Quote 61
"But the wilderness had found him (Kurtz) out early, and had taken on him a terrible vengeance for the fantastic invasion. I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with this great solitude - and the whisper had proved irresistibly fascinating." (3.5)
Check out how Marlow personifies the wilderness, making it into a living, breathing force of evil.
Quote 62
"His [Kurtz's] ascendancy was extraordinary. The camps of these people surrounded the place, and the chiefs came every day to see him. They would crawl. '[…] I don't want to know anything of the ceremonies used when approaching Mr. Kurtz,' I shouted. Curious, this feeling that came over me that such details would be more intolerable than those heads drying on the stakes under Mr. Kurtz's windows. After all, that was only a savage sight, while I seemed at one bound to have been transported into some lightless region of subtle horrors, where pure, uncomplicated savagery was a positive relief, being something that had a right to exist—obviously - in the sunshine." (3.6)
Marlow still has a shred of morality left—let's say, enough to keep from downloading illegal music, but not enough to keep from sharing his Netflix login. He's not horrified at the thought of living in a world where evil can exist openly, but he is terrified by the thought of people (like the native Africans) openly worshipping evil.
Quote 63
"My hour of favour was over; I found myself lumped along with Kurtz as a partisan of methods for which the time was not ripe: I was unsound! Ah! but it was something to have at least a choice of nightmares." (3.19)
Heading into the interior teaches Marlow that there's really no such thing as good or evil: there's only evil and slightly less evil.
Quote 64
"I had turned to the wilderness really, not to Mr. Kurtz, who, I was ready to admit, was as good as buried." (3.20)
Marlow seems to see Kurtz and the wilderness as different, but from where we are (safely on the other side of the page) they look pretty similar: dark, evil, and inescapable.
Quote 65
"I felt an intolerable weight oppressing my breast, the smell of the damp earth, the unseen presence of victorious corruption, and the darkness of an impenetrable night…" (3.20)
Check this out: once Marlow decides to go over to the dark side, the imagery starts getting pretty grave. Literally. A weight, damp earth, "corruption," darkness—doesn't it sound a little (okay, a lot) like he's being buried alive?
Quote 66
"The fact is I was completely unnerved by a sheer blank fright, pure abstract terror, unconnected with any distinct shape of physical danger. What made this emotion so overpowering was - how shall I define it? — the moral shock I received, as if something altogether monstrous, intolerable to thought and odious to the soul, had been thrust upon me unexpectedly." (3.24)
The "moral shock" that Marlow feels when he realizes Kurtz is gone probably comes from his shock that this guy who's so much like him is gone. The fact that Marlow just recently chose Kurtz over the manager and the Company makes it even worse.
Quote 67
"It seemed to me that the house would collapse before I could escape, that the heavens would fall upon my head. But nothing happened. The heavens do not fall for such a trifle." (3.86)
By the end of the novel, Marlow has come to some conclusions about the world: it's ultimately indifferent to good and veil. There are no gods to pass judgment; there's no punishment for a tiny little lie. Hm. Is that a freeing realization—or is it just super depressing?
Quote 68
[Marlow to the Intended]: "'The last word he pronounced was - your name.'" (3.85)
This one's tricky. Marlow is lying and lying's wrong, right? Well, yes. Except that he does it to preserve the Intended's lovely illusion of Kurtz. It could be considered an act of mercy—unless you think that it's just another excuse for slavery and coercion.
Quote 69
"'You knew him best,' I repeated. And perhaps she did. But with every word spoken the room was growing darker, and only her forehead, smooth and white, remained illumined by the unextinguishable light of belief and love." (3.56)
As the Intended doubles down on her lies, the darkness grows. We're pretty sure it's a metaphorical darkness.
Quote 70
"I know that the sunlight can be made to lie too, yet one felt that no manipulation of light and pose could have conveyed the delicate shade of truthfulness upon those features." (3.48)
Marlow doesn't trust the sunlight anymore because he has learned from his experience in the interior that light can be deceitful or hellish. (Plus, it can give you wicked sunburns.) However, he trusts the Intended because he believes women are naïve. Hm. We're thinking that's a bad idea.
Quote 71
"I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror - of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge?" (3.42)
As Kurtz dies, Marlow sees a parade of negative emotions pass over his face—pride, ruthlessness, terror, and despair. Contrast that with the white, calm connotations of "ivory," and you'll see why this book has us scratching our heads so thoughtfully.
Quote 72
"His [Kurtz's] was an impenetrable darkness. I looked at him as you peer down at a man who is lying at the bottom of a precipice where the sun never shines." (3.40)
Kurtz is so evil now that light can't even touch him. Metaphorically.
