Light and Dark in Conrad's Heart of Darkness
In Joseph Conrad's Heart of Darkness, the author adverts to the idea that the "entrapment of light by darkness [that] is continually suggested" (Bloom 46) is comparative to Marlow's personality and perspective of his expedition down the Congo River. Light symbolizes any object or concept that is positive while darkness represents anything that elicits malice. The way in which Conrad approaches the novel by using darkness constantly prevail over light shows a continual theme of foreboding and gloom. Everything that shows vibrancy is illuminated through Conrad's words. These symbolisms and representations have a undeviating effect on the personality and perspective of the protagonist, Marlow. Conrad's use of a frame tale is exceedingly important when the character that is sharing his recollections has an altered perception. One may scrutinize the perspective of the African landscape as a natural wonder and not a foreboding nightmare as Marlow illustrates. The altered perception of Marlow, as using darkness as a victor of light, exhibits that Conrad utilizes the frame tale as a scapegoat for his personal perspective. The accounts of the narrative are the actual happenings of Conrad's individual journey up the Congo River. The reader, through Marlow's speech, can visualize any given atmosphere described in the book. Unfortunately, there are not any existing neutral settings throughout the book. The landscapes are either overcome by darkness or light. The effect of this darkness or light has a direct corollary to the reader.
Immediately the reader recognizes a contrast between the peaceful European setting and the disarray of the African atmosphere described later in the novel. The description of the Thames River offers the reader a glimpse into the superlative imagery. Because the Thames river is a favorable location, Marlow views it as "nearly calm," all is still, the sails do no flutter and the "tide has subsided." Light is the prevalent force within the first section of the novel but as the story progresses and grows nearer the climax, the landscape is invaded with gloom and disgust as seen when Marlow states, "Going up that river was like travelling [sic] back to the earliest beginnings of the world...an empty stream, a great silence, an impenetrable forest...And this stillness of life did not in the least resemble a peace...It was the stillness of an implacable force brooding over an inscrutable intention." In comparison to the portrayal of the European setting, darkness theoretically plagues his story to the extent that an immediate listener is compelled to compose Marlow as one states, "Try to be civil, Marlow." The voice of this listener is comparable to the voice of the reader displaying that Marlow is displacing the effect of his story on the imagery and that he may be losing control of his mind. This is in compliance with Adelman as he states, "Marlow is described as journeying...into the darkness of the beginnings of time, the darkness of Africa-a regression that threatens his sanity" (87). The contrast of these atmospheres has a clear connection to the insight of Marlow.
The initial paragraph is the first introduction to the masterful and colorful imagery that Conrad utilizes to reflect Marlow's attitude. Marlow's personality is primarily based on the visual characteristics of the atmosphere he is presently located. For example, the first paragraphs refer to a regular day drawing to a close. His interpretation of the sky and weather both suggest beauty and mystery. In the following pages, his overall feeling was of joy as he described his childhood and how he was driven to exploration by a fascination of the remote places on a map, based upon his experiences with nature in the previous pages. If on the other hand, as seen numerously in the book, the setting was ominous and "dark" his overall feeling would be of a pessimistic manner. These feelings and outlooks affect the way the story is retold and this effect has significance to the comprehension of the reader.
The excursion through the Congo is the basis of the novel but Conrad's use of the frame tale allows the reader constant access to Marlow's sentiment. Through the detailed narration, the emotions that Marlow experiences are incorporated into his story. These emotions are directly cast to the two separate listeners, the shipmates and the reader. The reader experiences the entrapment of light by darkness just as Marlow sustains it but, in essence, the reader is at a disadvantage. This disadvantage arises from the fact that Marlow's feelings of anger, gloom and joy are relayed into the comprehension of the reader. The reader is subjected to the personal emotions of Marlow and these sentiments influence the personal views of the actual reader. Marlow's sensations elicit different sentiments of the reader for the reason that it is a natural human trait to identify with someone to arrive at a common understanding of a topic at hand. For instance, the Bible is a difficult book to comprehend but one is able to do so by realizing the nature of the author and identify with her/her. The reader must identify with Marlow and his personal nature to fully grasp the gist of the occurrences throughout the novel.
The method that Marlow tells the story to his shipmates is as important as the contents of the story itself. The darkness that inhabits the setting wherever Marlow is present is directly related to the darkness that metaphorically inhabits his words. For instance, when Marlow describes the setting of Africa as a place of darkness and uncivilized behavior, the narrator notes a tremble or hesitation in his voice. This hesitation displays the inconsistency with Marlow retelling the story. On the other end of the spectrum, where Marlow describes favorable objects that he takes interest in the reader is fully aware that he is bias to things of such manner. For example, when Marlow speaks of the Thames river as a "venerable stream" that exists to perform "unceasing service" to those who have tamed it, he speaks in an almost glow that shows his interest which gains the reader's attention.
Contrasts between what the narrator describes and Marlow's personality also exist. This is supported through what the narrator speaks of regarding England's glorious past and also of what critics assert, "Marlow...recalls that in Roman times, England itself was a place of darkness, the very end of the world" (Online). The narrator describes England as a civilized place where "knight-errants" of the sea have brought that peace. This description by the narrator has intermittent references to civilization and peace which according to critics, "light and civilization are benevolent forces"(Online). Marlow's personality and perspective of England's glorious past is, in fact, not glorious at all. He refers to the knight-errant as "faithless pilgrims" that have only brought death, and by no means peace. While exploring Marlow's perspective, the issue of imperialism is raised. Imperialistic views of Marlow are centered around the involvement of the Company and the effect it has on the natives of Africa. According to Adelman, "he [Marlow] associates darkness with...imperialism"(86). This contrast and the manner that Conrad chose to display it shows his purpose in the relationship between light versus darkness and Marlow's personality.
Conrad conducts Marlow's personality according to his description of the setting. Marlow is unconsciously aware of what the narrator describes, as Conrad uses this as a tool to enhance Marlow's personality. To clarify, Conrad could go into fastidious detail of ivory, for example, and its symbolism and Marlow automatically obtains the symbolism, as seen through his speech, "The word 'ivory' rang in the air, was whispered, was sighed. You would think they were praying to it." Note that Conrad chooses ivory to be of rarity which in turn increases the value, and not anything "dark." For example, Conrad would never choose oil to be of necessity because it disrupts the color association that is integrated throughout the book. Marlow's personality is enhanced through the description of Ivory because it informs the reader that Marlow is interested in a "white" object which signifies an interest in something worthwhile. This displays Marlow's intelligence to the reader.
Marlow is constantly attempting to project an intriguing story for the shipmates, and thus the reader. This statement is supported when Marlow asks rhetorical questions to his shipmates: "Do you see the story? Do you see anything? It seems I am trying to tell you a dream"(24.). Marlow suddenly becomes aware of his immediate listeners and speaks directly to them as individuals. These listeners are, in essence, the reader. Conrad realizes that at certain junctures in his story the reader may lose interest. As a repercussion, Conrad institutes particular statements that maintain the intellectual involvement of the reader. Once again when Marlow detects disinterest and fiercely responds to someone sighing he questions the integrity of the listener. He automatically assumes that the listener sighs because of the absurdity of what is being stated: "Why do you sigh in this beastly way, somebody?"(43.). As Marlow continues, the intermittent utterances regarding the reader's involvement play a pivotal role in developing the contrast between darkness and light as Marlow nears the actual "heart of darkness."
Partner sites: Study Spanish in Guatemala, American Bulldog Information, and Eulogies