Powerpoint on Heart of Darkness

1. Heart of DarknessHeart of Darkness
““We live, as we dream,We live, as we dream,
alone…”alone…”

2. The Heart of DarknessThe Heart of Darkness] is a dreadful and] is a dreadful and
fascinating tale, full as any of Poe’sfascinating tale, full as any of Poe’s
mystery and haunting terrors, yet withmystery and haunting terrors, yet with
all the substantial basis of reality that noall the substantial basis of reality that no
man who had not lived as well as dreamedman who had not lived as well as dreamed
could conjure into existence.could conjure into existence.
--from a review in--from a review in
NationNation, 1906, 1906

3. Joseph ConradJoseph Conrad’’s Lifes Life
• Born 1857 in Russian-occupied PolandBorn 1857 in Russian-occupied Poland
• Patriot father & family exiled in Russia 1862Patriot father & family exiled in Russia 1862
• Both parents dead of illness by 1869Both parents dead of illness by 1869
• Conservative uncle took him inConservative uncle took him in
• Joined French Merchant Marine at 16Joined French Merchant Marine at 16
• Kicked out due to his nationalityKicked out due to his nationality
& a suicide attempt& a suicide attempt
• Joined British Merchant Marine 1878Joined British Merchant Marine 1878
• Left the sea & began writing 1894Left the sea & began writing 1894
• Died 1924 & buried in CanterburyDied 1924 & buried in Canterbury

4. Joseph Conrad’s LifeJoseph Conrad’s Life
• -long stint in the East (Asia) ended, had trouble-long stint in the East (Asia) ended, had trouble
finding a new position.finding a new position.
• With the help of a relative in Brussels, tookWith the help of a relative in Brussels, took
position as captain of a steamer for a Belgianposition as captain of a steamer for a Belgian
trading company.trading company.
• Conrad had dreamed of sailing the CongoConrad had dreamed of sailing the Congo
• He had to leave early for the job, as the previousHe had to leave early for the job, as the previous
captain was killed in a trivial quarrel – mentallycaptain was killed in a trivial quarrel – mentally
and physically unprepared for journeyand physically unprepared for journey

5. Joseph Conrad’s LifeJoseph Conrad’s Life
• Conrad saw some of the most shocking andConrad saw some of the most shocking and
depraved examples of human corruption hedepraved examples of human corruption he’’d everd ever
witnessed. He was disgusted by the ill treatment ofwitnessed. He was disgusted by the ill treatment of
the natives, the scrabble for loot, the terrible heatthe natives, the scrabble for loot, the terrible heat
and the lack of water.and the lack of water.
• He saw human skeletons of bodies left to rot - manyHe saw human skeletons of bodies left to rot - many
were men from the chain gangs building thewere men from the chain gangs building the
railroads.railroads.
• He found his ship was damaged.He found his ship was damaged.
• Dysentary was rampant, as was malaria; ConradDysentary was rampant, as was malaria; Conrad
had to terminate his contract due to illness andhad to terminate his contract due to illness and
never fully recoverednever fully recovered

6. Historical ContextHistorical Context
• In 1890, Joseph Conrad secured employment in the
Congo as the captain of a river steamboat, the
approximate year in which the main action of Heart
of Darkness takes place.
• Illness forced Conrad's return home after only
three months in Africa, but that was long enough
for intense impressions to have been formed in the
novelist's mind.
• Today, the country at the center of Heart of
Darkness is called thecalled the Democratic Republic ofDemocratic Republic of
the Congothe Congo, , but in Conrad’s time it was the Congo
Free State, or Belgian Congo.

