Africa, wrote Graham Greene, will always be the Africa in the straitlaced atlas, the blank unexplored continent in the shape of the piece heart. The African heart described by Greene acquired a lifelike layer of meaning when Conrad portrayed the Congo under index Leopold as the Heart of Darkness, a place where barbarism triumphs oer humanity, nature over technology, biology over culture, id over highly 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, only when rather a place of darkness, there was even so one river there that drew him especially, a mighty big(p) river, that you could teach on the map, resemb ling an immense snake uncoiled, with its head in the sea, its personify at rest curving afar over a vast country, and its tail lost in the depths of the footing (Conrad, 5-6).
This resembling deep place that had seduced Conrads ivory hunting Kurtz into the horrors of its nail mash had, in 1890, lured Conrad himself into adventure that turned him from sailor to generator (Smith, 25) and badly effected his health for the rest of his life (Conrad,v). As the voyage up the Congo proved fateful for the cultivation of Conrads narrator, Marlow, it was every bit fateful for Conrads individuation, as he reflects in his letter forrader the Congo I was just a cl! assic animal. (Jean-Aubrey, 141) Hillman, in Notes on White Supremacy reminds us that, uniform Conrad, twain Freud and Jung... If you want to get a full essay, fellowship it on our website:
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