Kurtz truly did believe in his will to do so by establishing a slave/master domination over the natives in conquest for their enlightenment.

Marlow’s representation of the devil is one of the central images with which Marlow characterises the behavior of the colonists. This suggests the problems Marlow has with imperialism - He distinguishes this devil from violence, greed, and desire, suggesting that the fundamental evil of imperialism is not that it perpetrates violence against native peoples, nor that it is motivated by greed. The flabby, weak-eyed devil seems to be distinguished above all by being shortsighted and foolish, unaware of what it is doing and ineffective.

·      Sharp distinction between nature and civilisation 

·       "A narrow and deserted street in deep shadow, high houses, innumerable windows with venetian blinds, a dead silence, grass sprouting right and left, immense double doors standing ponderously ajar. I slipped through one of these cracks, went up a swept and ungarnished staircase, as arid as a desert, and opened the first door I came to."

·      This is a rather unflattering view of civilization: the Company's Brussels office is narrow, filthy, and tense

·       "This one [coast] was almost featureless, as if still in the making, with an aspect of monotonous grimness. The edge of a colossal jungle, so dark-green as to be almost black, fringed with white surf, ran straight, like a ruled line, far, far away along a blue sea whose glitter was blurred by a creeping mist. The sun was fierce, the land seemed to glisten and drip with steam. Here and there greyish-whitish specks showed up clustered inside the white surf, with a flag flying above them perhaps. Settlements some centuries old, and still no bigger than pinheads on the untouched expanse of their background.” Chapter 1, p14

·      The wilderness is represented as an ominous and brooding force, its dark, dangerous, savage. 

 

·      Marlow’s journey towards the interior and towards Kurtz seems almost inevitable, as if he is drawn closer to the heart of darkness by his own morbid curiosity and by his childhood drive to explore

·      The interplay between fate and free will informs the actions of the plot and calls into question whether Marlow could have avoided his descent into madness, his corruption, and his subsequent revelations about human nature. 

·      Marlow feels inexplicably drawn to Africa

·       “In the outer room the two women knitted black wool feverishly. People were arriving, and the younger one was walking back and forth introducing them. The old one sat on her chair. Her flat cloth slippers were propped up on a foot-warmer, and a cat reposed on her lap. She wore a starched white affair on her head, had a wart on one cheek, and silver-rimmed spectacles hung on the tip of her nose. She glanced at me above the glasses. The swift and indifferent placidity of that look troubled me. Two youths with foolish and cheery countenances were being piloted over, and she threw at them the same quick glance of unconcerned wisdom. She seemed to know all about them and about me, too. An eerie feeling came over me. She seemed uncanny and fateful. Often far away there I thought of these two, guarding the door of Darkness, knitting black wool as for a warm pall, one introducing, introducing continuously to the unknown, the other scrutinizing the cheery and foolish faces with unconcerned old eyes. Ave! Old knitter of black wool. Morituri te salutant. Not many of those she looked at ever saw her again- not half, by a long way.” Chapter 1, p11.

·      These women in the above quote appear to represent the Moirai, or The Fates. In Greek Mythology they were the Goddesses of fate and destiny. Two of the three Fates spin the life-thread of each human being; the third Fate cuts the thread when the time comes for the man to die. Upon their appearance Marlow begins to feel his fate is ill-starred.  

·       "I couldn't have felt more of lonely desolation somehow, had I been robbed of a belief or had missed my destiny in life

·      Marlow has felt all this time that it was his destiny to meet Kurtz – now he feels cheated out of it.

·       The harlequin “So many accidents happen to a man going about alone, you know. Canoes get upset sometimes – and sometimes you've got to clear out so quick when the people get angry.”’ Chapter 2

·      The harlequin comments on the fickle nature of Fate in the interior. It gives men "many accidents," as if trying to kill those who dare venture into the interior.

·       "The knitting old woman with the cat obtruded herself upon my memory as a most improper person to be sitting at the other end of such an affair. Chapter 3, p84

·      As Marlow chases Kurtz through the woods, the image of the old knitting woman (representing Fate) intrudes on his thoughts. Though it is only subconsciously, Marlow knows he is destined to find Kurtz in the wilderness and bring him back; he is destined to allow the greater evil to win.

Freud’s psychological theory

Title

Marlow

Kurtz