Close Passage Analysis
Heart of Darkness by Joseph Conrad
Consider the following passage from the first part of the novella Heart of Darkness by Joseph Conrad.
Produce a reading of the following extract and post your response as a comment below. In constructing your response try to consider:
- the ideas suggested;
- your reaction based on your attitudes and values;
- the use of language and generic conventions; and,
- how your knowledge of the context of the text influences the meaning you make of it. consider the ways in which readers might be encouraged to respond to the text.
"The old doctor felt my pulse, evidently thinking of something else the while. 'Good, good for there,' he mumbled, and then with a certain eagerness asked me whether I would let him measure my head. Rather surprised, I said Yes, when he produced a thing like calipers and got the dimensions back and front and every way, taking notes carefully. He was an unshaven little man in a threadbare coat like a gaberdine, with his feet in slippers, and I thought him a harmless fool. 'I always ask leave, in the interests of science, to measure the crania of those going out there,' he said. 'And when they come back, too?' I asked. 'Oh, I never see them,' he remarked; 'and, moreover, the changes take place inside, you know.' He smiled, as if at some quiet joke. 'So you are going out there. Famous. Interesting too.' He gave me a searching glance, and made another note. 'Ever any madness in your family?' he asked, in a matter-of-fact tone. I felt very annoyed. 'Is that question in the interests of science too?' 'It would be,' he said, without taking notice of my irritation, 'interesting for science to watch the mental changes of individuals, on the spot, but . . .' 'Are you an alienist?' I interrupted. 'Every doctor should be—a little,' answered that original, imperturbably. 'I have a little theory which you Messieurs who go out there must help me to prove. This is my share in the advantages my country shall reap from the possession of such a magnificent dependency. The mere wealth I leave to others. Pardon my questions, but you are the first Englishman coming under my observation. . . .' I hastened to assure him I was not in the least typical. 'If I were,' said I, 'I wouldn't be talking like this with you.' 'What you say is rather profound, and probably erroneous,' he said, with a laugh. 'Avoid irritation more than exposure to the sun. Adieu. How do you English say, eh? Good-by. Ah! Good-by. Adieu. In the tropics one must before everything keep calm.' . . . He lifted a warning forefinger. . . . 'Du calme, du calme. Adieu.'
"One thing more remained to do—say good-by to my excellent aunt. I found her triumphant. I had a cup of tea—the last decent cup of tea for many days—and in a room that most soothingly looked just as you would expect a lady's drawing-room to look, we had a long quiet chat by the fireside. In the course of these confidences it became quite plain to me I had been represented to the wife of the high dignitary, and goodness knows to how many more people besides, as an exceptional and gifted creature—a piece of good fortune for the Company—a man you don't get hold of every day. Good heavens! and I was going to take charge of a two-penny-halfpenny river-steamboat with a penny whistle attached! It appeared, however, I was also one of the Workers, with a capital—you know. Something like an emissary of light, something like a lower sort of apostle. There had been a lot of such rot let loose in print and talk just about that time, and the excellent woman, living right in the rush of all that humbug, got carried off her feet. She talked about 'weaning those ignorant millions from their horrid ways,' till, upon my word, she made me quite uncomfortable. I ventured to hint that the Company was run for profit.
"'You forget, dear Charlie, that the laborer is worthy of his hire,' she said, brightly. It's queer how out of touch with truth women are. They live in a world of their own, and there had never been anything like it, and never can be. It is too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset. Some confounded fact we men have been living contentedly with ever since the day of creation would start up and knock the whole thing over.
"After this I got embraced, told to wear flannel, be sure to write often, and so on—and I left. In the street—I don't know why—a queer feeling came to me that I was an impostor. Odd thing that I, who used to clear out for any part of the world at twenty-four hours' notice, with less thought than most men give to the crossing of a street, had a moment—I won't say of hesitation, but of startled pause, before this commonplace affair. The best way I can explain it to you is by saying that, for a second or two, I felt as though, instead of going to the center of a continent, I were about to set off for the center of the earth.
In the passage the main preoccupation that is explored by Joseph Conrad is the existence of the three different worlds of society: the woman’s world, Marlow’s aunt, the man’s world, Marlow and the one stuck between, the doctor. These characters are the symbols of their own worlds in the microcosm of society that is Heart of Darkness. The development in this passage and the construction of these worlds sets the precent for the rest of the novel. These worlds are the constructs that divide and help establish society.
