In Joseph Conrad’s short story, “Heart of Darkness,” the narrator has mixed emotions about the man Kurtz. The narrator spends a large portion of the story trying to find Kurtz. During this time the narrator builds a sense of respect and admiration for Kurtz; however when he finally finds Kurtz, he discovers that he is somewhat disgusted by Kurtz’s behavior. The narrators somewhat obsessive behavior regarding Kurtz is quickly changed into disappointment. The narrator sees that the man who Kurtz is, and the man he created Kurtz to be in his mind are two very different people. He finds that Kurtz is not a reasonable man of justice and reason, but an unstable man whose cruelty and deception is awful. In Joseph Conrad’s short story, “Heart of Darkness,” …show more content…
This situation of waiting for Kurtz allows Marlow to fantasize about Kurtz and create a larger than life figure out of a man who he’s never met before. Soon Finding Kurtz becomes an all-out obsession for Marlow; even the night before they meet Kurtz, he wishes to press on despite the danger. Here the reader can see that Marlow is willing to get to Kurtz at all costs. When Marlow does finally make contact with Kurtz, his fantasy carries over into the person who he sees Kurtz as. Marlow is willing to overlook some of Kurtz’s shortcomings and is very willing to see his greatness. Marlow is obviously fond of Kurtz, as it can be seen in the passage when he speaks of Kurtz’s “unextinguishable gift of noble and lofty expression.” Here the reader can observe that Marlow is truly fond of Kurtz’s. The narrator even chooses to side with Kurtz against the manager; even though he hardly knows the man. Kurtz has also managed to get the native people to worship him as a god, and has mastered their language. This makes Marlow respect him even more. Marlow’s point of view allows him to foster both the reality and the fantasy of Kurtz, and though he is very fond of Kurtz, he is still able to see the truth in him as …show more content…
When he finally reaches Kurtz Marlow is taken aback by what he sees. Outside the hut there are severed head impaled on poles, the heads of people who opposed Kurtz. Marlow is supremely disappointed in this finding and says of the heads that “They only showed that Mr. Kurtz lacked restraint in the gratification of his various lusts.” Marlow can see that Kurtz has done an atrocious and unnecessary thing just to seal himself in a place of power. The Russian that is with Kurtz also reveals that Kurtz is very unstable, and even wanted to kill him over a dispute of ivory. Even though Marlow is disappointed with Kurtz he still admires him despite his horrible actions. His point of view allows him to see some of Kurtz at his worst and some of Kurtz at his best. In Joseph Conrad’s short story, “Heart of Darkness,” the narrator, Marlow language, and point of view to convey the conflicting emotions he has about Kurtz due to the image he fabricated Kurtz to be, and the reality of Kurtz. Marlow’s language throughout the piece reveals to the reader how he feels about Kurtz and how he perceives Kurtz’s actions. Marlow’s point of view also allows him to support both of his perceptions of Kurtz because he doesn’t see only bad or only good in
Mr. Kurtz is a character in Konrad Korzenioski’s, a river captain in the Congo, scathing novel Heart of Darkness. Writing under his pen name Joseph Conrad, the main character Marlow journeys to a Congo post where he meeting Mr. Kurtz, a man who bears many similarities to agents of King Leopold’s II crimes. In the novel, the narrator encounters a fence displayed with shrunken African heads in front of the house of Mr. Kurtz. Horchschild states that this “Inner Station” that Marlow sees is based on Korzenioski’s encounter at the Congo port Stanley Falls. This is corroborated by the fact that George Washington Williams, a journalist who experienced Stanley Falls around the same time Korzenioski was said to be there. Both writers detail the atrocities
The things that Kurtz had both done and seen in his life were in fact horrible, but was something. that Marlow was able to see past. This is later clear by what is in. his thoughts as he talks to the woman. He condemns mankind as a whole with this statement. .
In both the film and the movie, Kurtz is portrayed as a man of great stature and mastery whose actions become questioned due his barbaric conduct. While Marlow slowly learns more and more regarding who Kurtz is and what he has done through others’ conversations, Willard educates himself about Kurtz through pictures and files he has of Kurtz. He states that he feels like he already knows a thing or two about Kurtz that are not in the papers he has, and that beyond the bridge, there is only Kurtz. This goes to show how Kurtz develops a prof...
In Heart of Darkness, all of Joseph Conrad’s characters seem to have morally ambiguous tendencies. The most prominently morally ambiguous character is Kurtz, whose distance from society changes his principles, and leads him to lose all sense of decorum. Conrad takes a cynical tone when describing Marlow's journey. Marlow's voyage through the Congo gives him insight to the horrific, dehumanizing acts that his company and Kurtz conduct. Conrad creates a parallel with the tone of his writing and the misanthropic feelings that the main character experiences. Furthermore, Conrad creates a frame story between Kurtz and Marlow, adding to the symbolism and contrast between contextual themes of light and dark, moral and immoral, and civilization and wilderness. After being sent on a horrific journey into the Congo of Africa, as an agent for the Company to collect ivory, Marlow finds the infamous and mysterious Kurtz. Kurtz, who has totally withdrawn from society, and has withdrawn
...o, while the novella’s archetypal structure glorifies Marlow’s domination of Kurtz. These two analyses taken together provide a much fuller and more comprehensive interpretation of the work. Conrad presents the idea that there is some darkness within each person. The darkness is is inherited and instinctual, but because it is natural does not make it right. He celebrates – and thereby almost advises – the turn from instinct. By telling Marlow’s tale, Joseph Conrad stresses to his audience the importance of self-knowledge and the unnecessity of instinct in civilization.
