Joseph Conrad's Heart of Darkness: An Analysis of the Outer Station as a Significant and Symbolic Setting

NOTE THIS WAS POSTED ON THE DAY THE BLOG WAS CREATED, HOWEVER, THIS WORK WAS WRITTEN September 7th 2007

In many pieces of literature, the setting is a key part of the story, allowing character development, symbolism, theme and plot development, and can serve foiling purposes. The heart of darkness is enriched with such settings; Africa as a foil to England, the Congo river as the eternal darkness and the Thames as something still to have light shed upon. In terms of character development, it is evident that the heart of Congo, the heart of Africa, the heart of darkness, became the ideal location to allow the psychological deterioration of the mind, morals, ethics, and racist views − a setting which truly can consume. However, in particular for my purpose, I have chosen to analyze another highly significant setting in Marlow’s journey into the Congo, and psychologically, his journey into darkness. The Outer Station functions as a reminder of humanity as Marlow knew it, and as a transition and omen of the deteriorative and consumptive powers of the darkness.

Marlow is reminded of humanity to some extent by the presence of the outer station. He immediately identifies himself with the humanity of the largely white occupiers. However, already he sees the imposing affects of this savage darkness in the need for the use of blacks as somewhat “assistants” and some of the more regular tasks, no necessarily suited for a mindless slave. Marlow realizes the little optimism, the happiness and pride the occupants share is in Mr. Kurtz, whose reputation spreads far a cross and up the “black river”, spreading from the gaping blackest spots of the map. The setting, being a place of boat wreckage, obviously is foreshadowing of the wreckage of the boats purpose, to carry them to perhaps the one source of light in that blackened whole.

Marlow is severely shaken by the blend of English society in the setting with that of African “darkness” which cannot, in Conrad’s eyes, be referred to as society. The Outer Station he describes is as though it is under poor and meaningless maintenance, especially considering the meaningless employment of what Marlow, seeing them after years of consumption, presumes to be unfit for the job. The blend of white men, living in almost African style houses, or huts, and the few European-style establishments far out of line, serves as a serious symbolic omen to Marlow and a definitive message of the last of the lights along the Congo being dimmed, the lights of European culture, not entirely destroyed, but dimmed. This is Conrad’s symbolic representation, the setting, of the deterioration which will later be penetrated psychologically, the unavoidable consumption by darkness. Even the men of the outer station, even the Europeans, could potentially be considered a part of the setting in the way which Conrad represents them. The men become less efficient, less purposeful, and even more estranged to people like Marlow who have direct connection with the European world; instead, the men of the outer station, psychologically deteriorating under the stress of the darkness of Africa, expose their inner evil, becoming more pointless, becoming more unwilling, self centered, beyond the need of maintenance of their own setting, or final comfort, from that savage, the horror.

It is evident that the outer station serves several thematic and character developing purposes. As a foreboding omen to Marlow, Conrad depicts the Outer Station not only without maintenance, but beyond the need of maintenance. The men of the station blend nearly into the setting with their psychological deteriorating connection with the European world. Lastly, as a whole, the setting represents the gradual , the deteriorative consuming powers the darkness, and the savagery within, dimming out the final lights on the European civilized Africa, and points a fatal sign in the direction of a gaping, horrific whole of blackness.