How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #1
A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth. (1.2)
Dark air; "Gravesend" and a "mournful gloom." Hm. Already, it sounds like this "greatest town on earth" (London) might not be as great as we want to think.
Quote #2
It was difficult to realize that his [the Director of Companies] work was not out there in the luminous estuary, but behind him, within the brooding gloom. (1.3)
The Company's work is done in the darkness and gloom, not on the lit water. We're going to go out on a limb here and suggest that the Company's work might be just a little shady.
Quote #3
The day was ending in a serenity of still and exquisite brilliance. The water shone pacifically; the sky, without a speck, was a benign immensity of unstained light; the very mist on the Essex marshes was like a gauzy and radiant fabric, hung from the wooded rises inland, and draping the low shores in diaphanous folds. Only the gloom to the west, brooding over the upper reaches, became more somber every minute, as if angered by the approach of the sun.
And at last, in its curved and imperceptible fall, the sun sank low, and from glowing white, changed to a dull red without rays and without heat, as if about to go out suddenly, stricken to death by the touch of that gloom brooding over a crowd of men.
Forthwith a change came over the waters, and the serenity became less brilliant but more profound. The old river in its broad reach rested unruffled at the decline of day, after ages of good service done to the race that peopled its banks, spread out in the tranquil dignity of a waterway leading to the uttermost ends of the earth. We looked at the venerable stream not in the vivid flush of a short day that comes and departs for ever, but in the august light of abiding memories. (1.4-6)
Man, we just love sunsets. Everything is bathed in heavenly white light … oh, wait. Except the western horizon. We're thinking that maybe the West (as in Europe) isn't quite as enlightened as it thinks it is. Check out how the sunlight grows more sinister as it falls towards the western horizon, turning from a friendly white to a "dull red"—you know, like fire. And in case you think that this is just a description and not metaphorical or symbolic, Conrad tells us that they're watching the Thames in the "august light of abiding memories," i.e. that they're looking at it though the lens of all their past experiences.
Quote #4
Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, messengers of the might within the land, bearers of a spark from the sacred fire. What greatness had not floated on the ebb of that river into the mystery of an unknown earth! (1.6)
The European pioneers head into the darkness of unknown territory bearing little flares of light like torches or glittering swords that represent their vigor and their enlightenment. This is super conventional imagery, which makes us wonder if we're really supposed to take it seriously. Somehow, we don't think Conrad would be quite so obvious.
Quote #5
The sun set; the dusk fell on the stream, and lights began to appear along the shore. The Chapman lighthouse, a three-legged thing erect on a mudflat, shone strongly. Lights of ships moved in the fairway—a great stir of lights going up and going down. And farther west on the upper reaches the place of the monstrous town was still marked ominously on the sky, a brooding gloom in sunshine, a lurid glare under the stars. (1.7)
Conrad isn't giving us some simple light = good/ dark = bad equation. Check out how even the light isn't very cheerful: the sunshine is "brooding" and the town glares "luridly" under the stars.
Quote #6
"And this also," said Marlow suddenly, "has been one of the dark places of the earth." (1.8)
Out of the blue, Marlow declares that London—pretty much the capital of the world in the late nineteenth century—used to be as dark as the interior of Africa. Well, gee, who asked you?
Quote #7
But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel, but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine. (1.9)
Up is down, in is out, light is dark, Jon Snow is actually a Targaryen. (What, you don't think that's where George R. R. Martin is going?) Here, Conrad inverts the relationship between light and dark to suggest that you need both light and dark to see.
Quote #8
(Marlow): "Light came out of this river (the Thames) since—you say Knights? Yes; but it's like a running blaze on a plain, like a flash of lightning in the clouds. We live in the flicker—may it last as long as the old earth keeps rolling! But darkness was here yesterday." (1.11)
This is essentially a more poetic way of saying that humankind has really only been around for a fraction of a fraction of Earth's history. Conrad associates "light" with humankind—but then immediately undermines all our warm fuzzy feelings about light by using "knights" and "lighting" to make light seem, well, violent and destructive.
