As aforementioned, within Heart of Darkness, Conrad uses light and dark to symbolize good and evil, respectively At the next level of development the hideous and distant gives way to identification, when Marlow can relate to the savages' "tremulous and prolonged wail of mournful fear and utter despair": "I will never hear that chap [Kurtz] speak after all-and my sorrow had a startling extravagance of emotion, even such as I had noticed in the howling sorrow of these savages in the bush" 47f.
He allowed his 'boy'—an overfed young negro from the coast—to treat the white men, under his very eyes, with provoking insolence. Being hungry, you know, and kept on my feet too.
I am ready to do anything, anything for you.
Could we handle that dumb thing, or would it handle us? Or at least, it might be.
When we peel away the layers, however, a different journey is revealed - we venture into the soul of man, complete with the darkness of depravity as well as the wonderful.
Kurtz was in there. I wonder what becomes of that kind when it goes upcountry? The fool is too much of a fool or the devil too much of a devil-I don't know which.