7. Heart of DarknessHeart of Darkness
• First published as a serialFirst published as a serial
in Londonin London’s’s BlackwoodBlackwood
MagazineMagazine in 1899in 1899
• Considered by many to beConsidered by many to be
the finest short novel everthe finest short novel ever
written in Englishwritten in English
• Bridges the Victorian andBridges the Victorian and
Modern literary periodsModern literary periods
• Modern criticism sharplyModern criticism sharply
divided over merit due todivided over merit due to
racist/imperialist themesracist/imperialist themes

8. Key Facts
• Full TitleFull Title:: Heart of DarknessHeart of Darkness
• AuthorAuthor:: Joseph ConradJoseph Conrad
• Type of WorkType of Work:: Novella (between a novelNovella (between a novel
and a short story in length and scope)and a short story in length and scope)
• GenreGenre:: Symbolist, colonial literature,Symbolist, colonial literature,
adventure tale, frame storyadventure tale, frame story

9. Key Facts
• Time and Place WrittenTime and Place Written:: England, 1898–1899; inspired byEngland, 1898–1899; inspired by
Conrad’s journey to the Congo in 1890Conrad’s journey to the Congo in 1890
• Date of First PublicationDate of First Publication:: Published in 1902 in the volumePublished in 1902 in the volume
Youth: A Narrative; and Two Other StoriesYouth: A Narrative; and Two Other Stories
• NarratorNarrator:: There are two narrators: an anonymousThere are two narrators: an anonymous
passenger on a pleasure ship, who listens to Marlow’spassenger on a pleasure ship, who listens to Marlow’s
story, and Marlow himself, a middle-aged ship’s captain.story, and Marlow himself, a middle-aged ship’s captain.
• Point of ViewPoint of View:: The first narrator speaks in the first-personThe first narrator speaks in the first-person
plural, on behalf of four other passengers who listen toplural, on behalf of four other passengers who listen to
Marlow’s tale. Marlow narrates his story in the firstMarlow’s tale. Marlow narrates his story in the first
person, describing only what he witnesses andperson, describing only what he witnesses and
experiences, and provides his own commentary on theexperiences, and provides his own commentary on the
story.story.

10. Key Facts
• Setting (time)Setting (time):: Latter part of the nineteenthLatter part of the nineteenth
century, probably sometime between 1876 andcentury, probably sometime between 1876 and
18921892
• Setting (place)Setting (place):: Opens on the Thames RiverOpens on the Thames River
outside London, where Marlow is telling theoutside London, where Marlow is telling the
story that makes upstory that makes up Heart of Darkness.Heart of Darkness. Events ofEvents of
the story take place in Brussels, at the Company’sthe story take place in Brussels, at the Company’s
offices, and in the Congo, then a Belgianoffices, and in the Congo, then a Belgian
territory.territory.
• ProtagonistProtagonist:: Charlie MarlowCharlie Marlow

11. Historical Context

12. Marlow’s & Conrad’s
1889-90 journey into
““Heart ofHeart of
DarknessDarkness””
Joseph
Conrad
(1857-1914)

13. Historical ContextHistorical Context
The Congo River was discovered byThe Congo River was discovered by
Europeans in 1482Europeans in 1482
No one traveled more thanNo one traveled more than
200 miles upstream until200 miles upstream until
18771877
Is 1,600 miles long and onlyIs 1,600 miles long and only
impassable to water trafficimpassable to water traffic
between two places, creatingbetween two places, creating
a two-hundred mile overlanda two-hundred mile overland
triptrip
 Matadi (the CompanyMatadi (the Company
Station)Station)
 Kinshasa (the CentralKinshasa (the Central
Station)Station)

14. Historical ContextHistorical Context
• 1878 – King Leopold II of Belgium asked1878 – King Leopold II of Belgium asked
explorer Henry Morton Stanley to set up aexplorer Henry Morton Stanley to set up a
Belgian colony in the CongoBelgian colony in the Congo
– Wanted toWanted to “end slavery and civilize the natives”“end slavery and civilize the natives”
– Actually interested in more material benefitsActually interested in more material benefits
• 1885 – Congress of Berlin forms Congo Free State1885 – Congress of Berlin forms Congo Free State
– This was ruled by Leopold II aloneThis was ruled by Leopold II alone
– The Congress of Berlin is referred to in the book asThe Congress of Berlin is referred to in the book as “the“the
International Society for the Suppression of SavageInternational Society for the Suppression of Savage
Customs.”Customs.”
– Leopold never even visited the Congo. He set upLeopold never even visited the Congo. He set up “the“the
Company” to run it for him.Company” to run it for him.

