Analyze
Conrad's description of the landscape as Marlow voyages "deeper and deeper
into the heart of darkness" (31). What does the diction
reveal? What seems to be the tone of these passages that discuss the
landscape? How does the landscape take on qualities of an actual
character?
Landscape is definitley a main character in the novella. As the story develops, we the reader closes in on the climatic realization of the true character of the wilderness. The jungle appears to look at Marlow "with vengeful aspect". The nature in Africa can be contrasted with the "shackled" nature back in Europe where everything is groomed. In the wilderness of Africa, everything is malicious, monstrous, and free. When Marlow catches a glimpse (through the lift of the fog) while traveling upriver, there is a hopeful moment- which proves to be a teasing hint of light in otherwise complete darkness. The wilderness plays a key role in the central conflict of the story; crushing Kurtz with impenetrable force. Conrad uses setting and landscae to build tension, reflect the POV of different characters, and to play a major role in the story. The landscape had such strong characterization that it almost rivals human characters for focus. The diction in Conrad's description is seen with his repeated wording of "gloom" and "brooding" -making it appear to have a mind of its own. The tone is very depressed- due to the European invasion and colonization??
ReplyDeleteI also felt a depressed tone at some points. Although free, it was as if the landscape had been negatively affected as well, like you said, due to European colonization.
DeleteI understand most of what you said, but how does the landscape reflect other people's point of view?
DeleteThinking more about the topic of landscape I noticed how often the words "gloom" and "brooding" are used. This gives the landscape this attitude of sadness...this could be the sadness of the Europeans taking over and molding the landscape to most benefit them. There is definitley the image clusters of isolatio, gloom, and later on- madness. The mist on pg 35 could possibly symbolize the innocence of thh Congolose people and Africa itself being mixed with the Europeans the purness of the jungle dying. "through the mist itself had screamed". Just as the Congolose people shreaked out in fear and angst, the landscape shrieks as well.
ReplyDeleteIn the novella, we see Nature as a true character, pass the point of personification. It is its own being. It put feelings into the characters. Nature provokes as many thoughts in Marlow as the other human characters, if not more. " Whether it meant war, peace, or prayer we could not tell" doesn't only speak of the sounds around them, but also the nature around it as well. (97)The tone seems to be foreboding, if not unnerving as well. Marlow and the others feel the power/energy Nature seems to possession which they aren't used to and seem to fear. " We are accustomed to look upon the shackled form of a conquered monster, but there-- there you coould look at a thing monstrous and free" (97). This not only speaks of Nature as a free, mysterious being, but also the natives that would also attack them later on in the story. These white men are used to conquering and being the most powerful, so when they are off of their high horse, they fear the possibilities. These men also seem to be intruding on this landscape. " We were wanders on a prehistoric earth, on an earth that wore the aspect of an unknown plant." (97) These men don't belong on this land, and the diction that is present leads us to believe this fact. Ultimately, I believe this shows the abilities of the Africans. Without the shackles put on by the white man, they could be just as deadly/free/spontaneous as nature.
ReplyDeleteI like how you talked about nature being personified. I also discusses this in my post. I really enjoyed the langauge that Conrad uses to describe the nature and Marlow's surrounding as he travels deeper and deeper into the land.
DeleteI know! His description is so much more intense than any other book I've read before!
DeleteWhile reading, I didn't see Conrad as using language to create an entirely new character out of nature. The diction he used had more of a blending effect. It is almost as if Marlow sees the the native people and nature as one being. He speaks of them like the two bodies are joining together to combat the colonizers. Marlow describe the weather as "choking,warm, stifling", and earlier he said it felt like they were buried under miles of cotton wool (108). This language brings about imagery of being smothered by a pillow or blanket. Immediately after his description of the oppressive weather, Marlow goes on to describe the defensive actions of the natives. The close proximity makes it impossible to deny the connection between the two entities. Regardless of whether the effects of the land are a joint effort or not, Marlow describes the land as being alive, ancient, misunderstood. He says, "We were wanderers on a prehistoric earth, on an earth that wore the aspect on an unknown planet"(97). This description shows that Marlow views Africa as mysterious and antique. The land is so old and so unfamiliar that the modern Europeans can't even begin to understand it.
