Excerpt from Analysis Paper:
” Much more general terms, Conrad uses Marlow to give his story, neither the complete close with the plot of earlier fictional works, nor James’ more limited completeness in the formal structure, but a radical and continuing experience of the incompleteness of experience and the impracticality of fully understanding this. ” (Watt, 1978)
The strength of subjectivity as much as perception was concerned is yet another modern idea. It is safe to state that Conrad managed to prove the profound need for the very subjective dimension in an exceedingly complex way. The stream of consciousness and first-person technique which in turn he applied had as a result a process through which the reader completely identified together with the inner life of the character.
Naturally every certainty and objectivity is definitely lost along the way and not only will the reader not really know in which he is going, yet he embraces the future transformations because exciting amazed. From this point-of-view we could assume that Conrad works to change the status of the author, coming from omniscient to omnipotent (since after all he can in control not merely of the denouement, but with the manner in which the storyline unfolds since well): inch and for a point in time it appeared to me as though I likewise was left in a huge grave full of unspeakable secrets. I experienced an insupportable weight oppressing my breast, the smell of the damp earth, the unseen presence of successful corruption, the darkness associated with an impenetrable evening. ” (Conrad, 87)
Taking the analysis even more, we can admit the use of the “I” is a means through which the narrator helps a process of inner discovery (valid for the main character and the readers). Reading involving the lines we all understand that the road of the expertise process is no longer oriented on the direct connection with the external reality, yet is completed through an inner journey meant to unveil some of the mechanisms of your unconscious self: ” it is because Marlow has this “double privilege of subject and object” the fact that reader simply cannot see him as a fictional object extremely clearly; Marlow is in result his individual author, therefore there is no trusted and thorough perspective upon him or his experience. ” (Watt, 1978): “I did not betray Mr. Kurtz – it had been ordered I should never betray him – it was drafted I should become loyal towards the nightmare of my decision. I was restless to deal with this shadow without any help alone – and to this very day I how to start why I used to be so jealous of sharing with anyone the peculiar blackness of that knowledge. ” (Conrad, 101)
It can be safe to declare which the book present a great various hypostases where the hero locates himself. These are a means whereby the reader (and why not the author) is definitely taken to understand the great complexness of the man at the center of focus and of the entire situation. Since the story unfolds, the character plus the readers are forced to put the pieces of the puzzle jointly, always wondering if the problem is total or perhaps there is something however to come: “Yet to comprehend the effect than it on me personally you ought to know how I got in existence, what I noticed, how I went up that river () it was the farthest level of navigation and the concluding point of my encounter. It looked somehow to throw a sort of light everywhere about me personally – and into my thoughts. It was somber enough too – and pitiful-not extraordinary in a way-not clear either. Number Not very clear” (Conrad, 7). The representational connotations are usually more than obvious (another element of novelty with regards to literary style and form) and so is definitely the attempt of the character in self understanding. Admitting that his way of doing something is not clear and could never always be, the character communicates the very problems of the modern day.
The author keep your readers within a constant condition of awaiting, powerfully underlining the difficulty that you encounters in telling the “complete” story- therefore making a statement regarding the utopian dimension from the omniscient publisher. “As a number of critics include noted, Marlow’s role transforms “Heart of Darkness” right into a story about -among additional things- the difficulty of sharing with “the complete story. inches This problem is usually latent in the whole Impressionist motion and Marlow is obsessively aware of this. ” (Watt, 1978 )
The relationship between impression and reality is another interesting sign of modernity in Conrad’s function. The main persona who is frequently analyzing himself seems to be caught in a associated with mere impacts, that is, examines of the principal perceptions. With him, you is stuck within the area of intellectual appreciations, from factual actuality. In this manner the narrator succeeds to prove that the boundary between the interior self and reality can be easily removed. Through the stream of intelligence ad first person narrative strategy, Conrad demonstrates that reality becomes associated with the internal world, consequently demonstrating Freud’s theory regarding the overwhelming influence of the subconscious self upon the mindful one.
In summary, Joseph Conrad’s book “Heat of darkness” is a excellent example of impressionist novel, which will brilliantly demonstrates three major modernist features, such as the idea in the divide self (with its corollary, the power of the unconscious), the fall of the traditional beliefs and the dependence on new stylistic devices like the first person story or the stream of intelligence technique.
Bibliography:
Conrad, J. Heart of Darkness. Norton Critical Release. Norton and Company Press. 2006
Levenson, M. “The value of facts inside the Heart of Darkness. ” Nineteenth century fiction, volume 40. number 3. December, 1985. pp. 261-280. University of Washington dc Press.
Watt, I. “Marlow, Henry James, and “Heart of Darkness. ” Nineteenth century fiction, vol. thirty-three, no . two, sep. 78
