Heart of Darkness Charlie Marlow Quotes

Charlie Marlow

Quote 41

"It [Africa] had ceased to be a blank space of delightful mystery—a white patch for a boy to dream gloriously over. It had become a place of darkness." (1.18)

When he's a kid, Marlow sees the map's blank spaces as full of mystery and wonder. (Notice that "mystery" and "wonder" are exactly the opposite of what we expect to associate with whiteness.) But when Western explorers fill in that map, it becomes dark—another reversal of traditional imagery.

Charlie Marlow

Quote 42

"But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land. And as I looked at the map of it in a shop-window, it fascinated me as a snake would a bird - a silly little bird." (1.18)

Ooh, ooh, we've got this one: the Congo is like a snake, one of the oldest symbols of evil and deception. But Marlow is fascinated by it, hypnotized like a "silly little bird." We guess he just can't look away.

Charlie Marlow

Quote 43

"I got my appointment - of course; and I got it very quick. It appears the Company had received news that one of their captains had been killed in a scuffle with the natives. This was my chance, and it made me the more anxious to go… through this glorious affair I got my appointment, before I had fairly begun to hope for it." (1.21)

Nice! We love when we benefit from another person's violent death. (How do you think we got this job?) But seriously: Marlow doesn't seem particularly sympathetic, and he also doesn't appear to see that the guy's death might foreshadow his own possible fate.

Charlie Marlow

Quote 44

"Now and then a boat from the shore gave one a momentary contact with reality. It was paddled by black fellows. You could see from afar the white of their eyeballs glistening. They shouted, sang; their bodies streamed with perspiration; they had faces like grotesque masks—these chaps; but they had bone, muscle, a wild vitality, an intense energy of movement, that was as natural and true as the surf along their coast. They wanted no excuse for being there. They were a great comfort to look at." (1.30)

Marlow describes the black native Africans as "natural and true," absolutely invigorating in their "wild vitality." They seem happy just to live and, to Marlow, who feels stuck in a dream, they're comforting to watch. Gee, we're sure it must be a real comfort to them to know that they make Marlow so happy.

Charlie Marlow

Quote 45

"I've seen the devil of violence, and the devil of greed, and the devil of hot desire; but, by all the stars! these were strong, lusty, red-eyed devils, that swayed and drove men - men, I tell you. But as I stood on this hillside, I foresaw that in the blinding sunshine of that land I would become acquainted with a flabby, pretending, weak-eyed devil of a rapacious and pitiless folly. How insidious he could be, too, I was only to find out several months later and a thousand miles farther." (1.37)

Yikes. We wouldn't want to meet these guys in a dark alley. Marlow sees the slavers as devils—but we're fairly sure they wouldn't see themselves the same way. In fact, they probably see themselves a lot more like angels.

Charlie Marlow

Quote 46

"I found nothing else to do but to offer him one of my good Swede's ship's biscuits I had in my pocket. The fingers closed slowly on it and held - there was no other movement and no other glance." (1.40)

Ship's biscuits: compressed cakes of flour and water. Yep, if we were dying that would definitely be the last food we'd want. Still, this little incident lets us see that Marlow is compassionate—or, at least, that he's able to take on the African perspective, just like Kurtz.

Charlie Marlow

Quote 47

[Marlow on Kurtz's painting]: "Then I noticed a small sketch in oils, on a panel, representing a woman, draped and blind-folded, carrying a lighted torch. The background was somber—almost black. The movement of the woman was stately, and the effect of the torchlight on the face was sinister." (1.57)

Kurtz's painting starts out with some pretty conventional symbols: Liberty (symbolized by the torch) and Justice (symbolized by the blindfold). But Kurtz has put his own special twist on it: the background is black, and the torchlight is "sinister." Hmm. Looks like liberty and justice aren't as straightforward as they seem.

Charlie Marlow

Quote 48

"I let him run on, this papier-mâché Mephistopheles [the brickmaker] […]." (1.61)

Just in case we haven't picked up on the fact that the brickmaker is totally corrupt, Marlow calls him Mephistopheles, the devil figure in Goethe's Faust.