ReplyDeleteI agree with your comment. Everytime the natives are brought up, nature is involved as well...and vice versa. When the natives attack Marlow's boat, Marlow mentions how menacing nature looks around them- "the mist itself screamed" (Conrad 35). Conrad writes how the mist itself (nature) is screaming in agony at Marlow's arrival, just as the actual natives scream.
DeleteConrad develops the land as its own character with a vendetta against the oppressive colonists. Throughout the novella, the jungle has the habit of bringing despair to the travelers; whether it be ominous fog or strange noises to frighten them. The development of the land stands for the purpose of creating an adversary for people like Marlow. Marlow has not lost sight of his desire to explor, while most of his companions are solely concerned with gaining wealth. Marlow recognizes the land as a true adversary that he must not turn his back to. Often times Conrad will portray the land as an essence with a plan for revenge, "...the face of the forest was gloomy, and a broad strip of shadow had already fallen on the water" (p109). Conrad's diction in this passage is common throughout the novella; the forest continually provides an omnipresent feeling to foreshadow any oncoming conflicts, as well as express its displeasure towards the colonists' presence. Conrad likes to use his diction to remind the readers and the colonists that they are never safe in the Congo. "You lost your way on that river as you would in a desert" (p95). The colonists are constantly reminded that the wilderness will always be out to get them, and WILL get them anytime they let their guard down. The landscape is the true antagonist of the white man in this novella, and serves to darken their spirits around every turn.
ReplyDeleteI really liked your comments about Conrad's diction, because I definitely see them as foreshadowing. Do you see this gloominess as mirroring the emotions of Marlow, the Congolese, both, or neither? And it seems to me that you feel like the landscape will win in the end, is that true and if so why?
DeleteIn the novella, Conrad uses the dark nature of the landscape as a new mysterious and frightening character. As Marlow and his other weary companions travel deeper into the heart of darkness, the landscape and weather seem to fight against them, pushing them away from their intended purpose of meeting Kurtz. One of the landscape's evil concoctions, is brewing the impenetrable white fog, making Marlow's crew feel as if "buried miles deep in a heap of cotton-wool...choking, warm, stifling" (64). The fog stalls the crew and hides the terror of the Congo and the natives waiting to pounce. After this fog was lifted however, and the crew sailed down the stream, the mystery was gone and Marlow was able to see the real state of the landscape where the "face of the forests was gloomy, and a broad strip of shadow had already fallen on the water." (65). The shadow almost speaks of the oncoming attack by the natives just as the sky becomes dark gray and cloudy before a storm. As the travelers plunge deeper into the jungle, they keep finding all the creepy and frightening aspects of the nature such as the fog and shadows, revealing that the colonists aren't safe. They have been pulled away from their safe home in Europe and brought to a land that looks at them "with a vengeful aspect" and brings them to realize "that no man was safe from trouble in this world" (57).Through this dark, foreboding imagery of the Congo, we realize the white men are ultimately not the ones in control; nature is.
ReplyDeleteWow! I guess I wasn't reading close enough because I didn't recognize that the broad strip of shadow in the novella could have represented the foreshadowing of the natives' attack. When I read the novella, the natives' attack was a total surprise, so it was nice to see how the author actually did put foreshadowing events.
DeleteThis comment has been removed by the author.
ReplyDeleteConrad uses truly powerful language to set his scenes and develop his plots as we often find ourselves holding our breaths, scared to disrupt the silence surrounding us. As Marlow and his men enter into what they call the heart of darkness, they are seen to depict their surroundings with a certain foreboding fear yet a fair amount of awe as well. Even the simple statement, “It was very quiet there,” (p.118) holds a sense of fear for nature and awe for the magnitude of the beauty of the environment. The silent sky hovering above their heads, the still, cold air, and the dark blanket of foliage all demonstrate the men entering into a different world. However, Conrad first causes the reader to begin to question this so called hell as the environment they feel is rather serene and quiet. Yet, it is soon clear that this stillness is one of gloom as Conrad uses nature as an active character who entraps these men into the heart of hell by using the forest to cut off their means of escape. The phrase, “The prehistoric man was cursing us, praying to us, welcoming us – who could tell?” (p. 119) clearly depicts that though on some level Marlow and his men sense that they have encroached upon the sanctity and privacy of nature herself, they believe that they can still conquer this “savage” as they view her, and will continue on the “noble” quest.
