How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #1
[Marlow with the doctor]: "As we sat over our vermouths he glorified the Company's business, and by-and-by I expressed casually my surprise at him not going out there. He became very cool and collected all at once. "I am not such a fool as I look, quoth Plato to his disciples," he said sententiously, emptied his glass with great resolution, and we rose." (1.25)
The doctor implies that going into the interior is something only a "fool" would do and suggests that the journey can only end badly. Anyone who starts it is only setting himself up for madness and defeat. We actually think he has a point.
Quote #2
"The old doctor felt my pulse, evidently thinking of something else the while. "Good, good for there," he mumbled, and then with a certain eagerness asked me whether I would let him measure my head. Rather surprised, I said Yes, when he produced a thing like calipers and got the dimensions back and front and every way, talking notes carefully. He was an unshaven little man in a threadbare coat like a gaberdine, with his feet in slippers, and I thought him a harmless fool. "I always ask leave, in the interests of science, to measure the crania of those going out there," he said. "And when they come back too?" I asked. "Oh, I never see them, " he remarked; "and, moreover, the changes take place inside, you know." He smiled, as if at some quiet joke. "So you are going out there. Famous. Interesting too." He gave me a searching glance and made another note. "Ever any madness in your family?" he asked, in a matter-of-fact tone. I felt very annoyed. "Is that question in the interests of science too?" "It would be," he said, without taking notice of my irritation, "interesting for science to watch the mental changes of individuals, on the spot, but […]." (1.26)
The doctor implies that going into the interior changes men's psyches and he tries to measure their skulls before they leave. You know, for science. Marlow thinks this is all lunacy, but we suspect he might change his mind once he sees the actual skulls that Kurtz has impaled around his hut.
Quote #3
"The idleness of a passenger, my isolation amongst all these men with whom I had no point of contact, the oily and languid sea, the uniform sombreness of the coast, seemed to keep me away from the truth of things, within the toil of a mournful and senseless delusion. The voice of the surf heard now and then was a positive pleasure, like the speech of a brother. It was something natural, that had its reason, that had a meaning." (1.30)
Marlow's isolation from other men and the unchanging scenery of the coast lulls him into a comforting and false sense of security. In retrospect, he knows that he was living a "senseless delusion" in which nature is "a positive pleasure" and even makes sense. The further he gets into the interior, the more he becomes disillusioned.
Quote #4
"For a time I would feel I belonged still to a world of straightforward facts; but the feeling would not last long. Something would turn up to scare it away. Once, I remember, we came upon a man-of-war anchored off the coast. There wasn't even a shed there, and she was shelling the bush. It appears the French had one of their wars going on thereabouts. Her ensign dropped limp like a rag; the muzzles of the long six-inch guns stuck out all over the low hull; the greasy, slimy swell swung her up lazily and let her down, swaying her thin masts. In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech—and nothing happened. Nothing could happen. There was a touch of insanity in the proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by somebody on board assuring me earnestly there was a camp of natives—he called them enemies!—hidden out of sight somewhere." (1.30)
Marlow is going down the rabbit hole here. One of the first acts of madness he sees is a man-of-war firing at a totally empty coastline—which sounds pretty crazy to us, too.
Quote #5
[The Swede]: "'The other day I took up a man who hanged himself on the road. He was a Swede, too.' 'Hanged himself! Why, in God's name?' I cried. He kept on looking out watchfully. 'Who knows? The sun too much for him, or the country perhaps.'" (1.33)
Marlow gets his first taste of danger when he learns that the sun has actually driven the "Swede" to suicide. Is this a clear argument for nature making men go crazy?
Quote #6
"Another report from the cliff made me think suddenly of that ship of war I had seen firing into a continent. It was the same kind of ominous voice; but these men could by no stretch of imagination be called enemies. They were called criminals and the outraged law, like the bursting shells, had come to them, an insoluble mystery from over the sea. All their meager breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily up-hill. They passed me within six inches, without a glance, with that complete, deathlike indifference of unhappy savages." (1.36)
It's a mad, mad, mad world: the chained slaves are so beaten down that they don't even notice their surroundings. They're the opposite of dangerous enemies—in fact, it's the Europeans who are the dangerous enemies.
