Brian W. Shaffer - "Rebarbarizing Civilization"(2)

[인용] 46-

Spencer's "Militant-Industrial" Distinction in Heart of Darkness
 

47) his[Spencer] broader theory of universal progress.-  This theory holds that all phenomena whether inorganic, organic, or "superorganic" (cultural)-necessarily evolve from indefinite, incoherent, and homogeneous states to definite, coherent, and heterogeneous ones (First Princi ples 380)

- Spen cer's theory of the inevitable progress of civilization ("which could not have been other than it has been" [Social Statics 233]): the simple, repressive, corporate organization of militant so ciety evolves into the complex, democratic, in dividualistic organization of industrial society.

[사회 진화론]

- Spencer's fullest formulation of the militant industrial distinction appears in his three-volume Principles of Sociology ( 1876, 1882, 1896), com pleted only three years before the publication of Heart of Darkness and considered the culmina tion of his "synthetic philosophy." This dichot omy pervades Spencer's entire corpus.

- In Principles of Sociology the difference be tween these types of social organization centers on the difference between the society that lives by work in order to benefit individuals and the society that lives by war in order to benefit the state (1: 620)

[마키아벨리도 이런 구분을 함]

- He characterizes militant society as centralized and totalitarian, industrial society as democratic and civil libertarian

[이분법적으로 단순화 함. 하나는 선으로 하나는 악으로 몰아감]

-콘래드가 스펜서의 이론을 받아들인 부분은 러시아에 대해 적대적으로 쓴 것

[7 Ford Madox Ford corroborates such an image of Conrad when he writes, in a personal remembrance, that Conrad fa- vored England because of its readiness "to face Russia with fleet or purse when or wherever they should meet. The first English music-hall song that Conrad heard was: 'We don't want to fight but, by jingo if we do, / We've got the ships, we've got the men, we've got the money too. / We've fought the bear before and so we will again, / The Russians shall not have Constantinople.. . .' A Pole of last century-and above all things Conrad was a Pole of last century-could ask nothing better" (56-57; Ford's ellipsis). ]

- "Modern Dahomey [Africa] and Russia," Spencer writes, exemplify "that owning of the individual by the state in life, liberty, and goods, which is proper to a social system adapted for war. (2; 602)

- "Autocracy and War." There the Spencerian ty pology of civilization emerges as a means of dis tinguishing between a warlike and blindly absolutist Russia, which "lies outside the stream of progress" as a "despotism . . . utterly un European," and a Europe wholly corrupt yet presumably aspiring to "peaceful. . . industrial and commercial competition" (97, 106). Conrad further chastises Russia's militancy by referring to the country as a "bottomless abyss that has swallowed up. . . every aspiration towards per sonal dignity, towards freedom" and "an autoc racy whose only shadow of a title to existence [is] the invincible power of military conquest" (100, 110-11).

[8. Conrad's Polish anti-Russian sentiment clearly has roots in his father's "Poland and Muscovy" (1864). In this tract Apollo Korzeniowski judges Muscovite civilization to be "terrible, depraved, destructive." Calling Muscovy "the plague of humanity," he writes that "her civilization means envy and [the] negation of human progress" (77).]

-  the Spencerian distinction between militant and in dustrial societies is embedded metaphorically in Heart of Darkness (and invoked there for the benefit both of Marlow's audience within the tale and of Conrad's initial audience without) to counterpose Europe's self-image as a commercial and trading giant with Europe's image of Africa as the savage and warlike "dark continent.

- That this distinction, as I demonstrate below, dissolves into thin air when closely scrutinized does not invalidate the claim that a key register of meaning in the novella depends on the recognition of this distinction and on the view of civilized progress that underwrites it.

48) 청자들의 직업 ; each of whom has a stake in the com mercial ventures of Europe and mirrors, as Hay notes (142), a European whom Marlow encoun ters in Africa.

- 회계사 - 아프리카인을 저주하는 것. (hate those savages)

- 의사 he  functions primarily as a means for Conrad to ridicule the scientistic emphasis of psychological experimentation. Insisting that he leaves "mere wealth" to others, the doctor glorifies "the Company's busi ness" and accepts the "interests of science" as his "share in the advantages [his] country shall reap" from its activity in the Congo (14-15).

- OP : "civilization follows trade"

[교역에 문명이 따라온다는 것, 이것은 리빙스턴부터 이야기가 된 것이다.]

- In Principles of Sociology Spencer also popu larizes the assumption that the free trade and civil liberties of industrial civilization are organically related to the multiplicity "of associations, po litical, religious, commercial, professional, phil anthropic and social" therein that encourage the "free-play of the sympathies" and that favor "the growth of altruistic sentiments and the resulting virtues" (qtd. in Wiltshire 25)

[HD에서 매니저가 커츠의 말로 인용하는 것. "each station should be like a beacon on the road towards better things, a centre for trade of course but also for humanising, improv ing, instructing"

콘래드의 입장은 아이러니?]

- the brickmaker" at that outpost sees Kurtz's Eu ropean mission as comprising "pity, and science, and progress" and deriving from "higher intel ligence, wide sympathies, a singleness of purpose."

- For Spencer, the militant soci ety-whether composed of "a horde of savages, [a] band of brigands, or a mass of soldiers" "tends to develop a despotism" and "a system of centralization"; for this reason it characteristically lacks commercial and philanthropic groups (1: 545;2:572,577).