15. 15
King Leopold and the CongoKing Leopold and the Congo
•Belgium, as a small country, did not possessBelgium, as a small country, did not possess
numerous overseas colonies, unlike itsnumerous overseas colonies, unlike its
neighbours, Holland, France, Germany, andneighbours, Holland, France, Germany, and
Great Britain, but shared their imperialGreat Britain, but shared their imperial
ambitions. Leopold persuaded otherambitions. Leopold persuaded other
European powers at the Berlin Conference ofEuropean powers at the Berlin Conference of
1884-85 to give him personal possession of1884-85 to give him personal possession of
the Congo.the Congo.
•In 1886 he organized an internationalIn 1886 he organized an international
association as a front for his private plan toassociation as a front for his private plan to
“develop” central Africa.“develop” central Africa.
•Leopold used the Congo as a huge money-Leopold used the Congo as a huge money-
making resource, committing human rightsmaking resource, committing human rights
violations in the process, as he built publicviolations in the process, as he built public
works projects in Belgium with the moneyworks projects in Belgium with the money
he accrued.he accrued.

16. 5-8 Million Victims5-8 Million Victims (50% of Population)(50% of Population)
““It is blood-curdling to see them (theIt is blood-curdling to see them (the
soldiers) returning with the hands ofsoldiers) returning with the hands of
the slain, and to find the hands ofthe slain, and to find the hands of
young children amongst the biggeryoung children amongst the bigger
ones evidencing their bravery...Theones evidencing their bravery...The
rubber from this district has costrubber from this district has cost
hundreds of lives, and the scenes Ihundreds of lives, and the scenes I
have witnessed, while unable to helphave witnessed, while unable to help
the oppressed, have been almostthe oppressed, have been almost
enough to make me wish I wereenough to make me wish I were
dead... This rubber traffic is steepeddead... This rubber traffic is steeped
in blood, and if the natives were toin blood, and if the natives were to
rise and sweep every white person onrise and sweep every white person on
the Upper Congo into eternity, therethe Upper Congo into eternity, there
would still be left a fearful balance towould still be left a fearful balance to
their credit.” -- Belgian Officialtheir credit.” -- Belgian Official

17. White KingWhite King, Red Rubber,, Red Rubber, Black DeathBlack Death
• Countries such as France, the Netherlands, and GreatCountries such as France, the Netherlands, and Great
Britain that acquired large empires exploited both landBritain that acquired large empires exploited both land
and people. However…and people. However…
• Some measures to protect the rights of overseasSome measures to protect the rights of overseas
subjects were introduced.subjects were introduced.
• Rights of women and men to vote.Rights of women and men to vote.
• Protection against industrial exploitation was makingProtection against industrial exploitation was making
child labour illegal and improving employmentchild labour illegal and improving employment
conditions.conditions.
• Some of these rights were followed in the AfricanSome of these rights were followed in the African
colonies…..but NOT BY LEOPOLD IIcolonies…..but NOT BY LEOPOLD II
• Leopold had to give up the Congo to Belgium in 1908 as aLeopold had to give up the Congo to Belgium in 1908 as a
result of the international campaign exposing Leopoldresult of the international campaign exposing Leopold’s’s
activities in the Congo.activities in the Congo.

18. The Ivory TradeThe Ivory Trade
• Most Europeans in the 1890s feltMost Europeans in the 1890s felt
that the African peoples neededthat the African peoples needed
exposure to European culture andexposure to European culture and
technology to become moretechnology to become more
evolved.evolved.
• This responsibility was known asThis responsibility was known as
“the white man’s burden” and the“the white man’s burden” and the
fervor to bring Christianity andfervor to bring Christianity and
commerce to Africa grew.commerce to Africa grew.
• In return for theseIn return for these “benefits,” the“benefits,” the
Europeans extracted HUGEEuropeans extracted HUGE
amounts of ivory.amounts of ivory.

