Literary Analysis: Conrad's Heart of Darkness
Written in 2017
Heart of Darkness
Bibliographic Information:
Conrad, Joseph, Heart Of Darkness: And, The Secret Sharer. New York:Signet Classic, 1997. Print. (Realism 1820-1920)
Originally published in 1899 by Joseph Conrad, literary analysts from varied periods interpret this novella using intricate perspectives and different cultural standards. Conrad, possessing Polish nationality on December 3rd, 1857 and the British citizenship later, developed Heart Of Darkness in his third language. Convolved in the imperialist and expansionist Europe, Conrad followed his father Apollo’s footsteps in penmanship. His early participation in the nautical branch, to be specific, the British merchant marine, enacted major components in his novella. His familiarity about mercantilism and active tradesmanship between the dark state and the prospering European states was shown here in Heart Of Darkness. An erudite in human psych and a bourgeoisie in national activism like Conrad concerns majorly in the contemporary affairs. Engulfed in the social categorization of the Intelligentsia, Conrad composed some of the intellectual jewels of his century. Conrad incorporated his humanitarian fanaticism with the expansionist political system to portray the main theme of realism. The European participation in the whirlwind of imperialism prompted him on writing his perspective on colonialism and the exploration down the Congo River. Such was a cultural differentiation, that consolidated the mode of interpretation for both Europeans and Africans alike. debated and criticised by the Nigerian novelist Chinua Achebe, Conrad’s position and tone of voice degrades the identity of Africa of judgment and moral standards. Conrad wrote Heart Of Darkness in the tone of realism (1820-1920), he stated without commentary but displayed the reader by subtle details. Based on the concentric events around 1890, the book was written in a span of a month. Victoria sat on her throne along with her cousin, king Leopold, who was best known for his ivory and slave exploitation of the Belgian Congo—a state owned by a king and only a king. Here in the novella, Conrad constructed characters of symbolic statuses, of layers upon layers, waiting for the readers to peel down the truth. His characterizations largely focused on the concept of nature versus nurture, for the comparison of innate traits and developed traits, the social and environmental influences. Conrad churned in the historical tide and swayed by the political wind. While readers should have basic understanding of the Belgian historical conquest and the establishment of imperialism before reading Heart Of Darkness, it is equally crucial to take notice of the different and existent perspectives on the same discourse.
Quote Analysis:
“There is a taint of death, a flavour of mortality in lies” (37).
In the context with the plot, this quote illustrates the initial vigors of Marlow. Marlow, a person who embraces justice and morality, states this quote with strength and righteousness before he embarks his physical and emotional journey down toward the heart of darkness. Marlow absolutely detests the concept of lying, for that he holds the belief that lies condemns a person’s morality. It is inferred that he holds the aspect of morality above him, and that any taint of dishonesty would corrupt this concept. As he explores down the Congo River, he confronts the absolute moral challenges of imperialism and fell prey to the question of savagery. As readers almost always conveys Heart of Darkness as a mental journey, one that transcend physical boundaries. Marlow can not escape the societal oppression and eventually submits to the social norm. He realizes how easy it is to follow the given situation, and not object to the moral standards. Both the efficiency and benefits of lying makes Marlow contemplate his relativity to the savages and their innate natures. This particular character says this quote because the author attempts to show the moral transformation of the main character, or the protagonist. Heart of Darkness conveys a discussion of different identities, however, one similarity between the savages and the civilized men share would be the item of mortality. Discussed in the quote, the author intends to mention that both identities can not escape the palm of death.
“It echoed loudly within him because he was hollow at the core....” (81).
Like many characters in the novella, the character description given by the author displays the utmost horror within our society. The lack of identity can be shown in the homogenous representation of the imperialists such as the Manager, the Harlequin, and the Brickmaker who all lack a name. The Harlequin comments at the hollowness of Kurtz because of his imperialist resonance, of which glory, territory, and ivory drains the morality out of him. The Harlequin says this because he had been a lone witness of Kurt’s treacherous deeds. In a sense, the Harlequin contains the voice of the author because his sense of acknowledgment. Multiple others has similar remarks on the pilgrims, stating that these were the men who contains no entrails. A shell of a man, Conrad states, are the imperialists because they have no real purpose, no real passion, and no place in the world except at the top. Similarly, the exploitations of Central Africa were caused by these men.