ReplyDeleteI tied this to the rape of Africa as Ms. York talked about. Marlow and his men are Europeans invading and conquering the land and body of Africa, exploiting her resources for their own sake. Like human rapists, Marlow and his men show complete disregard for the desires of Africa to remain untainted and pure from their corruption and darkness. (Jenny Park, 4thB)
DeleteHiyas, Neha.
DeleteI liked how you brought up that the silence is almost like a fear for the nature. If anything, the quietness creates a greater tension in this part of the story than the loud threat ahead. (And to think that we say "silence is golden...")
I like the way you pointed out how prominent Conrad makes the landscapes. He definitely does make you feel some connection with the setting, some times more so than the connections felt with actual people in his stories. Why do you think he does this?
DeleteIt seems that the description of and tone in describing the landscape goes along with the whole setting laid down by Conrad. All but two of the characters have names and everything is always foggy, consistently creating a sense of disorientation and vagueness. Here, the landscape "strikes you blind" at night and even when the sun comes up there is "a white fog" that "strikes you blind as well"(143). This is literal personification but also, in my opinion, it makes the landscape come across as its own entity with dark intentions. The diction consistently conveys a sense of loss of vision (needing to depend on voices), confusion, and gloominess. Conrad describes the landscape in such a way that as they venture deeper into the heart of darkness, there is a sense of things being muffled like the beating of a constricted heart.
ReplyDeleteIn addition to this, the landscape is described as a "prehistoric earth" that "wore the aspects of an unknown planet" (138). This asserts the idea that Europeans saw Africa as uncharted and mysterious land, almost as if it were a totally different planet. In a more negative light, they also saw the land as well as its people as prehistoric, savage, and uncivilized, giving merit to their colonization of Africa.
The tone is continually somber and dark, much like what the inside of a dark heart should be. As Marlow ventures toward Kurtz and ultimately darkness, he navigates his way by the voices of the natives and his instict.
I like how you comment on the landscape emphasizes the importance of voices. What do you think Conrad is trying to prove by stressing the importance of voices?
DeleteWhenever Marlow comments about the landscape surrounding him, his words describe the awe he feels from the lavish greenery of the country, but they also have a tinge of fright. When he first enters the forest, he is astounded by the landscape: "Going up that river was like traveling back to the earliest beginnings of the world..." (Conrad 30). However, the landscape is an unknown place where Marlow constantly refers to the hindering qualities of the landscape: "... but for anything else our eyes were of no more use to us than if we had been buries miles deep in a heap of cotton-wool" (Conrad 39). The bigger point that Conrad seems to emphasize is the impression of the forest as a living, breathing entity; the forest seems to be a part of the natives. While the Europeans may delude themselves into thinking that they are helping the natives, Marlow constantly alludes to the true motivations behind the Europeans. They essentially think of the land and the natives as the same thing, something to be conquered. This causes the Europeans to not be able to differentiate between the two: "... and then suddenly, as though a veil had been removed from my eyes .... the bush was swarming with human limbs in movement, glistening, of bronze color" (Conrad 41). Another title that the forest takes up is protector. Conrad depicts many instances where the forest seems to be protecting her people from the heinous intentions of the "whites": "... smoke came up and drove slowly forward ... now I couldn't see the ripple or the snag either" (Conrad 41).
ReplyDeleteLuvi,
DeleteYou mentioned that Marlow is "astounded by the landscape." Do you think he is simply surprised by its foreignness - or does he view himself as superior to the Congolese because the Europeans have already subjugated nature to their will?