19. • Uses of ivory in the 1890sUses of ivory in the 1890s
– Jewelry and other decorative itemsJewelry and other decorative items
– Piano keysPiano keys
– Billiard ballsBilliard balls
• From 1888 to 1892, the amount of ivoryFrom 1888 to 1892, the amount of ivory
exported from the Congo rose fromexported from the Congo rose from
13,000 pounds to more than a quarter13,000 pounds to more than a quarter
million pounds.million pounds.
• 1892 – Leopold declares all natural1892 – Leopold declares all natural
resources in the Congo are his soleresources in the Congo are his sole
propertyproperty
– This gave the Belgians free reign toThis gave the Belgians free reign to
take whatever they wanted howevertake whatever they wanted however
they wished.they wished.
– Trade expands, new stations areTrade expands, new stations are
established farther and farther awayestablished farther and farther away

20. Belgian Atrocities in the CongoBelgian Atrocities in the Congo
• Reports of these atrocities reached the European public,
leading to an international movement protesting the Belgian
presence in Africa. These acts, reflected in Heart of Darkness,
continued, despite an order by Leopold II that they cease.
• Heart of Darkness was an important literary intervention into
the emerging debate about atrocities in the Congo.
• Edmund Dene Morel, who founded the Congo Reform
Association in 1904, described Conrad's story as "the most
powerful thing ever written on the subject." For Morel, the
title became synonymous with the "tortured African world"
of the Congo that suffered under the autocratic rule of King
Leopold, a man Morel described as "a great genius for evil."

21. Order in the midst of Chaos:
HOD’s Structure
• Patterns of Three:
– 3 chapters
– 3 times Marlow breaks off the story
– 3 stations
– 3 women
(Aunt, Mistress, Intended)
– 3 central characters
(Kurtz, Marlow, Narrator)
– 3 characters with names
– 3 views of Africa
(political, religious, economic)

22. Narrative Style in HOD
• Frame Narrative – (story within story)
with narrator, Marlow
• Circular Structure – mimics oral
storytelling, readers sits down with
sailors, ready to hear myth or quest
• Light and Dark – motifs, symbols
• Transformation –physical,
psychological

23. Narrative Style in HOD
• Frame Narrative - TheFrame Narrative - The story within a story techniquestory within a story technique
distances Conrad as author.distances Conrad as author.
– Readers are unsure whether they are reading the tale second- orReaders are unsure whether they are reading the tale second- or
third-hand.third-hand.
– Difficulty in distinguishing whether the opinions expressed areDifficulty in distinguishing whether the opinions expressed are
Conrad's own or the narrator's.Conrad's own or the narrator's.
• The book is divided into three chapters that indicateThe book is divided into three chapters that indicate
changes in Marlow's attitude towards Kurtz or the ideachanges in Marlow's attitude towards Kurtz or the idea
of Kurtz.of Kurtz.
– In Chapter One, Marlow begins to build a picture of Kurtz fromIn Chapter One, Marlow begins to build a picture of Kurtz from
other people's descriptions of him.other people's descriptions of him.
– Chapter Two sees Marlow's growing obsession with meetingChapter Two sees Marlow's growing obsession with meeting
and talking with Kurtz.and talking with Kurtz.
– In Chapter Three, Marlow and Kurtz actually meet.In Chapter Three, Marlow and Kurtz actually meet.

24. Narrative Style in HOD
• The book has a distinct circular structure: the first
narrator begins and ends the novel in the same evening
while on the boat moored on the Thames.
• "Darkness" (excess, madness, destruction) is not only in
the jungle but everywhere, even in London, which was
the heart of the British empire and its colonialism.
• There is a clear progression downward to hell that recalls
Dante’s Inferno, and perhaps also Hamlet’s descent into
madness.