“I have wrestled with death. It is the most unexciting contest you can imagine. It takes place in an impalpable grayness, without glory, without the great fear of defeat, in a sickly atmosphere of tepid scepticism, and still less in that of your adversary” (100).
Europe had long glorified the process of imperialism. From the poem White Man’s Burden to popular literature Orientalism, conveys the theme of imperialist regime. However, from Marlow’s account, he clarifies that the glory often stem from the expense of others. The thousands of the slaves, the imports of ivory, and the massive amount of rubber exports out of Central Africa are the prices of the glories of the imperialists. Secondly, Marlow mentions his encountering with death in Congo and it does equal to glory of sacrifice, it is an absolute hellish defeat in the worst environment possible. Marlow recalls his initial impulses to penetrate Africa and directly hints at his regret. This quote pronounces Conrad’s opinion on imperialism because it illustrates both the physical darkness and the darkness of defeat—which does not relate to glory.
Title Significance:
Metaphorical Example:
Conrad constructs a world of symbols which intertwines with the theme. The title, Heart Of Darkness, makes an entrance by introducing the imperialist reality. Heart Of Darkness describes the corruption of human entity by highlighting the metaphor behind it. One’s heart, the essential representation of one’s morality, justice, and consciousness, is innately poisoned by evilness and grotesqueness. Darkness, here, jests at the unknown nature of men which makes him unpredictable and unpleasant. Often connected with evilness, darkness resembles the meaning of the unknown, the unapproachable. An exemplification of evilness takes place in the characterization of Kurtz. The novella largely analyzes the intricate relationships between the savages, the crew, and Kurtz himself. In Heart Of Darkness, Conrad explains and states the nature of men being innately twisted and savage, no less simpler than the primitive natives of the Congo. He states with confidence that men touched with a hint of civilization merely disguises himself behind the ignorance of his nature, and that all of humanity resorts to the battle against morality. In the end, when confronted with the temptation power, every man to fall to his knees and expose his true nature. Likewise, Kurtz suffers the “White Man’s Burden” and inevitably reflects his corruptness in the heart. Both king Leopold and Kurtz fall under the category of containing a Heart of Darkness. It is essential that the readers acknowledge that darkness penetrates in the heart, not on the superficial appearance of the physical flesh. Reader can reasonably infer that the darkness has composed the man deep under his skin.
Religious significance:
Biblical references also take a toll on the title of Heart Of Darkness. Central Africa contains one of the most impenetrable locations of religious missionaries, for the spread of Christianity conserved at the mouths of West African ports and due north to the empires of Ethiopia and Axum. Central Africa, untouched and uncivilized in the sense of religious aspects, is referred to by Conrad as the “dark state”. Where light does not pursue signals that Africa contains a heterogenous belief system. For example, the scattered and variant tribes generally hold their own faith and beliefs in historical context, generally retaining a polytheistic creed. While the light, the bright, the clean symbolise the Christian faith—with its cleansing motives, monotheistic properties, and “innocence”. Darkness is often linked with the devil, the demonic spirits, and the impure nature of evilness. It is no wonder, then, when the author of White Man’s Burden states the natives of the dark states as “half-devil and half-child”. Biblical references in the title also often infer the concurrent religious and scientific debate. For example, the transition from the religious perspective to the industrial and capitalist perspective caused social turbulences in the historical context. What should men value more: one’s sanity and purification of the soul; or the material gains for his own capitalistic benefits? While the title may have not suggests this particular conflict, the theme of imperialism concerns itself with these two clashing perspectives. In the satanic school of romanticism, the Heart of Darkness, then, suggests the religious description of men who stand contrary to innocence.
Geographical Information:
Conrad provides the geographical symbol to the reader through the title, Heart of Darkness. The title reveals part of the geographical positioning of the story. For example, the setting displays Marlow and his crew in the Congolese territories down from primarily the outer station then gradually seep into the inner station. Central Africa poises as one of the most savage territories on Earth, with its Zaire river flowing outwards southwest upstream, disabling whatever intrusions the outsiders may attempt. Darkness, a brand for the continent of Africa, links with the territory because of its danger and the racial distinguishment. A hellish nature of humidity and absurd measures of tribal danger makes Central Africa one of the iconic location of terror. Subsequently, the inhabitants of Africa prove rather dangerous and unapproachable. No matter if it is the rampant diseases or the tribal populations, Central Africa has always remained one of the most sacred locations of wilderness preservation. With the consideration of diseases, central Africa yielded more fear than anything before the age of exploration. The dark state, as Marlow mentions in the introduction, gains its name by its shade of darkness on the map. Readers could infer that before the presentation of maps, explorers had to venture out to fill in the missing pieces of the map. Therefore, maps would often brandish Africa as a location of darkness.
