Heart of Darkness - Section 1

In the first several pages of Joseph Conrad’s Heart of Darkness, the narrator uses several contrasting images to set Marlow apart from the other men on the ship.  The narrator describes Marlow as having “an ascetic aspect”, connoting religious or spiritual absorption, devotion, meditation, and concentration (66).  This image contrasts sharply with, for example, the description of the Lawyer, who is reclining on a pillow and rug.  As the Lawyer indulges in comfort, Marlow relaxes more simply, as the word “ascetic” suggests, casting off the pleasures of Earthly possessions.  Similarly, the Accountant plays with dominoes that he brought onto the yacht, “toying architecturally” with them (66).  The word “toying” gives the impression that the Accountant’s means of entertainment is almost childish or trivial.  This apparent immaturity also contrasts with the image of Marlow in the same paragraph, a straight-backed, cross-legged, meditative pseudo-Buddha (66).  Marlow also feels differently about the sea than do the other passengers on the Nellie.  The narrator describes him as a “seaman” and a “wanderer”, noting that Marlow is “the only of [the group] who still ‘followed the sea’” (67).  Marlow’s passion for sea travel does not match up with the simple Thames pleasure cruise on which the other gentlemen have embarked.  Furthermore, when Marlow begins his story, the narrator notes that the story “was accepted in silence.  No one took the trouble to grunt even” (68).  Here, Marlow has a sort of gravitas that separates him from the apparent triviality of the others.  Finally, Marlow is the only one on the ship whom Conrad gives a name.  This ties together the image of the mysteriously charismatic Marlow, giving him concrete validity that the captain and the other passengers have yet to acquire.