[인용]
IV. CONGO BOUVARD AND PÉCUCHET
200) Mutt and Jeff is a long-running and widely popular American newspaper comic strip created by cartoonist Bud Fisher in 1907 about "two mismatched tinhorns".
- He unites them through their plebeian names (“Kayerts” suggests “the earth of the quay,” while “Carlier” derives from the Old French for a cartwright) and their petty bourgeois stupidity:
[39 Conrad travelled from Stanley Pool to Stanley Falls with Alphonse Kayaerts, a commercial agent. Alexandre
Delcommune, inspiration for the General Manager in Heart of Darkness and the
Managing Director in “Outpost,” gave command of the Florida to a Captain Carlier
instead of Conrad. See Sherry, 2; and Delcommune, Vingt années de Vie africaine.
Récits de Voyages, d’Aventures et d’Exploration au Congo Belge, 1874–1893, 2 vol.
(Bruxelles: Vve Ferdinand Larcier, 1922), 2:28.]
- Rather than the uncanny doubles Conrad frequently creates, they form an equally modern comic duo, like Bouvard and Pécuchet, Laurel and Hardy[뚱뚱이와 홀쭉이], Didi and Gogo, Beavis and Butt-Head(an American adult animated sitcom created by Mike Judge. 낄낄거리며 웃는 것이 인상적인 약간 껄렁해보이는 듀오). All stroll arm-in-arm, anxious but oblivious, toward a physical or metaphysical precipice.
- Conrad’s duo come closest to Gustave Flaubert’s in their enthusiastic, uncomprehending reading of Alexandre Dumas, James Fenimore Cooper, and Honoré de Balzac (“they made the acquaintance of Richelieu and of d’Artagnan, of Hawk’s eye and of Father Goriot”), and of the burgeoning colonial literature of the day.
[소설을 읽는 장면]
- They also found some old copies of a home paper. That print discussed—what it was pleased to call—“our colonial expansion” in high-flown language. It spoke much of the rights and duties of civilization—of the sacredness of the civilizing work, and extolled the merits of those who went about bringing light and faith and commerce to the dark places of the earth. Carlier and Kayerts read, wondered and began to think better of themselves. Carlier said one evening waving his hand about, “In a hundred years, there will be perhaps a town here. Quays, and warehouses, and barracks . . . and . . . and . . . billiard-rooms. Civilization, my boy, and virtue . . . . . . and all. And then, chaps will read that two good fellows, Kayerts and Carlier, were the first civilized men to live at this very spot!” (“O,” 83)40
[이 부분에 대해서도 쓸 것이 좀 있다. 이들은 문명화의 과업을 안고 떠난 것이 아니라, 신문으로부터 그런 이야기를 읽고 그런 생각을 하게 된다는 점이 중요하다.]
[On Bouvard and Pécuchet and “Outpost,” see Wallace Watson, “‘The Shade of Old Flaubert’ and Maupassant’s ‘Art Impeccable (Presque)’: French Influences on the Development of Conrad’s Marlow,” The Journal of Narrative Technique 7.1 (1977): [Jstor 접속] 읽고 정리할 것 - 중요
37–56. The “home paper” suggests J. R. Seeley, Our Colonial Expansion: Extracts from
the Expansion of England (London: Macmillan, 1887); J.-L. de Lanessan, L’Expansion
Colonial de la France (Paris: Ancienne Librairie Germer Baillière, 1886); and J.-A.
Ricaud, L’expansion Coloniale (Paris: Victor-Havard, 1891).] (이런 자료들을 다 구했다는 것이 신기하다.)
201) Where Marlow sees genuine jungle darkness, “Outpost” sees the ignorant delusion of Carlier and Kayerts:
(They lived like blind men in a large room, )
- Simon Gikandi reads the mystery of Heart of Darkness back into “Outpost”: “Africa is characteristically represented as unknowable and fixed. . . . The forest, like the river in Heart of Darkness, is a powerful presence whose primary narrative function, however, is to call attention to equally powerful absences, namely, culture and civilization.”41 Gikandi forgets Makola, his family, Gobila, his villagers, their language and economy, and the fact that, in this passage, the narrator presents not Africa as such, but its perception by two obtuse Belgians.
[Simon Gikandi, Maps of Englishness: Writing Identity in the Culture of Colonialism
(New York: Columbia Univ. Press, 1996), 171, 172. A. James M. Johnson says Africans
in “Outpost” are “fixed in the realm of nature” (“Into Africa: ‘the black savages and the
white slaves’ in Joseph Conrad’s ‘An Outpost of Progress,’” English Language Notes
33.4 [1996]: 66)]
- Revising the manuscript of “Outpost,” Conrad systematically excised hints of mystery—for instance, the passage quoted above originally concluded, “for the mystery of tropical life is too great to be solved at a glance.”42 Revising “Outpost” into Heart of Darkness, Conrad remystified both form and content.