Time Period Reference:
Conrad may also have composed the name Heart of Darkness to reveal the dilemma a majority of the Africans faced during the early 17th and late 18th century. In the historical context, the state of Africa underwent catastrophic alterations due to the European exploitations. As enacted in the story, Kurtz consolidates his position and prestige by overshadowing all of the competing ivory exporters. Secondly, while the utilization and exportation of slaves was not hugely conveyed of in the novella, Africa faced extreme African Diaspora in the 18th century. By this title, Heart of Darkness, Conrad states the situation which exploited Africans were cornered in—a dark time for the Africans during the industrial revolution, the African state was overshadowed by the accumulating influence of the Europeans in the early 17th and the late 18th century. Although readers may not connect with the time period immediately, this title ties in with the context of the book.
- Setting:
The introduction displaces Marlow and his crew members aboard on the Nellie, situated in the Thames river in London. Already Conrad sets up the two contrasting locations: Great Britain, at its peak had more than 2,000 steam engines running across the island; and Central Africa, a backward society with no to no contact with the outside world. This contrast would later come in play as a comparison, that despite the locational difference the two places shares a mutual characteristic. As one of the two narrators, Marlow recollects his journey to Central Africa in the Congolese territories. The main plotline unfurls in the heart of Africa, starting from Brussels then down the Congolese river and into the Central Station. While Conrad does not straightforwardly present the numerical year of Marlow’s travels, readers could reasonably infer that the time period structurize around the 19th century, after the establishment of the Belgian Congo control. The time portion of the setting largely bound to the theme of conflict between morality and capitalism, a recurring topic during the age of industrialization. Could morality allow pride and benefit when it comes at an expense of another’s loss? Would the system of amensalism be essential to one’s welfare? Topics like these revolved around the 18th century, a time of crisis. Conrad does not intend to yield his perspective either, when he explicates the motives of the companies. The setting of Marlow is dynamic as he travels from the outer station to the inner station, but readers could also view such change as change in Marlow’s psych. Significantly, the Congo River’s contaminated water and slugginess both contribute to the plotline because the ship essentially travels in the water. Additionally, the forests and jungles that surround the rivers also circulate the tone of the unknown. The cultural background of the setting are that the new imperialism regime convolved of religious, political, and economical benefits; and the indigenous population, burdened with underdeveloped technology, confronted great dilemmas when the Europeans began to influence and eventually exploit the indigenous lands and people. Without reading further into the story, readers can already make assumptions about the plotline: tragic and unsettling.
Themes:
Human grotesqueness can not be shielded by the illusion of civilization
As men attempts to publicize his superiority, he also shrinks under the influence of urbanization and industrialization. Debated throughout the ages, this question consolidate in readers and historians’ minds alike: has civilization benefited or hindered men? Civilization, while promoting the technological and social organization of societies, has also assigned men a special and amorphous privilege. This privilege entices that social inequality transforms men. In Heart of Darkness, human grotesqueness is preluded by Kurtz’s abomination and integration into the indigenous population. Despite how superior the men of the ship may picture themselves, the men does not differ from the indigenous population: he possesses the same nature, same composites, and the same emotions. A case of romanticism centralizes this topic, for that the emotional components resonate from person to person. People, savage or not, were lured by Kurtz’s influences. For instance, the Harlequin and the native population, despite varying in skin color, degrades down to Kurtz’s mental puppet. Through the adaption of the civilization, the European race grew more open to the embracement of personal desires. Discussed by the book, events like the exploitation of the indigenous population in the outer station could be one of these examples. In the age of realism, the authors attempts to explicate social inequality and suffering in their truest forms. However, as illustrated in the Heart of Darkness, the author stresses the importance that civilization, simply propelled one certain group to a more advantageous to become to conqueror. The inescapability of both uncivilized civilization (represented by the manager) and pure savagery (represented by Kurtz) jests at the society’s problems. The author objectively respond to his observations of imperialism by proposing this theme. A theme carried out by the superficial appearance that Kurtz’s lack of morality, eventually, contributed to his downfall. Readers should analyze this hint and conclude that the innate human spirit, one that contains utmost savagery and primitive behaviors, can not be shielded by any illusions of civilization.
