63 pages • 2 hours read
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The interplay between light and dark become a key motif in the book, evening contributing to the title. The narrative is presented as a journey from light to dark, both in the sense of journeying from the “enlightened” Europe into the dark heart of Africa and journeying into the darkness of Kurtz’s character. This transition from light to dark is gradual and corrupting, affecting Marlow and changing him forever.
The lighting in the book is perpetually hazy. There are very few moments of pure light; instead, everything is cloaked in fog, mist, and darkness. In London, as Marlow and his companions sit on the Thames, a mist settles over the river and the sun begins to set. It is this fading light that inspires Marlow to tell the story of the time he confronted darkness in its purest form. Additionally, the Belgian city is described as gloomy and impervious. This reflects the characters’ willful ignorance of the truth about what is happening in Africa; Marlow’s aunt, for instance, will not be convinced that the colonial presence in the Congo is anything other than benevolent. Her ideas, like the city itself, is shrouded in an impervious fog that morality and truth struggle to penetrate.
Darkness, so key to the novel’s title, becomes an important motif for the abandonment of morality that allows the Company to operate its colonial projects. While the light struggles to penetrate the European fog, the descriptions of Africa often focus on the darkness itself. Marlow spends a lot of time awake at night or peering into the shadows of the jungle. The further he travels up the river, the closer he gets to Kurtz, the more he is subsumed into this darkness. When he finally confronts Kurtz, they are together in the darkness of the jungle. There is danger all around Marlow and—in that moment—he finally understands the depths of the darkness in Kurtz’s heart. Marlow is forced to confront the darkness of Kurtz, of Africa, and of European colonialism and it changes him forever. He returns to Europe, but he now sees everything cast in the shade of his experience. When he walks the streets of Europe, he is struck by the willful ignorance of everyone he meets. They cannot be viewed the same ever again, as they have not seen into the eponymous heart of darkness.
Ivory is one of the novel’s most frequent motifs. It is the primary material concern for the narrative; the Company’s presence in the Congo is explained by their desire to extract ivory from Africa and sell it in Europe for profit. Being able to extract so much ivory is what sets Kurtz apart from his colleagues. At the Outer Station, his abilities as an ivory trader are already legendary. Kurtz has made his name (having come from an inconsequential background) as an ivory man and his skills in this field allow him to operate as he sees fit. Thus, it is ivory that provides Kurtz with the opportunity to enact his extremist theories. Ivory, as it is presented in the narrative, is the enabling device of Kurtz’s madness. It serves as the foundation for all his actions.
Ivory is only a valuable commodity when removed and sanitized from the way in which it is acquired; the way Kurtz acquires it begins to perturb the people working for the Company. In Europe, people convince themselves that the colonial presence in the Congo is benevolent. At the Outer Station, the truth about the violence is clearer but people are still willing to endure this in the name of profit. At the Central Station, people are becoming more attuned to the truth behind Kurtz’s methods but still act in the name of profit. On the journey along the river, and at Kurtz’s station itself, the truth is gradually revealed and those who witness Kurtz’s methods are appalled. Marlow even remarks that he sees no method at all behind Kurtz’s behavior, only madness and violence. The further a person is from the actual violence, the more prepared they are to forgive colonial viciousness in the name of profit.
The narrative of the book follows the Congo River from the Outer Station near the coast to Kurtz’s compound at the Inner Station. Like the narrative, the river snakes through the countryside, taking Marlow further and further from civilization and drawing him closer to Kurtz. The river is Marlow’s predication for visiting the continent; unable to find work on a seabound vessel, he puts his years of maritime experience to working on a freshwater ship. The nature of the river means that Marlow does not have to spend too much time trekking through the thick, dense jungle. Instead, he floats through the continent in an almost passive manner.
The localities that he encounters are distant; the people, animals, and undergrowth all remain exclusively on the shore while Marlow stays on the boat. In this respect, the river functions as a useful motif, allowing the slow, bending arc of the narrative to equate Marlow’s voyeuristic purveyance of the strange world he encounters with the audience’s own experiences of hearing the story. To Marlow, everything seen from the boat is—in effect—two-dimensional and flat. As such, the river heightens the potency of the theme of colonialism; Marlow is never attached to the land but is merely a visitor, exploiting and damaging from a distance.
As well as the means of transport for Marlow, the river is a natural force to be reckoned with. There is a sense that the river is attempting to repel the invading colonial forces to protect the people of the country for which it is named. The flow of the river naturally pushes the colonizers back out to sea, while natural impediments like roots, branches, sand dunes, and even hippopotamuses provide a constant threat. To that end, the man at the end of the river is one who has understood the true nature of his presence in Africa: Kurtz is the inevitable point at the end of the river and the narrative, and both carry Marlow toward him. To reach that point, Kurtz has had to experience and conquer the river itself. The cost of doing so, it is implied, is his sanity.
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