ReplyDeleteThe character of Marlow’s aunt, who is not named in the passage, is symbolic of the woman’s world, which is the epitome of civilised society. Marlow himself draws the picture of what this world is like and ‘how out of touch with truth women are’ in the novel. He refers to this world as ‘too beautiful altogether’, and precedes to say that it if it was ‘set up it would go to pieces before the first sunset” because it would hold no truth or horror in it that the man’s world faces in order to create the circumstances that allow for this woman’s world to thrive. If not for the man’s world the woman’s world would cease to exist. Joseph Conrad displays through Marlow’s recollections on how a man’s job is to keep this world alive. A woman’s world back in the time period of the novel was essential to the everyday running of civilisation and without the necessity of its upkeep a man would fall into darkness and the third world of society would swallow him into its’ darkness and savagery.
The doctor is a peculiar character as he is portrayed in this passage. Marlow remarks expressly on his ‘alienist’ ways and, strange methods of checking if he is healthy enough for the expedition. Conrad uses this character to display the second sphere of society. The second sphere is the society of people who know of the horrors of a man’s world and yet have the same disposition and beliefs on the subject as a women of the time. The doctor knows that the men he sends out to Africa go mad. He explicitly, in hindsight, states this when he says ‘the changes take place inside you know,’ which gives the impression that he has knowledge of the horrors of the man’s world. If that statement had not been followed up by ‘He smiled as if some private joke’, then he could be placed wholly in the man’s world, but this simple facial gesture shows the lack of full understanding and naïve unconcern that are the main characteristics of someone living in a women’s world.
Conrad also shows the doctors feet not fully planted in the man’s world as he is not consumed by greed for wealth, but for the pursuit of knowledge in the name of science. The doctor explains his involvement in the company as a ‘little theory that (you) messieurs must help (him) to prove.’ He says that he leaves ‘the mere wealth to others’ and that knowledge and understanding is his ‘share in the advantages that my country shall reap.’ The doctor, through his words, not appearance is shown as valuing knowledge over money, irrevocably disabling his ability to join the man’s world of greed and lust for power.
Part 2:
ReplyDeleteJoseph Conrad has made the doctor a symbol of Belgian citizens in the passage. He does this by using the Belgian words in conjunction with their English translations ‘Goodbye, Adieu.’ The use of this language change attempts to place the barrier between the English readers of the novel and Conrad’s condemnation of the European methods of colonisation. The placement of ‘how do you English say, eh?’ suggests that Conrad may be trying to display his believe in that the European nations do not understand the English way of colonising countries, nor their hesitance to join this mass rape of the country for goods. This representation of the citizens is accurate compared to what else Marlow recounts as to the social spheres that most of society is in. Conrad has, through the doctor, attempted to convey that he believes most of the Belgian people are either in ignorance of what is fully happening, and the horrors occurring, or are slightly knowledgeable and hide in the knowledge that they will not have to face such a sight or mental challenge to their beliefs.
The character of Marlow is admittedly also displayed as being in the second sphere in this passage, but in the overall novella he is used to show what happens when one who is in the second sphere is tempted by the darkness in the third. The end of the passage signifies the beginning of his journey into the heart of darkness, Africa. Marlow, to some extend realises that this journey may not be all that it appears. Conrad uses the quote ‘for a second or two, I felt as though, instead of going to the centre of a continent, I was about to set off for the centre of the earth,’ to show how momentous this expedition would be to Marlow. That particular line is one of foreboding the darkness that tries to take root inside him. The fact that Conrad uses the specific words ‘centre of the earth’ to symbolise that Marlow is not about to go to a physical place, but rather a metaphorical one; the centre of his earth. The novella is mainly about corrupting and Europe’s prejudices, but it has subtle tinges of self-discovery and how easy it is for a man to be tempted to join the third sphere of society; the seductive heart of darkness.
The three sphere’s, when present in a single society, is when the European idea of civilisation comes into play. Joseph Conrad explores what happens when one of these spheres, the women’s world, is removed and the effect that it has on the men in both of the other spheres. As soon as one world is removed the other two begin to converge and almost seamlessly join so much that it is hard to see who is in which. This convergence is one of the reasons why it is so hard to tell if Marlow has descended into the third sphere during the middle to end chapters of the novella. Simply because they do not exist as separates in this new society rather as a spectrum on which Barbarity and savagery can attempt to be measured.
The passage overall is a basic summary of how the three spheres of society are represented and essential to Joseph Conrad’s heart of darkness novella. It explores the idea by using the three characters mentioned; Marlow’s Aunt, the doctor and Marlow himself. This passage is not much in the way of crucial plot points or really anything other than setting up the background of European civilisation upon which Conrad can later contrast the native society against. It also helps to develop Marlow’s character and emphasis the difference between English and European colonisation techniques.