26. • DarknessDarkness
• Primitive Impulses (Kurtz, previous captain, etc.)Primitive Impulses (Kurtz, previous captain, etc.)
• Cruelty of Man (Kurtz and Company)Cruelty of Man (Kurtz and Company)
• Immorality/Amorality (Kurtz)Immorality/Amorality (Kurtz)
• Lies/HypocrisyLies/Hypocrisy
• Imperialization/ColonizationImperialization/Colonization Power CorruptsPower Corrupts
• Savage vs. CivilSavage vs. Civil
• Role of WomenRole of Women
• Civilization exploitive of womenCivilization exploitive of women
• Civilization as a binding and self-perpetuating forceCivilization as a binding and self-perpetuating force
• Physical connected to PsychologicalPhysical connected to Psychological
• Barriers (fog, thick forest)Barriers (fog, thick forest)
• Rivers (connection to past, parallels time andRivers (connection to past, parallels time and
journey)journey)
Heart of DarknessHeart of Darkness MotifsMotifs

27. ““Foster”ing ConnectionsFoster”ing Connections
• GeographyGeography
• WeatherWeather
• Illness or diseaseIllness or disease
• Bible or mythological allusionsBible or mythological allusions
• QuestQuest
• SymbolsSymbols
• Eating as communionEating as communion
• IronyIrony

29. Light vs. DarkLight vs. Dark
Heavy vs. LightHeavy vs. Light
Inferiority vs. SuperiorityInferiority vs. Superiority
Civil vs. SavageCivil vs. Savage
Interior vs. ExteriorInterior vs. Exterior
Illusion vs. TruthIllusion vs. Truth
Misogyny vs. MisanthropyMisogyny vs. Misanthropy
Insanity vs. SanityInsanity vs. Sanity
Racism vs. Anti-racismRacism vs. Anti-racism
Imperialism vs. InsularityImperialism vs. Insularity
Contrasts in Heart of DarknessContrasts in Heart of Darkness

30. What is Modernism?What is Modernism?
• Criticized the 19th
century as a dangerously unreal period of
comfortable certainty and positive assurance
• Broke up the logically developing plot typical of 19th
century
novel
• Attempted to use language in a new way
• Drew attention to style instead of trying to make it
“transparent”
• Offered unexpected connections or sudden changes in
perspective
• Played with shifting and contradictory appearances to
suggest the shifting and uncertain nature of reality
• Used interior monologues and free association to express
the rhythm of consciousness
• Blended fantasy with reality while representing real
historical or psychological dilemmas

31. What is Modernism?
• Modernism claims to show:
– a more accurate representation of reality
– a better understanding of human
consciousness
• The 20th
century “vision” places its emphasis on
how we know – on the structures of perception
themselves – rather than on traditional elements
such as plot and character development.

32. InterpretationsInterpretations
• Archetypal (the shadow; the quest)
• Marxist
• Sociological / Cultural
• Psychological
• Formalist
• Modernist
• Religious
• Moral

33. The Shadow Archetype
• The Shadow - reflects deeper elements of our
psyche, where latent dispositions which are
common to us all arise.
– Our shadow may appear in dreams, hallucinations
and musings, often as something or someone who is
bad, fearsome or despicable in some way.
– It also reflects something that was once split from us
in early management of the objects in our lives.
• We tend to see it in “others.” That is to say, we project
our dark side onto others and thus interpret them as
“enemies” or as “exotic.”
• Thus, the shadow is the personification of that part of
human, psychic possibility that we deny in ourselves and
project onto others.

34. The Shadow Archetype
• The goal of personality integration is to integrate the
rejected, inferior side of our life into our total experience
and to take responsibility for it.
• It is, by its name, dark, shadowy, unknown and
potentially troubling. It embodies chaos and
wildness of character.
– The shadow thus tends not to obey rules, and in doing
so may discover new lands or plunge things into chaos
and battle.
– It has a sense of the exotic and can be disturbingly
fascinating. In myth, it appears as the wild man, spider-
people, mysterious fighters and dark enemies.

