Nostromo's agreement, however, does not signal a return to his former obedient servitude. Rather, this scene marks a definite progression in the allegorical journey of the People toward socialism. If they return to their social role, it is because they are tempted back on the basis of a secret and sinister revolt. Monygham, playing the role of "tempter," is equated with the Devil in several places, and indeed the dialogue can be read metaphorically as an epic confrontation between the Devil and the People over the fate of society. The plot device by which all Sulaco hangs or falls on Nostromo's decision represents the necessity of the People's labor to any society. Likewise, Monygham's plan to preserve Sulaco with illusory silver signifies the dream-ideal in its brutal essentials, as if presented by the Devil indeed: a false, shining, never-to-be-had vision that nevertheless is the only way to save society from anarchy. Newly awakened, the People cannot resume their old exploited fidelity ("no more of that"), but neither can they have the hidden "treasure" of their independence alone. Pressed, they finally agree to rejoin society, but on a newly cynical basis in which they aid in setting up the trap of the false social ideal, the while planning their own "vengeance." Conrad thus sets forth a parable of the innocent labor class forced into socialist duplicity, laboring outwardly for society while plotting secretly its overthrow.

The action is accompanied by the presence of two silent corpses upstairs, first Hirsch and then Teresa, suggesting among other things the death of the old order.