(Part 1 of 2)
ReplyDeleteThis passage from Joseph Conrad’s novella Heart of Darkness presents a disorganized company entirely unprepared for what they were to face in the Heart of Darkness. This is achieved through characters such as the Doctor and the Aunt. Immediately in the first paragraph, which takes place as Marlow is having a medical examination by the Company before he heads off to Africa, the Doctor is set up as someone who is unprofessional and a bit of a “fool”. He is described as “an unshaven little man dressed in a threadbare coat … with his feet in slippers.” Conrad deliberately inserts this image here as a reflection both on the Doctor and the Company for which he works for. A typical doctor, especially at the start of the 20th Century, was highly professional and well-kept whereas this doctor is unshaven and wearing slippers; a garment even people who were not doctors would never wear to work. Conrad uses this contrast to reflect on the absurdity of the doctor’s actions. He measures their heads to determine if there are any changes in them when he himself later admits that he “never see[s] [the men who return]” which makes this measuring a wasted effort as he has nothing to compare it to later on. It is also important to note that the Doctor only begins to take care when it comes to taking these measurements “in the interests of science” and when he is doing more important medical checks like Marlow’s pulse he is “evidently thinking of something else all the while.” Joseph Conrad creates this juxtaposition to show that the Doctor clearly cares more about science than he does for human beings. The Doctor later goes on to describe the “mere wealth” which his scientific discoveries which Conrad uses to show how he cares more about making money than he does about the people he is examining.
This is reflected on the Company which Conrad presents as more interested in money than humanity throughout the book. This even becomes an important preoccupation of the author which is referenced many times throughout the text. This is personified in characters like the Chief Accountant who is clearly more concerned about making money than the lives of the suffering natives, and even the suffering agent, just outside his hut. This is pointed out by Conrad when the Accountant says “When one has to make correct entries, one comes to hate those savages – hate them to the death.” This is linked to the Company at the end of the second paragraph in this passage where Marlow “ventured to hint [to his Aunt] that the company was run for profit.” Conrad is deliberately pointing this out here as a sign post for the rest of the text and his preoccupation with coin over humanity. However, his aunt merely dismisses it by saying that “the laborer is worthy of his hire.” This is yet another link to Conrad’s concerns with the avoidance of reality. In this case, Marlow’s Aunt is avoiding the fact that the Company is merely being run for profit while, as can be seen later in the text, the Company also clearly avoids this truth in their reality as they continue to see themselves as “emissar[ies] of light” as Marlow describes himself in this passage. This absurd avoidance is picked up by Conrad later in the text as scenes of extreme cruelty and savagery are inflicted upon the natives while the Agents merely describe the natives as the “savages”.
(Part 2 of 2)
ReplyDeleteHowever, this view of Marlow’s that he was an “emissary of light … a lower sort of apostle” reflects more on the unpreparedness of the Company who are completely unaware of what their agents are to face when they arrive in the Congo than anything else. Elsewhere in the texts there are also references to this where people like Kurtz, someone blown up as a “first class agent”, go out to the inner station with pure intentions and yet succumb to “unspeakable rites”. Conrad deliberately does this to show how even the best of them were susceptible and unprepared for what they were to face when they went in there. This unpreparedness is further personified through Marlow’s Aunt who tells him to “wear flannel” which would be absurd in the heat of Africa. However, this is not the only absurdity of clothing that we see in Heart of Darkness. The Chief Accountant is described as wearing an “alpaca jacket” as well as “high starched collars” which would be extremely uncomfortable in the oppressive heat of the African continent as well as make it hard for him to carry out his work to the best of his ability. The author deliberately includes these absurdities as a clear indication of how well the people who went out to Africa for the Company knew what they were getting themselves into. It also showed how little the general public knew of the place.
Therefore this passage clearly shows how unprepared and misguided the Company is in Joseph Conrad’s Heart of Darkness.
There is a clear contrast between men and women and their positions of the colonisation of Africa shown in this passage excerpt taken from Joseph Conrads novella 'Heart of Darkness.' While men saw the venture as dangerous yet profitable, women felt they were liberating the blacks of their barbaric ways.
ReplyDeleteIt is clear the old doctor knows the "Company" was "run for profit," stating "the mere wealth I leave to others" to prove his theories. He leaves no hesitation to show his opinion and clear fascination of the motives of travelling from Europe to Africa; the very thought giving him a "certain eagerness." Conrad uses the character of the old doctor as the limbo between "civil" Europe and "barbaric" darkness, as the old doctor knows the life in Africa, yet lives the lifestyle of a European. He makes no attempt to conceal the fact that people who enter the "heart of darkness" are consumed by the savagery of the place, remarking he "never see[s] them," again. Strange and alienating questions like, "Ever any madness in your family," "Are you an alienist," shows his lack of composure and restraint when on the topic of mens decisions to move. Indeed, he believes are "mental changes" taking place when a decision is made to travel to Africa - from his tone of voice, for the worst. Yet, these lines are delivered as if it was a "quiet joke," and with a "laugh." Conrad has incorporated these verbs to show the effect of the "darkness" on the old doctor; even in relative proximity, darkness can begin to take over. The entire dialogue between the old doctor and Marlow seems to be of condescending and sarcastic tones respectively; "Ever any madness in your family?", to be replied sharply with, "Is that question in the interests of science too?" The old doctor seems to know something Marlow doesn't, which foreshadows Marlows discoveries later with his epiphany.