Quote #7
"I avoided a vast artificial hole somebody had been digging on the slope, the purpose of which I found it impossible to divine. It wasn't a quarry or a sandpit, anyhow. It was just a hole. It might have been connected with the philanthropic desire of giving the criminals something to do. I don't know. Then I nearly fell into a very narrow ravine, almost no more than a scar in the hillside." (1.38)
This random hole is another sign that people go crazy in the wilderness. (Maybe it's aliens?) But it isn't harmless eccentricity—when Marlow almost falls into another little ravine, we get the feeling that the madness is getting dangerous.
Quote #8
"He had come out for a moment, he said, 'to get a breath of fresh air. The expression sounded wonderfully odd, with its suggestion of sedentary desk-life." (1.43)
Wait, if you're actually living in the wilderness in a hut, why do you need to come outside for air? It's as though the accountant is trying to live the same kind of life he'd be living back in Brussels—which sounds pretty crazy to us.
Quote #9
"In the steady buzz of flies the homeward-bound agent was lying finished and insensible; the other, bent over his books, was making correct entries of perfectly correct transactions; and fifty feet below the doorstep I could see the still tree-tops of the grove of death." (1.48)
Marlow draws our attention to the madness of the situation by juxtaposing two very different images together—one of a man lying on his deathbed, and another of the accountant quietly going about his business as if nothing were wrong.
Quote #10
"He [Marlow's white companion] was very anxious for me to kill somebody, but there wasn't the shadow of a carrier near. I remembered the old doctor—'It would be interesting for science to watch the mental changes of individuals, on the spot.' I felt I was becoming scientifically interesting." (1.50)
Both Marlow's companion and Marlow himself find themselves going mad because the white friend has obviously been attacked. He wants Marlow to kill the assaulters, but there is nobody around. Marlow jokes that because his world no longer makes sense, he is becoming "scientifically interesting."
Quote #11
"I went to work the next day, turning, so to speak, my back on that station. In that way only it seemed to me I could keep my hold on the redeeming facts of life. Still, one must look about sometimes; and then I saw this station, these men strolling aimlessly about in the sunshine of the yard. I asked myself sometimes what it all meant. They wandered here and there with their absurd long staves in their hands, like a lot of faithless pilgrims bewitched inside a rotten fence […] I've never seen anything so unreal in my life." (1.54)
Marlow convinces himself that the only way he can remain sane is to work by himself, obsessing about fixing the steamboat. However, he finds himself sneaking peeks at his fellow men and discovering that everything is as absurd as he'd feared. The men are so aimless that Marlow compares them to pilgrims who have lost their faith or been bewitched. He seems to hate their aimlessness because it contradicts so sharply with his keen sense of purpose.
Quote #12
"I was smoking my pipe quietly by my dismantled steamer, and saw them all cutting capers in the light, with their arms lifted high, when the stout man with moustaches came tearing down to the river, a tin pail in his hand, assured me that everybody was 'behaving splendidly, splendidly,' dipped about a quart of water and tore back again. I noticed there was a hole in the bottom of his pail." (1.55)
A man with a broken pail is trying to put out the fire: yep, we're thinking this is symbolic. He's the only one who seems to care about the fire, but—in the context of this scene—trying to put it out seems insane.
Quote #13
"It was as unreal as everything else - as the philanthropic pretence of the whole concern, as their talk, as their government, as their show of work. The only real feeling was a desire to get appointed to a trading-post where ivory was to be had, so that they could earn percentages. They intrigued and slandered and hated each other only on that account—but as to effectually lifting a little finger - oh, no." (1.56)
Marlow is appalled by these pilgrims' depth of corruption. It seems utterly "unreal" to him that men could be so hypocritical. The unifying trait between them seems to be greed. (Nice words coming from someone who's heading to the Interior for profit himself.)
