Africa, wrote Graham Greene, will always be the Africa in the proper atlas, the blank unexplored continent in the shape of the gentleman heart. The African heart described by Greene acquired a inseparable layer of meaning when Conrad portrayed the Congo under forefinger Leopold as the Heart of Darkness, a place where barbarism triumphs oer humanity, nature over technology, biology over culture, id over passing ego. (McLynn, ix). The unknown and uncharted topography of the African continent first beckoned Conrads narrator, Marlow, into its depths in his boyhood: Now, when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration (Conrad, 5). When Marlow was great(p) and Africa was no longer a blank space on the map, tho rather a place of darkness, there was even so one river there that drew him especially, a mighty big(p) river, that you could satisfy on the map, r esembling an immense snake uncoiled, with its head in the sea, its consistence at rest curving afar over a vast country, and its tail lost in the depths of the footing (Conrad, 5-6).
This uniform deep place that had seduced Conrads ivory hunting Kurtz into the horrors of its nail coerce had, in 1890, lured Conrad himself into adventure that turned him from sailor to generator (Smith, 25) and ill effected his health for the rest of his life (Conrad,v). As the navigate up the Congo proved fateful for the cultivation of Conrads narrator, Marlow, it was equally fateful for Conrads individuation, as he reflects i n his letter onward the Congo I was just a ! classic animal. (Jean-Aubrey, 141) Hillman, in Notes on White Supremacy reminds us that, uniform Conrad, both Freud and Jung... If you want to get a full essay, fellowship it on our website:
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