"We are accustomed to look upon the shackled form of a conquered monster, but there-there you could look at a thing monstrous and free"(108). Marlow sees land as "living", but this land is different because it is not contained like it is back in Europe. Marlow's diction describes the land as free, but also gloomy and dark on other occasions. However, it seems to me as though he is in awe of the land. "Not the faintest sound of any kin could be heard. You looked on amazed..." (113). His tone of awe also goes with his tone of slight fear. Although this landscape is mysterious and alluring on some fronts, it is also an immense jungle and a wild river, and that is something that Marlow is not accustomed to. The landscape for him seems so real because it is foreign to him yet it envelopes him every where he goes; there is no escaping the jungle because it is free to grow. The free landscape is the antithesis to the shackled people of Africa who are forced to work for the conquering Europeans. The landscape however acts as a bodyguard to the Africans: it shields them, protects them, and gives them a place to escape. At the same time, it is an enemy for Kurtz and his men: the river snags the boat, the fog shades the way to go, and the trees hide the Africans who can attack. "I has also judged the jungle of both banks quite impenetrable-and yet eyes were in it, eyes that had seen us" (118). The landscape and all the consequences of being around it, like the diseases, are the conquerors of the Europeans because it hinders them from completely being able to roam Africa freely.
ReplyDeleteI think you brought up an excellent point talking about where ever Marlow goes, the land envelopes him everywhere he goes. As he goes deeper into the heart of darkness, Marlow makes it known how there is no turning back. The landscape changes as they move closer into the heart- it seems to turn more malicious. I also like how you contrasted the wild free-spirited jungle with the shackled natives.
DeleteI like how you discusses Marlow and his fear for the land. I agree that he is someone who is coming to the land without any prior knowledge and is learning day by day what the land and the people are capable and willing to do.
DeleteI thought it was great that you pointed out how the landscape "envelopes" Marlow in a way and consumes him. Why do you think Conrad does this and is this foreshadowing of something that may happen later on? What could this mean? Is this a message Conrad is trying to convey about the people and land of the Congo?
DeleteThe landscape is undoubtedly alive. Silent, but alive. The language that Conrad uses makes it sound as though the environment itself is communicating with the travelers, which Marlow experiences firsthand. At one point, he states that “sometimes the roll of drums behind the curtain of trees would run up the river…Whether it meant war, peace, or prayer we could not tell” (Conrad 31). Conrad’s words make it clear that even the unfamiliar noises that populate the jungle inevitably become a crucial component of the landscape, bringing in the idea of a type of voice or unseen presence that nature continues to permeate his surroundings with. But Conrad also introduces the fact that Marlow, being a newcomer and more-or-less an intruder of the land, is unable to understand this voice—whether to detect it as a threat (being at “war” with nature) or stay at ease—and consequently, he and his companions “were cut off from the comprehension of [their] surroundings…[and] glided past like phantoms” (Conrad 32). These men that have come so far to conquer the land are now merely “phantoms” or amorphous forms completely at the mercy of the jungle. This introduces a foreboding and rather gloomy feeling that emanates from the passages, bringing in (somehow) an even more serious tone than previously established—all comic relief lost with the characters feeling hopeless—and the earth itself—supposedly a nurturing, kind mother—no longer seems like a welcoming figure but is now completely unearthly, as Marlow states. In fact, Conrad has made a crucial point by using the word “unearthly,” introducing a dichotomy between what Marlow once saw as earthly—a grounded civilization that humans were free to walk upon—and the harsh wilderness of the Congo. In other passages where Conrad describes the landscape, he brings back the idea of this untamed, almost newfound wilderness that is “monstrous and free” (Conrad 32). The wilderness has manifested into a larger beast that will eventually swallow all of its inhabitants whole. Furthermore, the land itself seems to prevent Marlow from turning back on his journey. “The reaches opened before us and closed behind, as if the forest had stepped leisurely across the water to bar the way for our return” (Conrad 31). Indeed, by going deeper into the darkness, Marlow and company have found themselves past the point of no return, and their fates and courses of action are seemingly manipulated at the discretion of the environment.
ReplyDeleteYou brought up and mentioned the fact that Marlow and his European crew are outsiders in the Congo, unfamiliar with and unwelcomed by the heart of darkness. I hadn't even noticed that Conrad had described the landscape as seeming to be speaking. I felt that the landscape represented a character, and this helped me to better see why it did.
DeleteOh I forgot to say this is Jenny Park from 4th block. Idk why I'm still 'Unknown'.