Unlike the men present in this passage, the women are frankly, ignorant. Marlows aunt labelled Marlow as an "emissary of light." Conrad expresses Marlows aunt and European women in general, as ignorant people detached from the real world - the world of men. The papers persuade his aunt that the "Workers" are saving those "ignorant millions" from their "horrid ways." Again, Conrad comments on the apparent ignorance of women, in that they will believe everything they can lay their eyes on. It can be noted that Conrad uses Marlow to comment on the state of media at the time, in that Marlow's aunt had read, "such rot let loose in print." Even Marlow finds it "queer" how "out of touch with truth" women are. Unlike the previous conversation between Marlow and the old doctor - discussions on whether Marlow was sane and, if so, why he would want to travel to Africa - Marlow's aunt seems unable to even grasp the most fundamental truths about the economic world - That the Company was not interested in liberating the blacks from their "horrid ways" but instead being "run for profit."
ReplyDeleteConrad shows the segregation of the sexes further through the language of the conversation. Through the use of words commonly associated with feminitity in the conversation - "brightly" "queer" "beautiful" - Conrad shows the clear distinction between the world of men and a womans' "world of their own." Similarly, the conversation between Marlow and his aunt evokes a sense of superiority of Europe, and the liberation of Africa. This is directly juxtaposed with the cold, calculating conversation between Marlow and the old doctor which gives a business-like, straight-to-the-point feel; a common stereotype of men. Conrad deliberately creates the conversation between the two men as one of near sanity, to show the struggle men often go through in daily life, while the conversation with Marlow's aunt merely describe a womans imagined fantasy's of the real world, to show the illusion they lived during these times.
Heart of Darkness , a novella by Joseph Conrad implies through the narration of the character Marlow that the European culture correlates to a sense of futility, which shows that European’s were the main cause of the effects of colonisation in Africa. Conrad insinuates this blame and portrayal of futility through the image of Europeans in the novella, the absurdity in the actions of the Europeans, through the use of colours and also through the subtle connection between Kurtz and his association with Europe.
ReplyDeletePreceding Marlow’s depart to Africa he has already met a European displaying notions of futility; the doctor appears to be “unshaven” and wearing “slippers” which is a very inappropriate image for a doctor. Conrad indicates this through Marlow’s analysis of the doctor as a “harmless fool.” The doctor further establishes a bothersome impression on Marlow as he claims that he feels “annoyed” and explains this through the doctor’s pretentious nature, which Marlow remarks through his “matter-of-fact tone.”
As the company was of European ownership, all the actions of Company can be regarded with the ideals of Europeans. Early in the novella, Marlow also notices the chief accountant who is dressed with extreme formality and which exemplify European apparel through Marlow’s description of “a high starched collar, white cuffs, light alpaca jacket… and varnished boots.” However, the same accountant displays “great composure” in the death of one of the natives; which is juxtaposed to Marlow’s “startled” reaction.
Additionally, as Marlow progresses down the Congo he meets the Russian “harlequin” whom expresses a very unusual style of dress; wearing particoloured rags. Even though, he is European, he does not displease Marlow as the others do, which is shown through Marlow’s description of the harlequin as seeming “wonderfully neat” and “extremely gay”. Conrad uses this character to show both that the harlequin has adapted to the disorganised customs of the jungle and that Russia is not associated with Europe to the extent as the Belgians.
Although Heart of Darkness hyperbolises the destruction of the African landscape due to the European influence, it specifically exaggerates the effect of the Belgians. Conrad surreptitiously indicates this through Marlow’s observation of a map outlying the colonisation of Africa, which portrays a yellow patch in the centre, which is also the location of Kurtz’s compound, where majority of the most savage acts occur.
When Marlow arrives in Belgium, he describes the city as a whited sepulchre. The word sepulchre insinuates death and confinement, which is definitely shown through the actions of the Belgians towards the natives. However, the phrase “whited sepulchre” comes from the Book of Matthew, which describes something that is beautiful on the outside, but horrible on the inside. Conrad uses this to imply the underlying savagery within the Belgians. Conrad’s implementation of the “whited sepulchre” also implies that the white Europeans are dark on the inside, whereas the dark natives are white or divine on their insides.
-TheFabulousZaccybeSwaggie (pls don’t judge)