[하마 고기, 메뚜기(아체베) 중요한 단백질원인 이런 것이 [어둠]에선 신비화]
[42. Robert Hobson, “A Textual History of Conrad’s ‘An Outpost of Progress,’” (Jstor)
Conradiana 11.2 (1979): 151. Hobson notes that Conrad’s revisions push Makola’s
speech toward Standard English (see 154).]
- Heart of Darkness, hippo meat changes from a meal to a mystery. The onboard wage-laboring “cannibals” consume their supply, which “went rotten and made the mystery of the wilderness stink in my nostrils”—an allusion to Amos 4:10 (H, 78).
202) It does not occur to Marlow that the laborers refrain from eating human flesh because they are not cannibals.
[이 부분의 논의는 뒤에 나오는 대화를 생각할 때 모순이다. 죽은 조타수를 먹겠다고 하는 장면이 있다. 그들이 먹지 않는 이유는 아무 때나 사람을 잡아먹지 않는다는 것. 해거드의 [She]에 나오는 장면을 패러디하려는 의도도 있긴 하지만, 말로의 태도는 종잡기 힘든 면이 있다.]
- Edward Wright contrasts Kayerts and Carlier with Kurtz, saying that Conrad’s “intellectual epicureanism” leaves him “able to forgive anything in mankind except nonentity,” while feeling genuine contempt for “men of the crowd.”44
[44 Edward Wright, “The Romance of the Outlands,” The Living Age 7.29 (1905): 527] 없음
- (The courage, the composure, the confidence, the emotions, and principles, every great and every insignificant thought belongs not to the individual but to the crowd—to the crowd that believes blindly in the irresistible force of its institutions and of its morals, in the power of its police and of its opinion.)
- The narrator distinguishes not us stalwart individualists from the milling herd, but the few who know from the many who do not that we are all sheeple, indebted to the crowd for every great and petty thought, including this one, which links the narrator and his readers to Kayerts and Carlier.45
[On Conrad’s sympathy for his protagonists, and the Flaubertian irony and free
indirect style tying “Outpost” to The Secret Agent and Nostromo, see Keith Carabine,
Selected Short Stories by Joseph Conrad (Ware: Wordsworth Editions, 1997), ix-x.] (보유)
[플로베르가 등장인물과 냉정하게 거리를 유지하는 것에 비해, 콘래드는 등장인물과의 고리를 끊지 않는다, 는 이야기를 하고 있다.]
- a sort of misanthropic populism: as whites and blacks collapse into all-too-humans, so do the many and the few. His conservative but egalitarian theory/
- Both works [OP, Karain] temper a critical view of contemporary urbanites with a moment of estranged critical perception that redounds on the analyst, damping any impulse to the reductive othering that taints Heart of Darkness.46
V. MATERIAL INTERESTS
203) Makola has hired the traders to pillage ivory from local villages, offering them the station men in payment.
[이들은 노예 상인으로, 상아도 그 교역의 대상일 수 있다. 그런데 교역이 아니라 약탈을 하는 것. 커츠와 비슷한 방법을 쓰고 있다.][이웃 지역에 상아가 있었다면 왜 그들은 주재소에 팔지 않았을까? 이 부분도 논리적으로 납득하기 쉽지 않다. 이들은 백인과는 교역 관계를 유지하지만, 원주민들에게서는 약탈이라는 방법을 쓴다고 봐야 할 것이다.]
[48. Charles Somerville Latrobe Bateman describes a group of Angola traders who
came to Bashilangé country on the Kasai to trade salt for slaves in The First Ascent of
the Kasai (London: George Philip & Son, 1889), 156–57.] 찾을 수 없음
- So a group of enterprising armed traders steals six ivory tusks from villages near the Kasai, then exchanges them for ten wage laborers.48 The middleman who sets up the deal will enrich and ingratiate himself with his employers. This complex international trade forms the story’s central action, and it puts economy front and center, specifically the high rate of extraction facilitated by colonial violence. The commodity exchange of ivory for station workers explodes the founding lie of Leopold’s state: its crusade to replace slavery with civilizing commerce and wage labor.
- In 1890, the rigorous Belgian articles against chattel slavery in the Congo promised in the same breath the new judicial slavery of fines and penal servitude for anyone associated with the slave trade.49
204) “establishing a worse form of slavery right in Africa.”50
[50. Mark Twain, King Leopold’s Soliloquy: A Defense of His Congo Rule (Boston: P.R. Warren, 1905), 13; original emphasis.]
- [진보]에서는 아프리카의 경제가 핵심이었는데, [어둠]에서는 형이상학이 중요시 됨. metaphysics displaces economics.
- When Marlow asks his huffing companion why he came to Africa, he responds, “To make money, of course”—what Anthony Bradley calls Conrad’s “Marxian slip” (H, 62).52
[콘래드는 경제적인 동기의 중요성을 지속적으로 강조하고 있다. 이 부분의 필자의 논의도 동의하기 어려운 점이 있다.]