DeleteAs Marlowe travels further and further into the "heart of darkness", the diction used in describing the landscape paints the part of Africa that he is in as dark and gloomy. For example,take the landscape as described at this point: "To the left of us there was the long uninterrupted shoal, and to the right a high, steep bank heavily overgrown with bushes. Above the bush the trees stood in serried ranks. The twigs overhung the current thickly, and from distance to distance a large limb of some tree projected rigidly over the stream. It was then well on in the afternoon, the face of the forest was gloomy, and a broad strip of shadow had already fallen on the water" (552). (I have the book The Portable Conrad, which includes HoD with about a thousand other books, so excuse me for the weird paging.) The tone in the paragraphs that describe such passages seem serious and uncertain. For example, in the example cited above, Marlowe is navigating a bank that is much narrower than expected. He is, in other words, coping with an unexpected and unwelcome surprise. The landscape for me takes on the character of Africa under European colonization- as Marlowe and his team- Europeans- invade and travel further into Africa, they spread moral gloom and darkness through their exploitation of the natives and greed for Congo's natural resources, such as ivory.
ReplyDelete^Jenny Park
DeleteHey, Jenny.
DeleteI liked how you brought up the narrow bank; I think this idea of "narrowing" and facing unexpected events will definitely reoccur and be evident throughout Marlow's journey. Truth be told, he began to face the unexpected the first time he touched land at the Congo; if anything, we can only expect that the events that have yet to come will only intensify in uncertainty and impact.
I also like how you brought up narrowing; Conrad's choice of diction here evokes mental imagery of a how people "hone in" on their target when they reach shooting distance. In this case, Marlow and his crew are the bullet and the heart of darkness is the target. As they get closer and closer to their destination, nature itself is reflecting that by narrowing and signifying the closeness to their final goal.
DeleteJenny,
DeleteDo you believe that the narrowing of the riverbank as well as the "uncertainty" suggested by Conrad's diction are evocative of archetypal ideas? In other words, are uncertainties about the future and unexpected difficulties part of ever hero's journey? How else does Conrad utilize the river to further these plot points?
Reading the discription of Marlow traveling gives the reader a sense of conflict between the travelers and nature. Nature is being personified through several different aspects; for example, the "big trees were kings" and "an impenetrable forest." These two quotes show the power and importance that nature has. We see other examples such as, "There was no joy in the brilliance of sunshine." and "into the gloom of the overshadowed distances." that show how overpowering and dictating nature can be. Conflict arises because of the dichotomy between the calm and radiant landscape and the invading and demanding humans. Conrad describes this encounter with diction that proposes nature is independent enough to not need the humans to conquer it. It also describes how mighty and majestic nature is which causes conflict with the powerful colonists. Conrad uses language that makes it seem as if the nature is in charge as the white men are traveling deeper and deeper into the land. Whether the land or the humans, there can only be one ruler in the land. This gives us an allusion of man vs. nature. Throughout Marlow and the crew's journey we see that man vs. nature battle play out. We also see the people struggle more and more as they travel deeper and deeper towards the center (hell).
ReplyDeleteI love that you compared the humans to nature. I believe there is similarities. Rather than one type of character, humans and nature are both acting out in a way that conveys emotion and a message.
DeleteConrad describes the landscape as a mystical creature, full of mystery and secrets. He uses human characteristics such as “patient,” “motionless,” “still,” and “silent” to display the forests as a person who is unaware of time, even perhaps outside of time, that is content with observing events that unfold around her (87-91). Conrad portrays the banks as the “skirts of the unknown,” and the “edge of a black and incomprehensible frenzy,” indicating that Nature not only knows all secrets, but also holds onto secrets, secrets perhaps that man is not ready to know (91). Nature is characterize as “monstrous and free,” and character that is let to run around free and grow without boundaries, unlike her “tamed” counterpart that is a “shackled form of a conquered monster” back in the modern world (91). Indeed, Conrad presents the landscape as a “prehistoric earth,” and earth that had no need to measure time, and a time that man had no need to measure his profit (perhaps this is the time before Eve’s fall, or the “accursed inheritance” that Marlowe mentions- the greediness for power). In modern society, a man’s thirst for power causes him to neglect nature, and tame her for his own uses: to ruin her “silence” for his “unrestful and noisy dreams” and to admire money’s gleam and fame instead of the beauty in which nature’s silence brings (88). In this sense, nature is not only like an omniscient god, but a helpless victim of man’s greed. Despite her captivity, Nature seems to have a mystical appeal to her; Conrad often uses words such as “spell” and “bewitched” to suggest that Nature has captivated her intruders (88&90). This may suggest that Nature has forces man to meet directly with his subconscious, which is in accordance with Forster’s philosophy of books, author of Reading Literature like a Professor. Perhaps the secrets behind the forests dense foliage is the secret behind a man’s soul, since the silence of the forests forces a man to reflect upon his nature (which is why Thoreau choose to cut off all ties and to live in the forest for two years). This reflection causes a man to go mad, which directly links to Conrad’s description of the nature as a “madhouse” (91).
