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Graham GreeneA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Scobie starts out for the Nissen huts. Along the way, he passes Helen and tells her about Ali’s death. Helen informs Scobie she is planning to go away so they can find peace and happiness, to which Scobie objects, saying “happiness isn’t the point” (235). Scobie prays for God to kill him because he carries suffering like a “body smell” (235). Later, after talking to Louise about Ali, Scobie thinks about how he has never lied, exaggerated, or speculated in his diary entries. He thinks to himself, “all he had written here was fact” (237). Having privately come up with a plan to solve the issue of his romantic entanglements, Scobie decides to retroactively add to old diary entries comments on sleeplessness and heart pain. He makes these addendums, disguised as part of the original entries, for the coroners and insurance agents who will look at his journal after his “death-warrant” is signed (238). He proceeds to visit Robinson’s doctor, Dr. Travis, to disclose his fictional ailments, hinting at a possible diagnosis of angina pectoris. Dr. Travis prescribes him a sleeping medication but is reluctant to confirm Scobie’s self-diagnosis.
At Church, Scobie begins suffering from competing internal monologues contradicting his plan to commit suicide. One contradictory monologue is effectively God intervening against Scobie's plan. Resolute, Scobie’s first monologue reaffirms that he does not trust God and that he carries responsibility like “a sack of bricks” (242). Leaving the altar, Scobie realizes his eyes are bruised and swollen with “suppressed tears” (243).
Scobie goes to see Helen but she is not there. He writes “I love you” in her stamp album but doesn’t leave a note out of fear that his plan will be compromised. At home, Scobie partakes in his evening ritual with Louise for the last time. He reflects that her love is like a “death sentence” but is confident that his plan will protect her (247). Drinking whiskey in solitude, Scobie hesitates to take the pills. Suddenly, a second monologue returns telling Scobie to stop “play-acting” (248). Unwavering, Scobie says no to this voice, and pushes the pills into his mouth. Approaching death, he writes his final diary entry and attempts to pray, but he cannot remember the Hail Mary. Barely conscious, Scobie feels a storm inside of him and says, “Dear God, I love...” before falling to the floor (249).
Book 3, Part 3 begins with Louise and Wilson chatting three days after Scobie’s burial. Wilson tells Louise he loves her and asks if she knew about the affair with Helen. Louise reveals that she knew about it all along and it was the reason why she returned. Louise also says that she can now believe the whispers about Scobie’s involvement with Yusef, but adds that she loved Scobie. Back at the Scobie residence, Wilson notices that Scobie’s diary entries contain retroactive additions, including ones detailing sleeplessness and heart pain. Wilson theorizes that Scobie concocted an elaborate plan to die by suicide but covered it up. Louise is appalled by Wilson’s allegations, saying that “in spite of everything, he was a Catholic” (252).
Later, somewhat disquieted by Wilson’s insinuations, Louise goes to consult Father Rank. Father Rank tells Louise he only knows “unimportant things” (254) about people, such as sins but not virtues. Louise says that Scobie was a bad Catholic, to which Father Rank scoffs, saying that is the “silliest phrase in common use” (254). Dejected, Louise says there is no point in praying. Furious, Father Rank tells her that no one can comprehend God’s mercy, including the Church. Disabusing Louise of this notion, Father Rank says, “The Church knows all the rules. But it doesn’t know what goes on in a single human heart” (254). Moreover, Father Rank affirms that Scobie loved God, to which Louise agrees, saying he loved no one else.
The final sections of The Heart of the Matter culminate with Scobie’s ultimate, unforgivable sin: death by suicide. The anti-institutional undertones of the novel manifest with vigor in Father Rank’s seemingly blasphemous insinuations that God could still show Scobie mercy. The tension between orthopraxy—correct conduct—and orthodoxy—corrupt belief—reaches a climax here. The orthopraxic conception of God, as exemplified by action-oriented and legalistic Catholicism is cast into doubt through Father Rank’s aspersions of Church doctrine. The notion that God might show mercy to Scobie, despite his unmistakable immorality, potentially undermines the entire legal and theological system. While Greene does not hint at what purpose Catholic legal norms and codes might serve from the standpoint of communitarian stability or ethical self-discipline, Father Rank’s insinuations leave readers questioning preconceived notions of God’s mercy and justice. Salvation through private belief, as exemplified by orthodoxic religions, appears vindicated through Father Rank's comments on the human heart. Buttressing this interpretation is Greene’s description of Scobie upon his death as “the saint whose name nobody could remember” (249).
Furthermore, the contradictory monologue that appears in Scobie’s psyche enhances a psychoanalytical reading of The Heart of the Matter. In this reading, Scobie’s sense of pity and responsibility does stems from a psychological state: the subconscious. Scobie’s demise is the result of his pity, which is an expression of a warped God complex, itself a product of intense egoism. Scobie is clearly not the borderline prophet he sees himself to be, evidenced by his immense overestimation of his own cleverness. As the scholar Tanmoy Mazumder professes in his Freudian analysis of the text, Scobie possesses a “proud super ego [that] is narcissistic in nature” and which cannot tolerate pity. But when Scobie’s superego—his conscience—is pitied, it resigns to “self-terminate in a Christ-like sacrifice” that superficially appears as a sacrifice for the happiness of Helen and Louise (Mazumder, Tanmoy. “When Pity Meets Pride: Understanding the Relation between Scobie’s Pity and his Unconscious in The Heart of the Matter.” The Criterion: An International Journal in English. 2020). Therefore, while it does not detract from Greene’s anti-institutional themes, it might be argued that Scobie’s God complex is a product of a pitied superego observed through a religious and psychological storm of interior conflicts.
By Graham Greene