While many may treasure morality, but morality itself is corrupted by the imperialist motives
In such a disrupted period such as the 18th period, the identities clash together to form the ugliest and most grotesque incidents of the world civilizations. Heart of Darkness tries to communicate historical context with a moral. In the portrayal of Kurtz, the readers could evidently infer that the roles may have switched: that the civilized man could potentially take on the role of the savage. As mercantilism and colonialism poisoned the hearts of the conquistadores, the kings, and the imperialists, causing the degrading of their senses. Because the exploitation has become a social norm, the imperialists then conforms with the rest of the Europe. For instance, as Marlow stroll by the central station, he hears the clashing of chains of the slaves; a common phenomenon of slavery. The slave population exemplifies one of the crucial links of African civilization, it demonstrates the cruelty of the Europeans on the conquered people. Conrad depicts the African population as convolved with rowing Africans, chained Africans, and sick Africans by malnutrition. The collection of rubber, slaves, and ivory were common schemes in Central Africa. These schemes show how easily men get lost in wealth and power, how susceptible men are to power. Heart of Darkness gives a valid example through the manager and Kurtz, whose imperialist desires blind them from the wrong deeds happening around them. The branding of the Africans as “rebels”, too, channels into the same topic. It involves the speculation of how one identity may discourage another identity for the imperialist motives. Some questions still persist: for example, what sets the indigenous apart from the Europeans? How should the idea of social darwinism apply to the indigenous population? If possible, what did civilization supplant, that gives the white an advantageous initiative? Imperialism strips men of morality and develops absurdities.
The definition of success varies for different perspectives
While many of the imperialists envy the life of Kurtz, Marlow refuses to recognise Kurtz as a successful man. Conrad compiles numerous evidences of his success through the book just to analyze and reference the imperialist downfall. In the beginning of the novella, characters like the manager, the central station directors who are unconscious of the truth about Kurtz often praise the man for his contribution and export of ivory. His prestige, as readers may interpret, stemmed from the qualifications of a good imperialist: great wealth, great resources, and great dominions. However, as the curious Marlow explore and penetrates deeper into the reigns of the Congolese territories, he gradually comments on the man’s queerness in meddling with the natives and making them praise him as a god. Evidently, the man concludes with a subtle note by screaming: “the horror! The horror!” (86). His success, then, was no more than a bubble, ready to pop anytime. As Marlow explores the Congolese rivers, he discovers and unfurls more and more of the truth about success, and about human depravity. The definition success, then, diverges into two categories due to the two perspectives. A common objective of Conrad may be to jest at the concurrent definition of successful men—men of great honour and men to look forward on becoming. He also points at the society’s current of accepting imperialism as a social norm. For example, the old and weary Kurtz may not circulate in the reader’s mind when praising was besieged upon him. In the contrary, Kurtz was a man of darkness and evilness, a intricate character of depiction. Through the numerous accounts, Marlow exposes himself to the accounts about Kurtz and eventually develops his own opinion about success.
Character:
Kurtz: The novella centered around this one particular character for the intention of presenting a grotesque and intricate identity. Kurtz is the impersonation of a supreme imperialist with the utmost consumption of both land and ivory. By the Harlequin’s description, an educated man in England, Kurtz consumed “all of Europe” in his making. An eloquent man with merit and effort, hardly anyone would brand him as an unsuccessful man. It is imperative to notice that despite the praise the man had received, Kurtz staged an attack on the crew. He is evil, and no one can possibly object to it. This background story about Kurtz gives readers a better understanding of the personality of Kurtz. His desolation and utter independency in a savage land left him unaided, unchecked, and undone. This quote explains how his sanity impairs due to his exposure to the uncivilized territories and ethics. Therefore, it is inferred that civilization is a shield and a weapon, but can not protect the man for long. Through the mouth of the Harlequin, the readers are exposed to the harsh and frantic nature of Kurtz, that “the appetite for more ivory had got the better of the less material aspirations” (80). Hinted by the Harlequin, Kurtz fell under the spell of less material aspirations such as his dominion over the hearts of the savages. For instance, the Harlequin has spotted the fervent and religious pursuit of the natives for a man like Kurtz. Essentially, Kurtz twists the minds of the natives and makes them believe and see certain aspects. Forgery, again, takes place in the mind to infer that the mental stage of manlike tends to break under pressure. Marlow inquires more and more of Kurtz’s abnormal behaviors as he follows the Congo river. In one description, the darkness of evil spirit captures Kurtz and brought him to insanity, “he had withered; it had taken him, loved him, embraced him, got into his veins, consumed his flesh, and sealed his soul to its own by the inconceivable ceremonies of some devilish initiation” (68). It reminds the population, that exposure to darkness can change us and make us numb of committing atrocities. One thing the readers should take notice of is, the novella does not incorporate how Kurtz has influenced the population, but to what extend does Kurtz influence people. Evidently, all men and women Kurtz had physical or mental contact with experiences the similar euphoric and fanatical attraction. Then, the comparison of Kurtz to Jupiter seems not that abstract--- he himself poises as the center of numerous orbits. The men and women blindly follows him, without question, objection, nor a conscious state of mind that Kurtz had hypnotized them. Marlow, the protagonist, stands out from the pursuers because he realizes the evil behind the man and develops his own speculations. Kurtz, in the context, is suppressed by the force of imperialism. He follows the imperialist regime precisely, to eventually be crushed by the regime. His last words, “the horror! The horror!”, suggests his final ventilation of his sinful deeds and his moral confrontation with the darkness. His morality illustrates the fragility of manlike in the face of a societal current.
