Heart Of Darkness Quotes

“There's nothing we fear more than our own Reflection. We scream at the monsters within us, hidden deep within our hearts. We run and hide from the terrors all around us- the different mirrors that we see.”
― Solange nicole

“And, don't you see, the terror of the position was not in being knocked on the head - though I had a very lively sense of that danger, too - but in this, that I had to deal with a being to whom I could not appeal in the name of anything high or low. I had, even like the niggers, to invoke him - himself - his own exalted and incredible degradation. There was nothing either above or below him, and I knew it. He had kicked himself loose of the earth. Confound the man! he had kicked the very earth to pieces. He was alone, and I before him did not know whether I stood on the ground of floated in the air.”
― Joseph Conrad, Heart of Darkness

“He lived then before me, he lived as much as he had ever lived---a shadow insatiable of splendid appearances, of frightful realities, a shadow darker than the shadow of the night, and draped nobly in the folds of a gorgeous eloquence. The vision seemed to enter the house with me---the stretcher, the phantom-bearers, the wild crowd of obedient worshipers, the gloom of the forests, the glitter of the reach between the murky bends, the beat of the drum regular and muffled like the beating of a heart, the heart of a conquering darkness.”
― Joseph Conrad

“...his words - the gift of expression, the bewildering, the iluminating, the most exalted and the most contemptible, the pulsating stream of light or the deceitful flow from the heart of an impenetrable darkness.”
― Joseph Conrad, Heart of Darkness

“I found myself back in the sepulchral city resenting the sight of people hurrying through the streets to filch a little money from each other, to devour their infamous cookery, to gulp their unwholesome beer, to dream their insignificant and silly dreams. They trespassed upon my thoughts. They were intruders whose knowledge of life was to me an irritating pretense, because I felt so sure they could not possibly know the things I knew.”
― Joseph Conrad, Heart of Darkness

“Principles? Principles won’t do. Acquisitions, clothes, pretty rags—rags that would fly off at the first good shake. No; you want a deliberate belief.”
― Joseph Conrad, Heart of Darkness

“We live, as we dream-alone....”
― Joseph Conrad, Heart of Darkness

“People are wrong when they tell you that Conrad was on the side of Africans because his story showed great compassion towards them. Africans are not really served by his compassion, whatever it means; they ask for one thing alone – to be seen for what they are: human beings. Conrad pulls back from granting them this favour in Heart of Darkness.”
― Chinua Achebe, Africa's Tarnished Name

“He was just a word for me. I did not see the man in the name any more than you do. Do you see him? Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream - making a vein attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams... No, it is impossible; it is impossible to convey the life-sensation of any given epoch of one's existence - that which makes its truth, its meaning - its subtle and penetrating essence. We live, as we dream, alone...”
― Joseph Conrad, Heart of Darkness

“I had immense plans,' he irresolutely muttered.”
― Joseph Conrad

“La mia idea era di lasciare che la squadra di incatenati scomparisse alla vista prima di salire la collina. Sapete che non sono tenero in modo particolare; ho dovuto colpire e parare colpi. Ho dovuto difendermi e talvolta attaccare - il modo migliore per difendersi - senza calcolarne il costo esatto, secondo le necessità del genere di vita in cui ero incappato. Ho visto il demone della violenza, il demone della cupidigia, e il demone della bramosia bruciante; ma, per gli dèi!, erano demoni forti, vigorosi, dagli occhi ardenti, che scuotevano e trascinavano uomini - uomini, dico. Ma mentre ero su quella collina, previdi che nel sole accecante di quella terra avrei conosciuto un demone floscio, pretenzioso, dagli occhi smorti, di una follia rapace e spietata. Quanto insidioso potesse essere, dovevo impararlo soltanto dopo parecchi mesi e a mille miglia di distanza.”
― Joseph Conrad, Heart of Darkness

“Perfino un profondo dolore può alla fine trovare sfogo nella violenza - ma più generalmente prende la forma dell’apatia.”
― Joseph Conrad, Heart of Darkness

“Everything is subjective.”
― Douglas Hsieh

“The snake had charmed me”
― Joseph Conrad, Heart of Darkness

“It was unreal as everything else--as the philanthropic pretense of the whole concern, as their government, as their show of work.”
― Joseph Conrad, Heart of Darkness

“It was unreal as everything else--as the philanthropic pretense 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.”
― Joseph Conrad, Heart of Darkness

“The Nellie, a cruising yawl, swung to her anchor without a flutter of the sails, and was at rest.”
― Joseph Conrad, Heart of Darkness

“I love the smell of lip balm in the morning”
― Jem Wilton

“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 council with this great solitude - and the whisper has proved irresistibly fascinating.”
― Joseph Conrad

“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 is the idea only. An idea at the back of it; not a sentimental pretence but an idea; and an unselfish belief in the idea—something you can set up, and bow down before, and offer a sacrifice to....”
― Joseph Conrad

“There's no initiation either into such mysteries. 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.”
― Joseph Conrad

“His eyes, of the usual blue, were perhaps remarkably cold, and he certainly could make his glance fall on one as trenchant and heavy as an ax. But even at these times the rest of his person seemed to disclaim the intention. Otherwise there was only an indefinable, faint expression of his lips, some- thing stealthy--a smile--not a smile--I remember it, but
I can't explain. It was unconscious, this smile was, though just after he had said something it got intensified for an instant. It came at the end of his speeches like
a seal applied on the words to make the meaning of the commonest phrase appear absolutely inscrutable.”
― Joseph Conrad

