The word is used time and time again throughout the text. Acknowledging restraint and the lack thereof in characters as the story progresses in Joseph Conrad's Heart of Darkness is paramount to any understanding of the work. The storyteller Marlow first believes that restraint is what separates civilization from chaos and society from savagery. As his journey into the heart of darkness progresses, however, he learns that such a conclusion is rash, and that there is far more to the matter than simply that. Literary critic Cedric Watts comments upon the ambiguity of the title of Heart of Darkness.
Conrad, Joseph Heart of Darkness 3rd ed. Ed. Robert Kimbrough. New York: Norton Critical, 1988. Sarvan, C. P. [Racism and the Heart of Darkness.]
However, if the reader looks a little deeper, they can see that this darkness also ... ... middle of paper ... ...ss: Search for the Unconscious. Boston: Twayne Publishers, 1987. Conrad, Joseph Heart of Darkness. 3rd ed. New York: Norton, 1997 Csicseri, Coreen.
Works Cited and Consulted Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Little & Brown, 1987. Bradley, Candice. "Africa and Africans in Conrad's Heart of Darkness."
New York and London: Columbia: University Press, 1976. Tindall, W.Y. "The Duty of Marlow." In Conrad's Heart of Darkness and the Critics. Ed.
Heart of Darkness. Editor Robert Kimbrough. New York: Norton, 1988. Conrad, Joseph. Heart of Darkness.
Works Cited Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Little & Brown, 1987. Bradley, Candice. "Africa and Africans in Conrad's Heart of Darkness."
The reality of racism during the 19th century is easily seen throughout Conrad’s novella. One major example of it is the voice of the narrator. Throughout the story, the narrator uses cruel adjectives when describing nonwhites. Marlow, the protagonist of the story, acts as the narrator for most of the story, and his descriptions of the nonwhite characters seem to be rooted in the idea that the African people were horrid creatures and animal like. In the second section of the novella, Marlow describes a wild elephant, which was the primary source of ivory.
Conrad, Joseph. “Heart of Darkness” Case Studies in Contemporary Criticism. Ed. Ross C. Murfin. Boston: Bedford, 1996.