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... the neck. "These mean could by no stretch of the imagination be called enemies,"(31) says Marlow, further illuminating the truth about European power on the continent. Later, in the "Inferno"(32), Marlow comes into contact with the "black bones"(32). He describes them best as "nothing earthly now,"(32) for the Europeans have sickened them and taken them away from ... ...
... they can easily dominate. On a more figurative level, for Marlow, the journey up the Congo River to the 'heart of darkness' is reminiscent of Guido's journey into hell in Dante's Inferno, with literary allusion always present, through forms of intense imagery. The landscape takes on a hellish nature and the wilderness is personified. Death is omnipresent and this is reflected in the ... ...
... the natives and the colonists. Marlow strolls under the trees to get some rest and some shade on pgs 83-84 when he "stepped into the gloomy circle of some Inferno". Conrad metaphorically compares the atmosphere and scenery of that moment with hell when he sees a bunch of natives that were "dying slowly". Those black figures were portrayed as people whose ... ...
... , in Apocalypse Now when the calm Vietnamese jungle bursts into flames, Willard is superimposed. He is upside down and his face is almost the same yellow- red tinge as the inferno. The representation is similar as it depicts Marlow as a distant yet formidable character, basically, the audience knows Marlow must have a story behind the situation. The texts delve into the complexities ... ...