“High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststrucuralism. European and American readers, not comfortable acknowledging the genocidal scale of killing Africa at the turn of the century, have cast Heart of Darkness loose from its historical moorings. We read it as a parable for all times and places, not as a book about one time and place.”
― Adam Hochschild, King Leopold's Ghost: A Story of Greed, Terror, and Heroism in Colonial Africa

“It made you feel very small, very lost, and yet if it was not altogether depressing that feeling. After all, if you were small, the grimy beetle crawled on- which was just what you wanted to do.”
― Joseph Conrad, Heart of Darkness

“As one can hardly find any thing in a house where nothing keeps its place, but all is cast on a heap together; so it is in the heart where all things are in disorder, especially when darkness is added to this disorder: so that the hear t is like an obscure cave or dungeon, where there is but a little crevice of light, and a man must rather grope than see No wonder if men mistake in searching such a heat, sand so miscarry in judging of their estate (304).”
― Richard Baxter, The Saints' Everlasting Rest

“Hope is a little candle that continues to flicker in the heart in the darkest moments of impossibility.”
― Debasish Mridha

“The social organization of Heart of Darkness – captured in the corporate culture of the ‘Company’ – is a metonym for modernity. It is powerfully linked to the psychic through the symbolic order. In the novel’s primal scene, young Marlow pores over maps, lingering over the ‘blank spaces’. ‘The biggest – the most blank, so to speak’ is the heart of Africa. From the Western perspective, these blank spaces are but undiscovered dominions, lacking proper social organization, civilization and especially enlightenment. It is somewhat perplexing, then, to find that the exploration and mapping that take place between the time of Marlow’s youth and maturity appear not as illumination but darkening:


[B]y this time it was not a blank space any more. It had got filled since my boyhood with rivers and lakes and names. It 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.”
― Stephen Ross

“This egregious example of “Belgians bad, natives good” is the conceptual foundation of King Hochschild’s Hoax. And it bleeds into what is, for most readers, the enduring imaginative impact of the book, to have put a nasty Belgian face onto Mistah Kurtz, the phantom who draws Marlow’s steamboat up the Congo river in Joseph Conrad’s 1902 novella Heart of Darkness. Like generations of English professors, Hochschild has misread the book as an indictment of colonialism, which is difficult to square with its openly pro-colonial declarations and the fact of the “adoring” natives surrounding the deceased Kurtz.”
― Bruce Gilley, King Hochschild’s Hoax: An absurdly deceptive book on Congolese rubber production is better described as historical fiction.

“Conrad spent six months working for a cargo company in the EIC in 1890, three weeks of it aboard a steamship traveling up river to today’s Kisangani. There is no mention of rubber in the novel because Conrad was there five years before rubber cultivation began. Kurtz is an ivory trader. So whatever sources Conrad was using when he began work on Heart of Darkness in 1898, his personal experiences would at most have added some color and context. Hochschild will have none of it, insisting that Conrad “saw the beginnings of the frenzy of plunder and death” which he then “recorded” in Heart of Darkness. The brutalities by whites in the 1979 film Apocalypse Now were inspired by the novel, Hochschild avers, because Conrad “had seen it all, a century earlier, in the Congo.” In another example of creative chronology, Hochschild cites a quotation that he believes was the inspiration for Kurtz’s famous scrawl, “Exterminate all the brutes!” The quotation was made public for the first time during a Belgian legislative debate in 1906. Whatever its authenticity, it could not be a source for a book published in 1902.”
― Bruce Gilley, King Hochschild’s Hoax: An absurdly deceptive book on Congolese rubber production is better described as historical fiction.

“he main point is that Conrad realistically described the terrible things done by Belgians in the Congo. Hochschild certainly wishes this was Conrad’s purpose. He repeats an old theory that Kurtz was based on the EIC officer Léon Rom whom Conrad “may have met” in 1890 and “almost certainly” read about in 1898. Visitors noted that Rom’s garden was decorated with polished skulls buried in the ground, the garden gnomes of the Congo then. But Kurtz’s compound has no skulls buried in the ground but rather freshly severed “heads on the stakes” that “seemed to sleep at the top of that pole.” As the British scholar Johan Adam Warodell notes, none of the “exclusively European prototypes” for Kurtz advanced by woke professors and historians followed this native mode of landscape gardening. By contrast, dozens of accounts of African warlords and slavers in the Congo published before 1898 described rotting heads on poles ( “a wide-reaching area marked by a grass fence, tied to high poles, which at the very top were decorated with grinning, decomposing skulls,” as one 1888 account had it). Far from being “one of the most scathing indictments of [European] imperialism in all literature,” as Hochschild declares it, Heart of Darkness is one of the most scathing indictments of the absence of European imperialism in all literature. Kurtz is a symbol of the pre-colonial horrors of the Congo, horrors that the EIC, however fitfully, was bringing to an end.”
― Bruce Gilley, King Hochschild’s Hoax: An absurdly deceptive book on Congolese rubber production is better described as historical fiction.