49) Kurtz's society is associated with the "savage clamour" of "dances ending with un speakable rites" (43, 50), with "warlike yells" (47), with the "throb of drums" (65), and with the weaponry of battle-"spears, assegais, shields, knives" (27)

- Described "with spears in their hands, with bows, with shields, with wild glances and savage movements" (59) and as "a whirl of black limbs, a mass of hands clapping, of feet stamping, of bodies swaying, of eyes rolling" (37), Kurtz's men are depicted as implicitly trusting the authority of the civil and military leader who directs their raids on other tribes.

[커츠가 이끄는 부족들의 모습은 스펜서가 militant society라고 묘사한 사회의 모습을 담고 있음. industrial society의 반대]

[10. The absolutism of Kurtz's command is made clear when the Russian proudly tells Marlow of an encounter with Kurtz over a small quantity of ivory: "He declared he would shoot me unless I gave him the ivory and then cleared out of the country because he could do so, and had a fancy for it, and there was nothing on earth to prevent him killing whom he jolly well pleased"]

- 커츠의 정부에 대한 언급 - 머리 모양이 "헬멧"의 형태를 한 것.

- 장대에 꽂은 해골들 : 0). Hence, whether or not the "certain attempts at ornamentation," those "heads on stakes" around Kurtz's house (57), de rive from Spencer's account of the "organized criminality" of African Dahomey society, in which "wars are made to get skulls with which to decorate the royal palace" (2: 236), the novella suggests an appropriation of Spencer's militant industrial opposition.

- Lord Jim

no matter how tenta tive or superficial the presentation of Spencer's distinction may be in the novel, numerous images and allusions contribute to a sense, as Wiley puts it, that Jim's "civilized background" and Patu san's "barbaric surroundings" are opposed (49). References to European (and particularly to Stein's) "commercial" and "trading" interests abound in the novel (134, 138-39, 151, 176, 181), as do suggestions that the "European mind" should possess "an unobscured vision, a tenacity of purpose, a touch of altruism" toward the pur suit of an "orderly" social fabric, a "peaceful life" (160, 227). Contrarily, groups indigenous to Pa tusan and environs are repeatedly associated with militancy: with "rifles" (179), "cannons" (161), "spears" (155, 184), and "armed men" (150). Doramin is called a "war comrade," and the Ra jah Allang is said to have "personal slaves" (142, 202)

- ll. While the evolutionary theory embedded in the novella is typically attributed to Darwin, one aspect points more in Spencer's direction: the notion that the relation between childhood and adulthood corresponds to that be tween savagery and civilization.

- Spencer : "Progress: Its Law and Cause," where he likens the "progress in intelligence seen during the growth of the child into the man" to the devel opment from "savage" to "philosopher" (8).

- Marlow, for example, notes that the African "settlements," while "some centuries old," are "still no bigger than pin-heads" and that there is "something pathetically childish in the ruins of grass walls" (16, 23). Moreover, Marlow compares African natives to children when he maintains that these "big powerful men" possess "courage" and "strength," yet lack the "capacity to weigh the consequences" of their potential to take action to free themselves.

- . He also views them as still belonging "to the beginnings of time-[as having] no inherited experience to teach them . . ." (42-43). Even Kurtz, who "forgets" himself among these "simple" natives, is characterized as "contemptibly childish" and "not much heavier than a child"

-  But although read ers have noted that the Africans of Heart of Darkness are represented as "stuck in time, prior to time, and outside it, in a 'perpetual child hood'" (Miller 179), to my knowledge no one has suggested that Conrad may be using Spencer's influential articulation of this all too common nineteenth-century Western myth about Africans.

[11. Similarly, a passage on Russia in Spencer's Facts and Comments (1902) appears uncannily prophetic of events rep- resented in Conrad's novel of nine years later, Under Western Eyes: Along with that unceasing subjugation of minor nationalities by which its imperialism is displayed, what do we see within its own organization? We have its vast army, to service in which everyone is actually or potentially liable; we have an enormous bureaucracy ramifying everywhere and rigidly controlling individual lives.. . . As a result of the pressure felt personally and pecuniarily, we have secret revolutionary societies, perpetual plots, chronic dread of social explosions; and while everyone is in danger of Siberia, we have the all- powerful head of this enslaved nation in constant fear for his life. Even when he goes to review his troops, rigorous precautions have to be taken by a supplementary army of soldiers, policemen, and spies. . . while similar precautions, which from time to time fail, have ever to be taken against assassination by explosion, during drives and railway- journeys. (164-65)]

- As [Russia's] boasted military force that, corrupt in its origin, has ever struck no other but faltering blows, so her soul, kept benumbed by her temporal and spiritual master with the poison of tyranny and su perstition, will find itself on awakening possessed of no language, a monstrous full-grown child having first to learn the ways of living thought and articulate speech. (102)n "Autocracy and War,"

[러시아가 어린아이와 같은 상태에 있고, 아프리카도 마찬가지란 말인가? 소설에서는 아이러니하게 사용하고 있다는 말인가? 이 부분의 논지를 잘 파악해야 한다.]

- Just as Heart of Darkness associates "strings of amazing words that resembled no sounds of hu man language" with the "monstrous passions" of African natives (66, 65), "Autocracy and War" illustrates the Spencerian analogy between the "organic" metamorphosis from militancy into industrialism and from childhood into adult hood. While Conrad seems not to have consid ered the ramifications of this use of Spencerian metaphors-and hence can be accused of bad anthropology here-these tropes, however de ceptive their implications, undoubtedly struck him as awesome in their explanatory power.