35. The Archetypal QuestThe Archetypal Quest
• HOD is a modern myth (= tradition of quest narrative)HOD is a modern myth (= tradition of quest narrative)
– In a quest, the story develops as a central character,In a quest, the story develops as a central character,
the hero, meets and overcomes a series of obstaclesthe hero, meets and overcomes a series of obstacles
on the way to accomplishing a task.on the way to accomplishing a task.
– archetypal quest stories – Virgil’sarchetypal quest stories – Virgil’s AeneidAeneid & Dante's& Dante's
InfernoInferno
• HOD contains mythological “quest” elements:HOD contains mythological “quest” elements:
-- fellow journeymen (the Pilgrims)-- fellow journeymen (the Pilgrims)
-- a fool (the Harlequin = the Russian)-- a fool (the Harlequin = the Russian)
-- a set of obstacles as they travel down river-- a set of obstacles as they travel down river
(“descent to the underworld”)(“descent to the underworld”)

36. The Archetypal Quest
• But is there a conventional hero?
• It is unclear whether the hero is Marlow or
Kurtz.
– Marlow is a flawed hero - for most of the book he
lacks insight and is uncertain of the nature of his own
quest, nor is it clear why he is obsessed by Kurtz.
– Kurtz himself remains an enigma. This quest yields an
empty prize: the mystery, the task, remains
incomplete, "unsolved."

37. Marxist Interpretation
• “Marxism” refers to the economics of class warfare.
• Heart of Darkness is a depiction of, and an attack upon,
colonialism in general, and, more specifically, the brutal
form colonialism took in the Belgian Congo.
– the mistreatment of the Africans
– the greed of the so-called "pilgrims"
– the broken idealism of Kurtz
– the French man-of-war lobbing shells into the jungle
– the grove of death which Marlow stumbles upon
– the little note that Kurtz appends to his noble-minded essay on
The Suppression of Savage Customs
– the importance of ivory to the economics of the system.

38. Sociological/Cultural
Interpretation
• Heart of Darkness may also be read as a sociological
investigation of those who conquer and those who are
conquered, and the complicated interplay between
them.
– Marlow's invocation of the Roman conquest of Britain
– cultural ambiguity of those Africans who have taken on some of
the ways of their Europeans
– the ways in which the wilderness tends to strip away the civility
of the Europeans and brutalize them
– Conrad is not impartial and scientifically detached from these
things, and he even has a bit of fun with such impartiality in his
depiction the doctor who tells Marlow that people who go out
to Africa become "scientifically interesting."

39. Psychological Interpretation
• Conrad goes out of his way to suggest that in some sense
Marlow's journey is like a dream or a return to our
primitive past -- an exploration of the dark recesses of
the human mind.
– Apparent similarities to the psychological theories of Sigmund
Freud in its suggestion that dreams are a clue to hidden areas of
the mind
– we are all primitive brutes and savages, capable of the most
appalling wishes and the most horrifying impulses (the Id)
– we can make sense of the urge Marlow feels to leave his boat
and join the natives for a savage whoop and holler
– notice that Marlow keeps insisting that Kurtz is a voice -- a voice
who seems to speak to him out of the heart of the immense
darkness

40. Religious Interpretation
• Heart of Darkness is also an examination of various
aspects of religion and religious practices.
– the way Conrad plays with the concept of pilgrims
and pilgrimages
– the role of Christian missionary concepts in the
justifications of the colonialists
– the dark way in which Kurtz fulfills his own messianic
ambitions by setting himself up as one of the local
gods

