Heart of darkness to Joseph Conrad is a novel concern the concept of "empire". It also has a rather problematic relationship with aesthetic realism was the predominant mode of 19th-century literary. This article aims at placing of Conrad's novel in an imperial context, evaluate certain underlying fears, such as hidden individual psyche, facets seem informed her story to varying degrees. The article also considers genus and narrative structure, revealing some of the literary influences and stylistic techniques that characterize the novel issues.
Perhaps one of the biggest changes to the fiction of the end of the 19th century was the emergence of narrative ambiguity. This is evident in the heart of darkness with the result of the quest for Marlow Kurtz disappointing and ambiguous.
In terms of gender, Conrad novel might be considered the adoption of some Gothic techniques. Perhaps more significant is the exotic settings: the jungle of the Congo and of Africa. Whereas at the end of 18th century, the southern Europe was regarded as a region exotic and exotic by most English in the following century readers, literary country look was moved to Africa-"black continent".
A superficial reading of the novel might be considered as belonging to adventure popular boy and imperialist tales with author maritime experiences providing authentic narrative detail. Heart of darkness could also consider having a literary history more distant in the medieval romance quest. The figure of Marlow travelling upstream in search of Kurtz echoes the tales of the Knights and their chivalrous adventures. However where Heroes quest-fiction adventure fiction their return travel essentially unchanged, but saved and changed other people at the heart of darkness this pattern is reversed, indicating a much deeper emotional story.
The theme of transgression is apparent in the heart of darkness, especially if we look at Conrad text in the legend of Faust. Kurtz seems to have exchanged its "moral integrity" of power. However its renunciation of civilized behavior codes has subsequently led to commit unspeakable atrocities.
A ubiquitous romantic theme in the novel is double, or doppelganger. While many of the end of the nineteenth century novels use fantasy in their representation of characters with double figures, like Stevenson Dr. Jekyll and Mr. Hyde (1886), s Conrad geographically remote setting allowed to have a character with the antithetical trends but in a narrative realistic appearance. Behaviour of the Kurtz is manifestly incompatible with the restrictions of European life, but from the perspective of an imperial adventure, it is able to ignore his official identity and deliver his rebellious side. European colonial, transformation and transgression easily accommodated in the wilds of the "black continent" in the 19th century. However it is important to realize that Conrad does not endorse this view, for his novel really corrupt Imperial much fiction adventure day speech.
Kurtz could be regarded as a person degenerate, that it is not crazy clinically, it seems to be "morally crazy." demonstrated by macabre meeting of Marlow with severed heads of the victims of human thinking "they only show that Mr. Kurtz was not retained in the satisfaction of his passions, that there was something about him - some small question, when pressing need unable be found in beautiful eloquence" (III, p.164). When Marlow follows Kurtz on the ground to avoid the return of the latter to "his" tribe, he realizes that his quest object has succeeded in creating a more terrible than any manifestation of evil moral vacuum, a void where there may be no comparators, where there is any: "this strong in him because he was hollow inside echo" (III, pp. 164-165). Dying statement Kurtz "horror." "(III,_sanctionnés) horror is one of the large ambiguities in the novel that the reader is left uncertain about what makes human actually refers to."
One of the elements essential to the heart of darkness is a tension between the Marlow colonial experience and language and narrative forms in which they can be represented. The story itself is framed as if it is said, as opposed to writing, a group of listeners in an outdoor setting, which functions as a sort of secondary Narrator. A major effect of this is to provide distance between Marlow and Conrad himself. Being an unusually short story, heart of darkness is also something the intensity and unity of the effect associated with a short story. The nature of the story is profoundly complex, overlapping extended between outer and inner, Narrator distinguish the stories more generic adventure story, for example, there is no clear signal where the frame is complete and the Marlow story actually begins. The player must pay as much attention to how "tell" the story itself.
Heart of darkness employs a richly orchestrated visual structure. The forest which flanks Congo is not simple vegetation: it is given a face, lungs and thoughts: "vegetation unleashed on Earth and the big trees were Kings" (II, p.136), and the river itself is equated with a snake which can "fascinated" and "charming" real exotic mode. This subtle anthropomorphism appears also in the scenes with Kurtz, where Aboriginal people are described as 'disappearance without sign perceptible movement or retirement,' as if forest which had thrown these beings if suddenly drew the new as the breath is drawn in a long aspiration (III, p.167).
There are two sets of horrors which confront Marlow, the first since its accession to the greed of the company, the second since its accession to the incomprehensible power of wilderness, a power that Kurtz had already died. One of the many ways in which Conrad integrates these horrors is recurrent imagery dark and clear, black and white. "White space on the map so fascinated child Marlow has changed into a ' place of darkness", and it is this "dark" descends on adult Marlow and his audience at the end of the novel: "" the untouchables was forbidden by a black cloud Bank and tranquil water path leading to the ultimate end of the Earth flowed dark under a cloudy sky - seems to lead to the heart of a vast darkness "(III, p.187)."
The formal structure and narrative content of heart of darkness is finally distanced the realistic aesthetic of great literature of the 19th century. However, it is important to recognize the novel still relies on myths and literary conventions for a long time. Through the characters of Kurtz and Marlow, heart of darkness is always concerned about the notions of the effect of exotic and exotic environments on the explorers.
No comments:
Post a Comment