Marlow: In Heart of Darkness, Conrad develops his character intricately by utilizing multiple narratives and setting up his character transitions. Conrad proposes a third person narrative, describing Marlow in Britain, while he positions himself along the Congo river. Marlow or Marlowe, a fresh water sailor, initiated the novella by telling his story in first person. Marlow plays an important role in Heart of Darkness by guiding the readers to a primitive and foreign land in Africa. This European perspective of the civilized man, would later impact the work. For example, he describes himself as containing a disposition lenient to knowledge and exploration, one of the pursuit of discoveries and fantasies. The narrative style of Marlow entails a significant perspective, one similiar to the author’s. For example, Conrad examines the African regions with curiosity and cautionary measures, just to face the reality about the Belgian Congolese brutalities. Subsequently, Marlow comments on his itineraries as he pursues Kurtz down the river. Geographically connected, the novella conveys the essential transition of Marlow’s high expectations to disappointment. In the realism writing style, authors tend to give characters multiple layers of interpretation. Marlow, along with Kurtz, stands as the sole two characters with actual names. These two characters, similarly, are the only two dynamic characters and have layers upon layers of characterization. While the character may possess arrogant and hypocritical features through his dialogues, he pursues justice and sustains a curious nature. However, this curious nature was eventually corrupted by the introduction of darkness in the Belgian Congo. Heart of Darkness explains the character transition in Marlow, for his explorative nature eventually lost its vigor when he encounters the evilness hidden in himself. Since Marlow was a boy, he had dwelled in the wonders of maps. Through his journey, he discovers the many factors of mankind that he himself share with men like Kurtz, the manager, and the brutes; that despite the skin color, men categorizes all into the reign of morality and inferiority to his nature. Secondly, Marlow’s initial objection about lying and unethical acts slowly degrades into a normality. His entire trip, revolves around his passion about seeking the truth; although this principle alters course after this journey, which readers can infer through his dishonesty toward Kurtz’s widow. Internal transitions such as this exemplifies that not all men experiences the seeping evil in the industrial world; and certain events can trigger the evil inside all of humanity. Marlow is a curious creature—his sense of exploration defies the imperialist definition of his period. However, one of the book’s major theme shows that all men are suppressed by something. “... I also were buried in a vast grave full of unspeakable secret. An intolerable weight oppressing my breast, the smell of the damp Earth, the unseen presence of victorious corruption, the darkness of an impenetrable night…” (88). This significant remark gives readers insight about Marlow’s consciousness, that in this context, the truth about human nature suppresses Marlow’s spirit.
The Manager: Without a name nor identity, the Manager takes form as a typical imperialist in the 18th century. Much like thousands of other imperialists, the Manager resonates the principle of mercantilism and imperialism. This character embraces normality and commonness, for example, the way he positions himself in the central station, the way he was “commonplace in feature, in manners, and in voice”, and the way he did not bear a name like the numerous other characters summarizes how simple this man is. The Manager contains an imperialist brutality, ranging from his disposition to retain his glory to his cold nature. The way he reserves a cold complexity like millions of civilized man tells the readers about the hollowness of a person. Marlow, in this case, feels rather uneasy to the Manager because of his cold, eerie smile. This explains why Marlow distances himself from the Manager, much like the author targets the imperialist regime in Heart of Darkness. The Manager holds secrets and only secrets to position himself up on top of the pyramid. For example, A renowned and ambitious imperialist, he conflicts with Kurtz about positions, “Conceive you—that arse! And he wants to be manager!” (45). This illustrates the motive of the Manager— to remain on his high position and to eliminate whatever threat anyone may host, very much like the Brickmaker. The Manager is suppressed under the spell of imperialism and pride, enabling his cold character.