Charlie Marlow

Quote 49

"You know I hate, detest, and can't bear a lie, not because I am straighter than the rest of us, but simply because it appalls me. There is a taint of death, a flavour of mortality in lies - which is exactly what I hate and detest in the world - what I want to forget. It makes me miserable and sick, like biting something rotten would do. Temperament, I suppose. Well, I went near enough to it by letting the young fool there believe anything he liked to imagine as to my influence in Europe. I became in an instant as much of a pretence as the rest of the bewitched pilgrims." (1.61)

Marlow may hate lies, but he comes pretty close to lying by letting the brickmaker think he's influential. And in the end, he admits that he's become "as much of a pretence as the rest of the bewitched pilgrims" by letting himself lie. Sigh. There are just no heroes any more.

Charlie Marlow

Quote 50

"The other explained that it [the ivory] had come with a fleet of canoes in charge of an English half-caste clerk Kurtz had with him; that Kurtz had apparently intended to return himself, the station being by that time bare of goods and stores, but after coming three hundred miles, had suddenly decided to go back, which he started to do alone in a small dugout with four paddlers, leaving the half-caste to continue down the river with the ivory. The two fellows there seemed astounded at anybody attempting such a thing. They were at a loss for an adequate motive. As to me, I seemed to see Kurtz for the first time. It was a distinct glimpse: the dug-out, four paddling savages, and the lone white man turning his back suddenly on the headquarters, on relief, on thoughts of home—perhaps; setting his face towards the depths of the wilderness, towards his empty and desolate station. Perhaps he was just simply a fine fellow who stuck to his work for its own sake." (2.2)

Talk about moral ambiguity. On the one hand, you could see returning the interior as a positive sign of courage. On the other hand (of course there's another hand), you could see it as pure greed. Which is it?

Charlie Marlow

Quote 51

"It was unearthly, and the men were - No, they were not inhuman. Well, you know, that was the worst of it - this suspicion of their not being inhuman. It would come slowly to one. They howled and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity - like yours - the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you - you so remote from the night of first ages - could comprehend." (2.8)

Marlow is so mixed up that he's even beginning to consider the wild screaming Africans to be human. (Crazy, right?) This means that he has to reformulate what falls in the boundaries of humanness. What he once thought of as savage is actually just part of being human.

Charlie Marlow

Quote 52

"Let the fool gape and shudder - the man knows, and can look on without a wink. But he must at least be as much of a man as these on the shore. He must meet that truth with his own true stuff - with his own inborn strength. Principles won't do. Acquisitions, clothes, pretty rags - rags that would fly off at the first good shake. No; you want a deliberate belief." (2.8)

Weird. We usually think of principles as being pretty firm, but Marlow seems to think they're nothing more than "pretty rags." So, what's the difference between "principles" and "beliefs"?

Charlie Marlow

Quote 53

"Their headman, a young, broad-chested black, severely draped in dark-blue fringed cloths, with fierce nostrils and his hair all done up artfully in oily ringlets, stood near me. 'Aha!' I said, just for good fellowship's sake. 'Catch 'im,' he snapped, with a bloodshot widening of his eyes and a flash of sharp teeth - 'catch 'im. Give 'im to us.' 'To you, eh?' I asked; 'what would you do with them?' 'Eat 'im!' he said curtly, and, leaning his elbow on the rail, looked out into the fog in a dignified and profoundly pensive attitude. I would no doubt have been properly horrified, had it not occurred to me that he and his chaps must be very hungry: that they must have been growing increasingly hungry for at least this month past." (2.14)

Marlow just can't help feeling sympathy for the native Africans, even though he knows that what they really want is to nosh on some tasty human flesh. Now that is fellow feeling.

Charlie Marlow

Quote 54

[Marlow describing Kurtz's speech]: "The point was in his being a gifted creature, and that of all his gifts the one that stood out pre-eminently, that carried with it a sense of real presence, was his ability to talk, his words—the gift of expression, the bewildering, the illuminating, the most exalted and the most contemptible, the pulsating stream of light, or the deceitful flow from the heart of an impenetrable darkness." (2.24)

Language can be used for good or evil. Fair enough. We accept that Kurtz has a silver tongue, and he's been using it to manipulate everyone into thinking that he's a swell guy. Okay—so which side is Conrad on?

Charlie Marlow

Quote 55

"No; I can't forget him [Kurtz], though I am not prepared to affirm the fellow was exactly worth the life we lost in getting to him. I missed my late helmsman awfully - I missed him even while his body was still lying in the pilot-house…It was a kind of partnership. He steered for me - I had to look after him, I worried about his deficiencies, and thus a subtle bond had been created, of which I only became aware when it was suddenly broken. And the intimate profundity of that look he gave me when he received his hurt remains to this day in my memory - like a claim of distant kinship affirmed in a supreme moment." (2.29)

Marlow may be on the edge, but he hasn't gone over it: unlike Kurtz, he still has some basic human emotion left. He's touched by death and honestly grieves at the loss of a man that he considers his partner. Well, kind of. He still sees the guy as primarily "an instrument" to help him get where he wants to go.