Quote 73
"I did not betray Mr. Kurtz - it was ordered I should never betray him—it was written I should be loyal to the nightmare of my choice." (3.25)
Marlow knows that Kurtz is corrupt, but stays loyal to him anyway. Between the two evils of the Company and Kurtz, he decides to hang with the lesser evil.
Quote 74
"I had a cup of tea—the last decent cup of tea for many days—and in a room that most soothingly looked just as you would expect a lady's drawing-room to look, we had a long quiet chat by the fireside." (1.27)
Ah, England: good food, lots of doilies on the chairs, and "chatting" by the fireside. And Marlow wants to give up all this to go sail up a river in a jungle filled with hungry cannibals? No thanks. We'd miss our Hulu subscription too much.
Quote 75
"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. We pounded along, stopped, landed soldiers; went on, landed custom-house clerks to levy toll in what looked like a God-forsaken wilderness, with a tin shed and a flag-pole lost in it; landed more soldiers - to take care of the custom-house clerks, presumably. Some, I heard, got drowned in the surf; but whether they did or not, nobody seemed particularly to care. They were just flung out there, and on we went. Every day the coast looked the same, as though we had not moved; but we passed various places - trading places - with names like Gran' Bassam, Little Popo; names that seemed to belong to some sordid farce acted in front of a sinister back-cloth." (1.30)
When Marlow sets out, he describes the wilderness as ominous—but mostly just big. Man seems puny beside it—his settlements "no bigger than pinheads." Individual lives seems a lot less important in a colossal jungle than they do drinking tea by a cozy fireplace.
Quote 76
"We called at some more places with farcical names, where the merry dance of death and trade goes on in a still and earthy atmosphere as of an overheated catacomb; all along the formless coast bordered by dangerous surf, as if Nature herself had tried to ward off intruders; in and out of rivers, streams of death in life, whose banks were rotting into mud, whose waters, thickened into slime, invaded the contorted mangroves, that seemed to writhe at us in the extremity of an impotent despair." (1.31)
Check out how Marlow personifies "Nature" as wanting to "ward off" intruders. From this perspective, the Interior of Africa almost sounds like a woman trying to protect herself.
Quote 77
"At last we opened a reach. A rocky cliff appeared, mounds of turned-up earth by the shore, houses on a hill, others with iron roofs, amongst a waste of excavations, or hanging to the declivity. A continuous noise of the rapids above hovered over this scene of inhabited devastation. A lot of people, mostly black and naked, moved about like ants. A jetty projected into the river. A blinding sunlight drowned all this at times in a sudden recrudescence of glare. 'There's your Company's station,' said the Swede, pointing to three wooden barrack-like structures on the rocky slope." (1.34)
We hope Marlow wasn't expecting much, because the Company station looks pretty pathetic: three wooden barrack-like structures. Nice. Do you think they have high-speed wireless?
Quote 78
"I came upon a boiler wallowing in the grass, then found a path leading up the hill. It turned aside for the boulders, and also for an undersized railway-truck lying there on its back with its wheels in the air. One was off. The thing looked as dead as the carcass of some animal. I came upon more pieces of decaying machinery, a stack of rusty rails. To the left a clump of trees made a shady spot, where dark things seemed to stir feebly." (1.35)
The creepiest part about all this nature is how it turns even manmade objects into extensions of itself, like the railway-truck resembling the carcass of some dead animal. Is Conrad suggesting that there really isn't much distinction between the natural world and the human world? Or that the natural world is more powerful?
Quote 79
"Yes; I respected his collars, his vast cuffs, his brushed hair. His appearance was certainly that of a hairdresser's dummy; but in the great demoralization of the land he kept up his appearance. That's backbone. His starched collars and got-up shirt-fronts were achievements of character." (1.43)
This is sort of like putting on your party clothes to go camping: silly at best, and downright dangerous at worst. Either way, you end up looking like a dummy—a "hairdresser's dummy," in this case. Marlow sarcastically claims that the accountant's "starched collars and got-up shirt-fronts" are "achievements of character" when, in actuality, they mean quite the opposite to him.
Quote 80
"And outside, the silent wilderness surrounding this cleared speck on the earth struck me as something great and invincible, like evil or truth, waiting patiently for the passing away of this fantastic invasion." (1.53)
Here, Marlow describes Nature as a gigantic living thing that puts up with man's trivial attempts to conquer it. It's so much bigger and more powerful than anything the humans have that it's "invincible" like absolute concepts of "evil or truth." But we have to ask: if part of Heart of Darkness is specifically about how concepts like "evil" and "truth" aren't so obvious, what is Conrad saying about the wilderness?