The Harlequin: The name Harlequin derives from Marlow’s speculation of the clothing of this individual, which contains brown holland and patches of blue, red, and yellow. The Harlequin had gone to sea in a Russian ship which he ran away, he had served some time in English ships and now reconciles with the arch-priest. Twenty-five years old, this individual reserves a strong devotion to adventure and the spirit of Kurtz, of whom he accepted with a sort of eager fatalism. For example, the youth eventually notes that Kurtz had enlarged his mind. The strongest point, however, arrives in the form of how Kurtz influenced the Harlequin as though he could see things. His connection to Kurtz allows Marlow to explore more of Kurtz: Kurtz entrusts the pamphlets to the Harlequin, stating that contained the power to influence and contained the lasting bits of his memory. Living in the midst of the natives, the Harlequin assured the sailors of the simple nature of the natives. This unnamed man again was influenced by Kurtz, whose story he listened to, it can be inferred that he oblige to the service of mr. Kurtz. From the Harlequin, Marlow encounters the various events that shaped who the mysterious Kurtz may be. The Harlequin, is suppressed under the influence of a higher individual whom he dedicates his youth for.
Mr. Kurtz’s Wife: Here the readers encounter another character whose identity degrades and attach to that of another character’s. The name of Mr. Kurtz’s wife was not implied and that symbolises how she depends on the thread of Mr. Kurtz to become someone. Approaching the resolution, Marlow visits Kurtz’s wife to give her Kurtz’s letters. Another person who dedicated their time and will to Kurtz, the widow dresses herself in all black for mourning her deceased husband. The lie which Marlow tells the widow concludes the novella, that due to the purpose of comfort or ignorance, Marlow decides to tell her that the last words of Kurtz were her name. This shows the Marlow’s perception of women, that they stands weak and needs to be shielded from the truth which he thinks may harm them. Weary, the widow represents the sorrow and mourning of a person who contains great influence.
The Natives: Contrary to Chinua Achebe’s personation of the indigenous identity of the natives, Conrad brutishly recognises the Central Africans and Africans alike as one homogenous character. Achebe debated Conrad’s opinion and states that “the brutes” contains a highly sophisticated structure of religion, political system, and economical development; it should not contain the label of “uncivilized”. This topic has caused numerous controversies regarding the Eurocentric perspective and superficial description of the Africans. In Heart of Darkness, the Natives provide a distinct comparison to the British imperialists. This contrasts from their skin color, acts of slavery, and their technological incompetence. However, Conrad strives to present also how similar the brutes compare to the civilized men. Both identities match by their innate dark nature, their obsession with Kurtz, and oppression by a higher force. Just as the chains of slavery restrain the natives, the amorphous chains of imperialism restrain the imperialists. This comparison causes Marlow to finally realize the secret in the darkness.
Conflict:
Person vs. self
The conflict Marlow experiences sometimes appear within himself. As Marlow pursues his physical journey, he also pursues his emotional journey along the Congo river. Deeper as Marlow reaches, the deeper he feels the connection with Kurtz of the innate evil he possesses. "I would give some thoughts to Kurtz. I wasn't very interested in him. No. I was curious" (55). This quote shows his initial curiosity toward the interior Congo and the secrets of Africa. This explorative motive often lacks the consideration of the evil within the period of imperialism. As he explore further into the Congo river, he confronts the question of morality. In the beginning of his journey, he openly objects people of injustice and who commit to lying. However, towards the end of story, he commits to lying to Kurtz’s wife to comfort her to say that Kurtz’s last words were her name. The simplicity and effectiveness of a lie seem to reach out to Marlow at last, after his journey. Conrad implies that subtle exposure to grotesqueness and brutality causes such transformation. As Marlow stands appalled by acts of slavery, exploitations, and manipulation, he questions if he himself relates to the indigenous population. He contemplates about how the indigenous population poises a similar condition as himself. “And this also has been one of the dark places of the earth”, this quote starts the recount of Marlow’s journey, suggesting that he realises both the similarity innate nature of man; and that Britain did not always position herself above uncivilized territories, and contains a piece of primitive nature inside herself. His conflicting perspectives shown above, informs that Heart of Darkness tells about the qualities between the civilized and the uncivilized. Through this conflict, Marlow explores and knows more about himself and thus loses his childish vigor.
