Heart of Darkness7
In just the opening pages of 'Heart of Darkness', Conrad's aptitude as a writer becomes abundantly clear, for the subliminal nature of his writing is constantly sustained. Conrad begins Marlow's journey into the heart of darkness on the Thames, on the yawl, 'Nellie' with a short prologue, which contains subtle use of imagery and a brilliant evocation of the atmosphere that prepares a reader for the prevailing themes of the novel. Each setting in the novel is in fact a microcosm of the larger construction of 'Heart of Darkness', and a reader is continually reminded by the repetition of the phrase 'brooding gloom', the noun 'haze, and the adjective 'dark' that the novel is full mystery and exploration through the impenetrable darkness, as it were. As a reader transgresses through the novel, he or she is continually taken back to the paradoxical title, 'Heart of Darkness'. The title in itself is very suggestive, for the noun 'heart' is, in a literal sense, characteristic of pure substance, and is very distinct, and on a metaphorical level it conveys that the novel works on an emotional scale. On the other hand, the adjective 'darkness' displays something much more inconclusive and equivocal, just like Marlow. Therefore, a reader'
The opening evokes a very static atmosphere, where nothing seems to be getting accomplished. Already interwoven into the pages, therefore, is the prospect that as Marlow's narration progresses into the heart of the Congo, a reader will be able to recognise that the 'hunters for gold or pursuers of fame' that have control over the Congo and its people, are not philanthropists but are interested in squeezing the last 'trickle of ivory' from the Congo's natural resources. The manner in which the narrator chooses to describe the Thames is not merely coincidental. The verb 'toying' also suggests that imperialism involves playing with death, when there is no strong moral in doing so. 'White' is above all ivory, the beautiful luxury of civilised man, which is the root of all evil in the darkness. Conrad operates in this manner with deliberate intent, so to prepare the reader for the human savagery and despair that is to follow in the heart of the Congo. Therefore, a reader is already made to question imperialism and its consequences, for we are given an insight into how civilisation can model societies into producing the 'biggest, and the greatest, town[s] on earth', where the sea is the colour of 'lead', and the sky, the 'colour of smoke'. So, one has to expect that as well as a physical journey, an adventure, the 'Heart of Darkness' will also be a psychological and mystical journey. Everything seems to be still and calm, where there is not even a 'flutter of the sails', and everything is 'at rest', while the crewmembers 'wait for the turn of the tide'. He had sunken cheeks, a yellow complexion, a straight back, an ascetic aspect, and with his arms dropped, the palms of hands outwards, resembled an idol'. Conrad's technique of raising the expectation's of a reader is often achieved through his use of hyperbolas. Our expectations about the novel are flooded with ideas of the unknown, a journey into 'darkness' in search of mystery and adventure. The opening of Conrad's 'Heart of Darkness' gives a reader an insight how the novel may progress, but one can never be entirely sure what way Conrad is turning, and the manner in which we are to interpret his writing.
Common topics in this essay:
Darkness' Conrad's,
Congo Conrad,
Thames Congo,
John Franklin,
Franklin History,
'heart darkness',
Congo Marlow,
,
'heart darkness' reader,
Francis Drake,
Sir John,
sir francis drake,
Sir Francis,
francis drake sir,
prepares reader,
lines novel,
sir francis,
describe thames,
congo reader,
francis drake,
drake sir john,
heart congo,
darkness reader,
setting novel,
sir john franklin,
|
Acceptance Essays