Many works of literature not readily identified with the mystery or detective story genre nonetheless involve the investigation of a mystery. Sometimes finding out the answer of the mystery can illuminate the meaning of the work as a whole. This is present in Joseph Conrad’s Heart of Darkness. The mystery in this novella is about a character named Kurtz.
Many times, words by themselves do not convey an idea wholly or conceal it altogether. Instead, the voice carrying the words conveys the idea, lending shape and new meaning to the familiar syllables. Words resonate with prescribed meanings, whereas voice creates its own meaning and identity. In Conrad’s Heart of Darkness, voice comprises the primitive component of language, with words existing only as a secondary function of voice. Glimpsing a “primitive truth,” Kurtz’s voice and soul unite so that his knowledge speaks through his voice, rather than through his words. Alternately draining words of their meaning and filling them with new meaning, Kurtz’s voice contains the power to define his own words. Strip Kurtz of his common syllables, and what remains is a terse note in a margin of seventeen eloquent pages, a frightening voice shaped by unfamiliar words. Marlow first hears of Kurtz as a word repeatedly spoken by others. As Marlow navigates down the river, traveling farther from civilization, Kurtz’s voice amplifies, ultimately consuming the name and the man himself.
Heart of Darkness is Joseph Conrad's tale of one man's journey, both mental and physical, into the depths of the wild African jungle and the human soul. The seaman, Marlow, tells his crew a startling tale of a man named Kurtz and his expedition that culminates in his encounter with the "voice" of Kurtz and ultimately, Kurtz's demise. The passage from Part I of the novel consists of Marlow's initial encounter with the natives of this place of immense darkness, directly relating to Conrad's use of imagery and metaphor to illustrate to the reader the contrast between light and dark. The passage, although occurring earlier on in the novel, is interspersed with Marlow's two opposing points of view: one of naïveté, which comes before Marlow's eventual epiphany after having met Kurtz, and the matured perspective he takes on after all of the events leading up to his and Kurtz's encounter.
Marlow’s thoughts are so consumed by Kurtz, that he is built up to be much more of a man than he truly is. In turn, Marlow is setting himself up for a let down. He says at one point, “I seemed to see Kurtz for the first time...the lone white man turning his back suddenly on the headquarters, on relief, on thoughts of home...towards his empty and desolate station”(P.32). When Marlow reaches Kurtz’s station, he begins to become disillusioned. He begins to hear about, and even see, the acts that Kurtz is committing, and becomes afraid of him. He sees in Kurtz, what he could become, and wants nothing to do with it. He does not want people to know he has any type of relationship with him, and says in response to the Russian, “I suppose that it had not occurred to him that Mr. Kurtz was no idol of mine.” (P.59). It is at this point that he begins to discover the darkness in his heart.
Marlow reinforces that Kurtz represents “ ‘all [of] Europe’ ” and that his immense wealth in ivory and including his role as a figurehead upon the natives serves as a representation of the European society as well. This representation of Kurtz by Marlow helps unravel his mystery by describing Kurtz as an emissary for Europe that will hopefully also unravel the problematic nuances of Europe in the future. Marlow arrives in the inner station and meets the Russian before Kurtz, the narrator on the Nellie with Marlow claims that the Russian “nodded with a nod full of mystery and wisdom” when he had told Marlow about his experiences with Kurtz (52). The Russian supports the mystery behind Kurtz as well by explaining impact he leaves upon him. This claim by the narrator elucidates that some of Kurtz’s “charm” rubs off on those who are fortunate enough to meet him, therefore describing Kurtz as a some kind of enrichment to life
When Marlow finally reaches Kurtz he is in declining health. This same jungle which he loved, embraced and consumed with every ounce of his flesh had also taken its toll on him. Marlow finally meets the man whose name has haunted him on his river journey. Could this frail human be the ever so powerful Kurtz? The man who has journeyed into uncharted territories and has come back with scores of ivory and the respect of the native tribe. Yes, this was the very man and though he is weak and on his way to death his power still exudes from him.
...s to look at Kurtz as a hero for all that he had accomplished, no matter how evil. Marlow?s obstacles as the hero are not the overcoming of a dragon or evil villain. It is the eternal battle of the story of a Hero versus Antihero. Marlow?s blindness to Kurtz?s impurities are both his strength and weakness. His ignorance to the greatness of his own qualities can best be stated one way: ?The Horror.?
He had something to say. He said it. Since I had peeped over the edge myself, I understand better the meaning of his stare, that could not see the flame of the candle, but was wide enough to embrace the whole universe, piercing enough to penetrate all the hearts that beat in the darkness.” Marlow admires Kurtz because Kurtz was able to break free from racism and wholeheartedly assimilate with all stretches of humanity. Perhaps Kurtz knowledge of the world comes at the cost of sanity.
The main character in Conrad's novel, Heart of Darkness, isKurtz. Kurtz no longer obeys the authority of his superiors who believe that he has become too extreme and has come to employ "unsound methods" (Coppola, 1979; Longman, 2000). Marlow is sent to retrieve Kurtz from the evil influences in the Congo, and a wild journey on a tainted river ensues. Along the way, Marlow learns about the real Kurtz and finds himself identifying with and becoming dangerously fond of the man.
This sight angers Marlow, and when he gets to Kurtz, it’s too late. Even he has been pulled in by the darkness. Conrad makes an effective distinction between Marlow and Kurtz.