- in the second half, the peasants of the Congo basin become spearchuckers, witchmen, and glaring temptresses, as Conrad systematically effaces economics, labor, and everyday lived experience.
[[어둠]은 전반부와 후반부가 분열되는 그런 양상. 커츠에 너무 집착하면서 이야기가 더욱 혼돈스러워지고 있다.]
- He turns to Marlow’s encounter with Kurtz: a classic uncanny doubling that condenses obsession, admiration, horror, and aggression, including an unresolvable suggestion that Marlow kills Kurtz.53
[53 Marlow cryptically suggests but never confirms the murder. After Kurtz says he is
“lying here in the dark waiting for death,” Marlow “blew the candle out,” left Kurtz’s
cabin, and grudgingly satisfied the “questioning glance” of the Manager (H, 117). Shortly
thereafter, we hear of Kurtz’s death and of Marlow’s “brutally callous” disinterest in
seeing his body (H, 117).]
[말로가 커츠를 죽여야 하는 동기를 찾기 힘들다. 살인을 너무 쉬운 문제로 이야기한다. 이 필자의 생각은 엉뚱하고 도발적인 면이 있다.]
- Proper readers must drop their vulgar but true economistic objections and grasp for a foggy profundity, thus revealing themselves as rather gifted, too. Then they can contemplate the “ivory ball” of Kurtz’s bald and burnished head, which inscrutably cancels and preserves the economic plot (H, 93). Conrad’s novel was not altogether misread by the hundreds of depoliticizing undergraduate lectures depicting it as an archetypal river quest dramatizing the self’s encounter with the inner self at the Inner Station. They got the Congo wrong, but much of the novel right.
VI. CAUSE, EFFECT, AND SURVIVAL
205) But whatever Gobila’s fear, it doesn’t diminish his power to hold a tribal council, underlining the rationality of African custom and Gobila’s fitness as a leader.54
- 마을 회의가 갖는 중요성
[Compare the village assemblies and the “imam’s council” in Hadji
Murat, Tolstoy’s great novel of the Muslim Caucasus, written simultaneously with
“Outpost,” whose realist narration, anthropological interests, and guilty anti-imperialism
it shares. See my “‘Nasty, nasty’: Incest, Islamism, and History in Hadji Murat,” Tolstoy
Studies 28 (2016): 63.]
- Gobila’s language of spirits and mystery takes nothing from his accurate prophecy about the fate of Carlier and Kayerts, and the collective punishment risked by Africans who kill Europeans. In fact, the Belgians did destroy entire villages for such offences.
[백인들의 보복에 대한 고빌라의 두려움은 아체베의 소설에 묘사된 것처럼 정당한 것이고, 실제로 일어난 일이다.]
( An official report from 1891 on “Bolobo, in the Tchoumbiri region” states that, after “the killing of a captain of a steamer belonging to the Societé du Haut-Congo . . . an example had to be made.”56)
[이 죽음은 Johannes Freisleben이고 [어둠]에 나오는 선장이다]Sherry, 15–22.
- In Heart of Darkness, Conrad turns this narrative of imperialism, resistance, and reprisal into a sequence of arbitrary, disconnected mishaps:
206) Heart of Darkness unlinks cause and effect so that both become free-floating affective intensities experienced by both characters and readers.
- “delayed decoding” described by Ian Watt, “by which the gap between individual perception and its cause is belatedly closed within the consciousness of the protagonist.”59
- J. Hillis Miller celebrates Conrad’s novel as an “apocalyptic, parabolic, or allegorical” work that rises above merely “mimetic” literature by eliminating any final cause.60
[필자는 이런 모던니즘 혹은 포스트모더니즘적 관점에 비판적이다. 리얼리티에 대한 추구의 중요성이 우선적이다.]
- The revised Congo in Heart of Darkness gave Conrad what postmodern American “speed” gives Jean Baudrillard: “[T]he triumph of effect over cause.” This triumph changes a cause into yet another effect, and effects from links in an intelligible chain into detached sensory impressions.
[원인보다는 효과, 결과가 더욱 중요시 되는 것] [프로이트의 "중층 결정"multiple determination이라는 개념을 도입해 보는 것은 어떨지?]
[ From Edmund Burke’s sublime to affect theory, aesthetic emotions frequently
derive from loosened ties of cause and effect. But this isn’t the whole story: contrast
Aristotelian probability, existentialist aesthetics on choice and the future, and Jameson’s
analysis of mechanical, expressive, and structural causality in The Political Unconscious:
Narrative as a Socially Symbolic Act (Ithaca: Cornell Univ. Press, 1981), 23–43.]
- Achebe remarks, “Obierika is therefore more subtle and more in tune with the danger, the impending betrayal by the culture, and he’s not likely to be crushed, because he holds something in reserve. You therefore find me more in him than in Okonkwo.”