Person vs. society
Although some person vs. person relationships were prevalent in the novella, the major conflict results in Marlow’s struggle with the society. Despite his existence in the age of imperialism, Marlow still pursues his childish dreams about exploration. In the historical context, the age of exploration had long passed—similar to his childish days. The societal current now come in riptides, and men’s interests had shifted toward exploitation and slavery. Marlow, engulfed in his fervent curiosity, defies the society and sought out the dark state. His intrusion into Congo marks his defiance and his explorative nature, a contrast with the society’s imperialist demand. Secondly, as he progresses into the jungles, the ship’s crew faces the savages’ attack. The society of the savages, conflicts with Marlow’s explorative intentions because their passions for Kurtz. This symbolises the African rejection of any intruders or any foreign influences. These natives do have a mind of their own, despite the manipulations of Kurtz. Readers can notice that the natives yield a significant advantage being that they contain the familiarity of the landscape. It is imperative for readers to notice that the natives initiated this attack, not the infamous and often brutal imperialists. This contradicts the perception of the outer stations—now that the crew has reached the inner stations, they are then penetrating the native societies. No way can this conflict be prevented because historically and theoretically, as industrialization promotes exploration, exploration would always promote conflict. This conflict would be brought to the Africans in one way or another. This conflict tells us that, despite how mankind tries to defy the society, mankind would always falter and fall. The society possesses a greater force which no particular individual, not even Kurtz, can undermine.
Person vs. environment
External conflict, in Heart of Darkness, takes a large toll in the plotline. Readers could reasonably infer that this conflict has connection with the theme of imperialism. For example, challenges of the different environment and inhabitants of this environment presented to Marlow relates to imperialism. Throughout the novella, Marlow remarks on the foreign and extraneous environment by the Congo river. Described as a dark snake, the Congo river uncoiled with its head tipping into the ocean and its tail toward the far-stretched reaches of Africa. The utilization of this symbol gives indication of satanic connection. In the Bible, the devil impersonates the symbol of a snake, whose evil swirls around the continent. Most evidently, the dark state transforms average men into savage beasts. The murkiness of the water, the abundance of cannibals, and the opaqueness of the human heart serves as factors of suspension to Heart of Darkness. His adaption to the environment most likely indicates his realization. Emotionally damaged, Marlow could not keep his initial perspective because of the horrifying African environment. The environment, too, shapes Marlow into a hypocritical, oppressed person.
Point of View:
Conrad utilizes an unnamed first person which then transfers to a first person account in Heart of Darkness. Essentially, the work contains two narrators, with no association throughout the plot. In a realism literary work, the author tends to focus on the intricate, layered characters. In Heart of Darkness, the author wants to emphasize on what Marlow learns after his journey through snippets of commentaries. In this case, readers can explore the various layers of not just Marlow, but also Kurtz. The author’s message, that all men shares the same dark nature, is exemplified through the roundabout plot narrative. Despite how one may judge and remark about Africa, they all conclude to merge into one perspective. The first person unnamed perspective centers Marlow as the wise, experienced teacher; it portrays him as the Buddha. While the first person account portrays Kurtz as the center of the story, and Marlow as the inexperienced, admirer of Kurtz. However, while this novella contains little more than a hundred pages, readers need to really interpret the meaning because the point of view statements rarely appear straightforwardly. Due to the realism style, the author tends to report without judgment or comment. In this narrative, the readers are exposed to Marlow’s thoughts and his thoughts alone on the journey. Perhaps criticism arose due to this exact reason: the African natives and the imperialists are excluded from the first person account. The ethical, racial, and social boundaries of Marlow restrict further contemplation of the wider world.
Beginnings and Endings:
Beginnings: Conrad opens the scene in a bird’s-eye-view on top of the river Thames and gradually narrows down to the individual personels aboard the Nellie. It is crucial to remember that Marlow’s character stays on the ship throughout the novella, with only few exceptions during his pedestrian travel to the central station. The British setting indicates a significant contrast with the upcoming African exposure. The setting sun references the arrival of darkness, in which precludes a great shadow over the civilized land. This beginning gives insight about Marlow’s maritime occupation and the descriptive setting that resonate throughout the novella.
