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Although Marlow appears in several of Conrad’s other works,
it is important not to view him as merely a surrogate for the author. Marlow
is a complicated man who anticipates the figures of high modernism
while also reflecting his Victorian predecessors. Marlow is in many
ways a traditional hero: tough, honest, an independent thinker,
a capable man. Yet he is also “broken” or “damaged,” like T. S.
Eliot’s J. Alfred Prufrock or William Faulkner’s Quentin Compson.
The world has defeated him in some fundamental way, and he is weary,
skeptical, and cynical. Marlow also mediates between the figure
of the intellectual and that of the “working tough.” While he is
clearly intelligent, eloquent, and a natural philosopher, he is
not saddled with the angst of centuries’ worth of Western thought.
At the same time, while he is highly skilled at what he does—he
repairs and then ably pilots his own ship—he is no mere manual laborer. Work,
for him, is a distraction, a concrete alternative to the posturing
and excuse-making of those around him.
Marlow can also be read as an intermediary between the
two extremes of Kurtz and the Company. He is moderate enough to allow
the reader to identify with him, yet open-minded enough to identify
at least partially with either extreme. Thus, he acts as a guide
for the reader. Marlow’s intermediary position can be seen in his
eventual illness and recovery. Unlike those who truly confront or at
least acknowledge Africa and the darkness within themselves, Marlow
does not die, but unlike the Company men, who focus only on money
and advancement, Marlow suffers horribly. He is thus “contaminated”
by his experiences and memories, and, like Coleridge’s Ancient Mariner,
destined, as purgation or penance, to repeat his story to all who
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