Quote #9
(Marlow): "They were men enough to face the darkness." (1.11)
Darkness here represents the unknown and potentially hostile land. Zzzz. This is so conventional that we have to wonder if Conrad really expects us to believe this—or if Marlow's perspective is as flawed as everyone else's.
Quote #10
"He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abomination - you know, imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate." (1.11)
This is a lot of fancy words to describe a simple and familiar human emotion: not being able to look away from something disgusting but fascinating. Like the comments on a YouTube video.
Quote #11
[Marlow]: "Mind, none of us would feel exactly like this. What saves us is efficiency—the devotion to efficiency. But these chaps were not much account, really. They were no colonists; their administration was merely a squeeze, and nothing more, I suspect. They were conquerors, and for that you want only brute force—nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at it blind—as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it's the idea only. An idea at the back of it; not a sentimental pretence but an idea; and an unselfish belief in the idea." (1.13)
Marlow says that "strength is just an accident arising from the weakness of others." In other words, he totally undermines any sense that these Western explorers are noble or motivated by emotions other than greed: they're just glorified robbers. Shh, don't tell Ayn Rand.
Quote #12
Flames glided in the river, small green flames, red flames, white flames, pursuing, overtaking, joining, crossing each other—then separating slowly or hastily. The traffic of the great city went on in the deepening night upon the sleepless river. (1.14)
Hmmm. The river is dark, but it's reflecting little flames. Light in darkness—this is sounding pretty familiar by now. But not just any kind of light: green, red, and white light. This sounds a little hellish, doesn't it?
Quote #13
[Marlow]: "It was the farthest point of navigation and the culminating point of my experience. It seemed somehow to throw a kind of light on everything about me—and into my thoughts. It was somber enough too—and pitiful—not extraordinary in any way—not very clear either. No, not very clear. And yet it seemed to throw a kind of light." (1.15)
Marlow describes meeting Kurtz as an experience that "throw[s] a kind of light […] into my thoughts." Great! Light probably helps him clear up some of those vague ideas he has about Kurtz, right? Not so much. It's still "not very clear"—and the separation between light and dark is getting even fuzzier.
Quote #14
"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.
Quote #15
"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.
Quote #16
"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.
Quote #17
"In a very few hours I arrived in a city that always makes me think of a whited sepulchre. Prejudice no doubt. I had no difficulty in finding the Company's offices. It was the biggest thing in the town, and everybody I met was full of it. They were going to run an over-sea empire, and make no end of coin by trade." (1.22)
Better put away that wedding dress: white, usually a sign of purity, here is inverted to mean the exact opposite. The phrase "whited sepulchre" comes from the Christian Bible's Book of Matthew, and it refers to people who are outwardly pure and inwardly filthy with deceit. This suggests that the Company is inwardly corrupt—and it's probably true. Belgian colonies were notorious for being particularly brutal toward Africans.
Quote #18
"Good heavens! and I was going to take charge of a twopenny-half-penny river-steamboat with a penny whistle attached! It appeared, however, I was also one of the Workers, with a capital—you know. Something like an emissary of light, something like a lower sort of apostle. There had been a lot of such rot let loose in print and talk just about that time, and the excellent woman [Marlow's aunt], living right in the rush of all that humbug, got carried off her feet. She talked about 'weaning those ignorant millions from their horrid ways,' till, upon my word, she made me quite uncomfortable." (1.28)
Marlow's aunt thinks that Marlow is altruistic "emissary of light" bringing knowledge to "those ignorant millions." Uh, nope. Marlow calls this all "rot" and "humbug": he's not going to Africa out of the goodness of his heart, but rather to explore and help the Company profit. (This reminds us a lot of the Intended's attitude toward Kurtz at the end. Women, right??)
Quote #19
"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.
Quote #20
[At the Outer Station]: "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." (1.34)
Here, light does not reveal the truth but repeatedly "drown[s]" the true horror of the "inhabited devastation" in a "recrudescence of glare." (Okay, we admit, we had to look that one up: a "recrudescence" is a "new outbreak after a period of abatement.")