Quote #14
"No, I don't like work. I had rather laze about and think of all the fine things that can be done. I don't like work - no man does - but I like what is in the work - the chance to find yourself. Your own reality - for yourself, not for others - what no other man can ever know. They can only see the mere show, and never can tell what it really means." (1.68)
Marlow like to work because he can find his own version of reality in it. Nobody else, he claims, can see what a worker sees when he does his duty and claims the work as his own. Another can only see the external—the least true—account of reality. Um, if Marlow really is seeing different versions of reality, we're not sure that he's totally sane at this point.
Quote #15
"There were moments when one's past came back to one, as it will sometimes when you have not a moment to spare for yourself; but it came in the shape of an unrestful and noisy dream, remembered with wonder amongst the overwhelming realities of this strange world of plants, and water, and silence. 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. It looked at you with a vengeful aspect." (2.5)
Marlow's very own comfy memories start to seem just as alien as the wilderness. This surrealism makes Marlow feel as though the jungle around them is alive and looking at him "with a vengeful aspect," and—as we all know—thinking that the world is out to get you is a pretty good sign of madness. (Usually. Unless there's a good reason they're after you.)
Quote #16
"The steamer toiled along slowly on the edge of a black and incomprehensible frenzy. The prehistoric man was cursing us, praying to us, welcoming us—who could tell? We were cut off from the comprehension of our surroundings; we glided past like phantoms, wondering and secretly appalled, as sane men would be before an enthusiastic outbreak in a madhouse. We could not understand because we were too far and could not remember because we were travelling in the night of first ages, of those ages that are gone, leaving hardly a sign—and no memories." (2.7)
Catching sight of wild native Africans in their homeland rouses fear in the pilgrims. They feel as if they have traveled to a place where nothing is comprehensible. They cannot read the attitude of the Africans towards them. Marlow compares their mental state to that of inmates in an insane asylum right before an outbreak—teetering on the edge of insanity.
Quote #17
"The current ran smooth and swift, but a dumb immobility sat on the banks. The living trees, lashed together by the creepers and every living bush of the undergrowth, might have been changed into stone, even to the slenderest twig, to the lightest leaf. It was not sleep — it seemed unnatural, like a state of trance. Not the faintest sound of any kind could be heard." (2.13)
In this scene of madness, every aspect of the wilderness seems struck dumb, as if all of nature has turned to stone.
Quote #18
[During the fog]: What we could see was just the steamer we were on, her outlines blurred as though she had been on the point of dissolving, and a misty strip of water, perhaps two feet broad, around her—and that was all. The rest of the world was nowhere, as far as our eyes and ears were concerned. Just nowhere. Gone, disappeared; swept off without leaving a whisper or a shadow behind. (2.13)
If you've ever been in a thick fog, you might know this feeling: that you're the only one left on earth. (Stephen King wrote a pretty freaky book about it.) When you think about it, this is probably how Kurtz feels: that he's the only (white) man left on earth, or at least the only one worth caring about.
Quote #19
"You can't breathe dead hippo waking, sleeping, and eating, and at the same time keep your precarious grip on existence." (2.14)
Yep: the madness-inducing stink of rotting hippo meat is what passes for comic relief in Heart of Darkness.
Quote #20
"I own to you that just then I perceived - in a new light, as it were—how unwholesome the pilgrims looked, and I hoped, yes, I positively hoped, that my aspect was not so - what shall I say?—so—unappetizing: a touch of fantastic vanity which fitted well with the dream-sensation that pervaded all my days at that time." (2.14)
Marlow hopes he looks prettier than the pilgrims, even though his stunning good looks might get him eaten by his own cannibal aides. In this situation, caring about your appearance goes beyond vanity right toward madness. (Seriously, wouldn't the rational response be to uglify yourself as much as possible?)