l document against a cultural milieu and saga of oppression, far from being a mere adventure story encountered by the Englishman Charles Marlowe who worked for a Belgian trading company and set out for a voyage to accomplish the assignment bestowed on him as a Captain of a ferry-boat at wild and dark Africa. The story sets its readers to a journey along with Marlowe through his three fold trajectory through darkness, first through the wilderness of Congo, secondly through the colonial manifesto and tortures inflicted on the dark men of Africa by White Englishmen as colonialists and the lastly he passes and explores the darkness which is unfathomable and positioned within the heart of every man. The novella not only explores the myth behind the colonial history but also bears the social and extreme psychological thesis pertaining to the play of good and evil symbolically represented as White and Black respectively and the symbolic narrative of the framework pertaining to the story within the story places the novella at a realm that opens novel vista regarding colonial culture, history, literature and politics pertaining to color in the western canon of literature.
Recent critical introspection into the adventurous novella of the 18th century evidently launches its readers into myriad critical perspectives. The most widely accepted and counter discursive document pertaining to the post-colonial aspect of the novella is one which Nigerian scholar and writer Chinua Achebe captivated in his critical reception named as “An Image of Africa: Racism in Conrad’s ‘Heart of Darkness’”. This document is the base, the parameter or rather a scale to gaze and judge this explicit symbolic novella from the post-colonial perspective. The testimony rendered by Mr. Achebe forms the modern Bible as regards to the post-colonial study precisely for this novel and also at a wider perspective for scaling the myriad implementation and aspect of the post-colonial elements in