Charlie Marlow

Quote 56

[Marlow on Kurtz's writing]: "…the International Society for the Suppression of Savage Customs had intrusted him [Kurtz] with the make of a report, for its future guidance…it was a beautiful piece of writing. The opening paragraph, however, in the light of later information, strikes me now as ominous. He began with the argument that we whites, from the point of development we had arrived at, 'must necessarily appear to them (savages) in the nature of supernatural beings—we approach them with the might as of a deity,' and so on, and so on. 'By the simple exercise of our will we can exert a power for good practically unbounded,' etc., etc. From that point he soared and took me with him. The peroration was magnificent, though difficult to remember, you know. It gave me the notion of an exotic Immensity ruled by an august Benevolence. It made me tingle with enthusiasm. This was the unbounded power of eloquence - of words - of burning noble words. There were no practical hints to interrupt the magic current of phrases, unless a kind of note at the foot on the last page, scrawled evidently much later, in an unsteady hand, may be regarded as the exposition of a method. It was very simple, and at the end of that moving appeal to every altruistic sentiment it blazed at you, luminous and terrifying, like a flash of lightning in a serene sky: 'Exterminate all the brutes!'" (2.29).

Kurtz's last letter starts off all noble, talking about benevolence and exerting good and bringing light and blah blah blah. Things take a dire turn at the end when he scrawls, "Exterminate all the brutes"—and notice how this rather upsetting sentence is compared to a "flash of lightning"? Yeah, we saw that too.

Charlie Marlow

Quote 57

"The red-haired pilgrim was beside himself with the thought that at least this poor Kurtz had been properly avenged. 'Say! We must have made a glorious slaughter of them in the bush. Eh? What do you think? Say?' He positively danced, the bloodthirsty little gingery beggar. And he had nearly fainted when he saw the wounded man! I could not help saying, 'You made a glorious lot of smoke, anyhow.' I had seen, from the way the tops of the bushes rustled and flew, that almost all the shots had gone too high." (2.31)

The red-haired pilgrim shows his evil side by rejoicing at the thought of killing the native Africans who attacked them. He's not only "bloodthirsty" but also a hypocrite, since he "nearly fainted" at the sight of the wounded helmsman. Marlow despises him, obviously.

Charlie Marlow

Quote 58

"I looked around, and I don't know why, but I assure you that never, never before, did this land, this river, this jungle, the very arch of this blazing sky, appear to me so hopeless and so dark, so impenetrable to human thought, so pitiless to human weakness." (3.3)

Nature seems to Marlow completely "hopeless" and "dark," entirely inaccessible to the human mind, incomprehensible and merciless to human weakness. You know, evil.

Charlie Marlow

Quote 59

"These round knobs were not ornamental but symbolic; they were expressive and puzzling, striking and disturbing - food for thought and also for vultures if there had been any looking down from the sky; but at all events for such ants as were industrious enough to ascend the pole. They would have been even more impressive, those heads on the stakes, if their faces had not been turned to the house. Only one, the first I had made out, was facing my way. I was not so shocked as you may think. The start back I had given was really nothing but a movement of surprise. I had expected to see a knob of wood there, you know. I returned deliberately to the first I had seen - and there it was, black, dried, sunken, with closed eyelids - a head that seemed to sleep at the top of that pole, and, with the shrunken dry lips showing a narrow white line of the teeth, was smiling, too, smiling continuously at some endless and jocose dream of that eternal slumber." (3.4)

Marlow's shocked to find out that those ornamental knobs surrounding Kurtz's house aren't wooden but, er, human. Yep, we're going to go with evil.

Charlie Marlow

Quote 60

"He [Kurtz] hated all this, and somehow he couldn't get away. When I had a chance I begged him to try and leave while there was time; I offered to go back with him. And he would say yes, and then he would remain; go off on another ivory hunt; disappear for weeks; forget himself amongst these people—forget himself—you know.'" (3.4)

Kurtz can't eat just one. Or do just one evil deed. Even though he claims to hate the whole thing, Kurtz stays in the interior. It's claimed him.