Endings: The ending brings a full circle to the hero’s journey in the novella: Marlow travels from Britain to Congo back to Britain again. From then he visits Kurtz’s intended to deliver a series of mails. The final scene shows the two characters’ discussion about Kurtz and his various aspects. Heart of Darkness concludes with a subtle tone, ending with the general statement about Kurtz’s widow. It jests at the influence of one person toward numerous others; it also tells the readers about Marlow’s transformation. The director suddenly states: “We have lost the first of the ebb” (110), this sentence most definitely means that the waves have subsided and that the darkness falls behind us. The title is again referenced in the last sentence, that darkness has always remained part of human, part of the world, and part of every period. The ending wrap up the plot very well because it rounds a full circle for Marlow’s account.
Irony:
Verbal irony: The utilization of sarcasm or subtle irony tends to poke fun at the events of life. When something or some event were almost destined to become something, the contrary may very well be present to showcase verbal irony. In this quote, “Now when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration” (9), the author uses the phrase, “lose myself” to signify the young Marlow’s interest in maps and geographical locations. But later in the plot, the readers would notice that Marlow essentially loses himself, his identity and his beliefs, in the glory of exploration. This pokes fun at the imperialist period and the great evil it contains. This type of irony primarily serves as a literary supplement, to illustrate the author’s plotline.
Situational irony: “I glanced casually into the little cabin. A light was burning within, but Mr. Kurtz was not there” (91). With expectations of seeing Mr. Kurtz sitting in the chairs, Marlow walks into the cabin. However, the situational irony is presented to the reader when he did not find Mr. Kurtz anywhere. Marlow’s frightened complexity composes the reaction from this reversed situation of life. Kurtz escapes into the night, crawling on all-fours, until Marlow retrieves him back. This type of irony supplies suspense and capture the reader’s attention, and therefore enhances the plot.
Literary Devices and Techniques: Chapter 1: page 3 to page 42
Personification: Conrad utilizes personification to show the intensity of his writing and to connect to the emotional behaviors of every person. “As if angered by the approach of the sun” (4), which demonstrates the action of being angered. By using personification, Conrad adds a touch of color in the dialogues.
Denotation: “The sky, without a speck, was a benign immensity of unstained light” (7), Conrad’s creative writing style denotes the sky. He paints an image in the reader’s mind that the sky is unstained, while those of darkness may be stained. Such descriptive writing gives the novella a romantic-artistic spin.
Simile: By using the word “like”, the author incorporates his work with simile, “The very mist on the Essex marshes was like a gauzy and radiant fabric” (4). The author gives a visual impact to the reader by supplying an aesthetic experience.
Hyperbaton: “Pop, would go one of the six-inch guns” (18). The author switches the sentence structure into different positions. For instance, the original sentence should appear as “the six-inch guns would go pop”. Conrad uses hyperbaton to circulate the sentence structures--- no one likes to read monotonous lectures.
Oxymoron: “The flies buzzed in a great peace” (25). For the literary impact, Conrad inserts an oxymoron. Clearly, the flies would not have sounded anywhere close to peace. The nature of flies contrasts with the peaceful description. Therefore, this oxymoron was inserted to illustrate a literary contrast.
Litotes: The utilization of litotes presents an double negative that adds another layer of focus rather than to decrease its importance. The realism style of writing is portrayed as such: to report without judgment or comment. The author writes in a certain prose that needs the audience to interpret the message beneath it. “No, they were not inhuman” (32), Conrad intentionally makes this litote to make the readers understand that stating “they were human” destructs his message.
Bibliomancy: The bibliomancy deals with the concept of Mephistopheles as a description of the brickmaker of the central station. The papier-mâché Mephistopheles, signifies his satanic connection. However, the make-believe description being that of “paper-mâché”, explicates that he does not show it or appear as a real figure. Mephistopheles exists in the Faust, a classical, as a demon. Therefore, the author has linked his work to the bible.
Symbolism: The incorporation of yarns in Heart of Darkness in the beginning of the novella conveys the symbolism of fates. The black wool most evidently suggests the uncertain fate Marlow possesses in the future. This piece of evidence can also connect to foreshadowing. Conrad uses symbolism to develop the plotline and develop interconnectedness between events.
Comments
Post a Comment