41. Focus on the literary patterns and structuresFocus on the literary patterns and structures
inherent ininherent in Heart of DarknessHeart of Darkness
Threes: 3 parts to the story, 3 breaks in the storyThrees: 3 parts to the story, 3 breaks in the story
(1 in pt. 1 and 2 in pt. 2), and 3 central characters:(1 in pt. 1 and 2 in pt. 2), and 3 central characters:
the outside narrator, Marlow and Kurtzthe outside narrator, Marlow and Kurtz
Contrasting images (dark and light, open andContrasting images (dark and light, open and
closed)closed)
Center to periphery: Kurtz-> Marlow-> OutsideCenter to periphery: Kurtz-> Marlow-> Outside
Narrator-> the readerNarrator-> the reader
Are the answers to be found in the center or onAre the answers to be found in the center or on
the periphery?the periphery?
Formalist Interpretation

42. Heart of DarknessHeart of Darkness published in the Late Victorianpublished in the Late Victorian
Era exhibits mostly modern traits:Era exhibits mostly modern traits:
• a distrust of abstractions as a way of delineating trutha distrust of abstractions as a way of delineating truth
• an interest in an exploration of the psychologicalan interest in an exploration of the psychological
• a belief in art as a separate and somewhat privilegeda belief in art as a separate and somewhat privileged
kind of human experiencekind of human experience
• a desire for transcendence mingled with a feeling thata desire for transcendence mingled with a feeling that
transcendence cannot be achievedtranscendence cannot be achieved
• an awareness of and interest in primitiveness andan awareness of and interest in primitiveness and
savagery as the condition upon which civilization issavagery as the condition upon which civilization is
builtbuilt
• a skepticism and a sense that multiplicity, ambiguity,a skepticism and a sense that multiplicity, ambiguity,
and irony—in life and in art—are the necessaryand irony—in life and in art—are the necessary
responses of the intelligent mind to the humanresponses of the intelligent mind to the human
condition.condition.
Modernist Interpretation

43. Moral InterpretationMoral Interpretation
Heart of DarknessHeart of Darkness is preoccupied with general questionsis preoccupied with general questions
about theabout the nature of good and evilnature of good and evil, or civilization and, or civilization and
savagery. What saves Marlow from becoming evil? Issavagery. What saves Marlow from becoming evil? Is
Kurtz more or less evil than the pilgrims? Why doesKurtz more or less evil than the pilgrims? Why does
Marlow associate lies with mortality?Marlow associate lies with mortality?
• Moral ambiguityMoral ambiguity is a central concept in the novel, and isis a central concept in the novel, and is
expressed throughout the narrative in the tension betweenexpressed throughout the narrative in the tension between
opposing forces.opposing forces.
• IronyIrony is also deeply embedded in the novel.is also deeply embedded in the novel.
– At one level, it shows the hypocrisy of the Europeans’ “moral”At one level, it shows the hypocrisy of the Europeans’ “moral”
purpose of invading Africa, when their motive is really onlypurpose of invading Africa, when their motive is really only
commercial.commercial.
– At another level, it shows how these European emissaries, instead ofAt another level, it shows how these European emissaries, instead of
'suppressing savage customs,' actually become savages themselves.'suppressing savage customs,' actually become savages themselves.

44. Moral InterpretationMoral Interpretation
• CivilizationCivilization versusversus wildernesswilderness
• CultureCulture versusversus savagerysavagery
• FascinationFascination versusversus repulsionrepulsion
• FreedomFreedom versusversus restraintrestraint
• InnocenceInnocence versusversus experienceexperience
• JusticeJustice versusversus injusticeinjustice
• RealityReality versusversus unrealityunreality
• StrengthStrength versusversus weaknessweakness
• SuccessSuccess versusversus failurefailure
• WorkWork versusversus idlenessidleness

45. Questions to ConsiderQuestions to Consider
as you Readas you Read:
• What does it mean to be “savage” or “civilized?”What does it mean to be “savage” or “civilized?”
• What are the different meanings of the wordsWhat are the different meanings of the words
“dark” and “light”? Notice how many times“dark” and “light”? Notice how many times
Conrad uses this description in different ways.Conrad uses this description in different ways.
• Why do people choose to do good? or evil?Why do people choose to do good? or evil?