ReplyDeleteIt was interesting to see how you used Foster to find a deeper meaning. Foster seems to be applicable to so many works of writing!
DeleteHa Young Kim (4th BLOCK)
We see the Congo through Conrad's eyes we are under the impression that this place is dark sinister and gloomy. This also is a reflection of the mood and personality of Marlow this landscape plays a major role in the shaping of the voyage it is foreseeing the events to come . Conrad personifies the nature in heart of darkness and makes it the antagonist which the main characters struggle with and are constantly in conflict with. We see an abrupt confusion of men trying to understand and ultimately conquer this land to defeat it like they do the people. The nature in heart of darkness serves as a conscience lurking to remind the men of the harsh actions being preformed. That is why essentially they long to plot for the demise of this land .
ReplyDeleteI completely agree with your argument that the landscape is the antagonist to Marlow and his crew, however who do you think will ultimately win? Can anyone truly tame a landscape? And do you see this gloom also as a reflection of the Congolese people's emotions? Good post and connection to the heart of darkness.
DeleteI really liked the last point you made about how the dark, judgmental personality of nature is what is contributing to the men wanting the land to reach its demise. What events do you believe the dark personality of nature is foreshadowing?
DeleteMarlow draws out the landscape with much detail, and I thought that the descriptions Marlow used for the landscape symbolized the changing state of the characters. As the people go deeper and deeper into the darkness, the overall landscape gets thicker and gloomier which shows how the people are also changing. For example, Marlow continues to travel into the heart of darkness, and he compares his journey to travelling into a “prehistoric earth” (Conrad 76). This helps the readers see how uncivilized the area is with the “vegetation riot[ing] on the earth and the big trees [as] kings” (Conrad 73). Marlow also uses words like “warm, thick, heavy, [and] sluggish” (Conrad 73) to give readers a sense of the negative and gloomy environment that rests upon the heart of darkness. With these descriptions, the characters also show psychological changes as the idea of sanity versus insanity comes into view and the animalistic aspect of humans comes into view. Also, even though we didn’t get to meet Kurtz yet, I found it weird that Kurtz was able to survive in this heart of darkness, so I thought that the landscape also foreshadowed how Kurtz would be (or changed into). I also found it interesting that the landscape had human like qualities, which especially had the qualities of the natives hidden in the forest. Like the cries the crew on the ship heard, the “mist itself [that settled in the heart] had screamed” (Conrad 80) and shrieked. Another weird human like quality that I saw was the “suspicious ripples at the upper end of the reach” (Conrad 80), which made me picture the suspicions of the crew on the boat as they slowly went through the fog and into the heart of darkness.
ReplyDeleteHa Young Kim (4th BLOCK)
I really like how you talked about the deeper the people go into the darkness, the more the description of the landscape intensifies. I didn't think about that! It makes since, too, because Marlow discusses how the landscape can swallow you up.
DeleteThe landscape plays an immense role in Heart of Darkness; it is home to many “savages” and a place where the Europeans tried to make their own. “It was not sleep- it seemed unnatural, like a state of trance” (pg.48). Marlow along with the rest of the crew knew very little about the land or its inhabitants so in turn they became somewhat enemies! “The mist itself had screamed, so suddenly, and so apparently from all sides at once...” (pg48). The landscape takes its main goal to destroy the travelers, with hopes of them retreating leaving the Africans alone. It was almost as if the landscape knew that the Europeans only had greed in mind and nothing they did was for the good of Africa. Without the Europeans and their expeditions (which were justified as “trade”) the land could grow freely but instead it was savagely raped of all its natural recourses. “…The face of the forest was gloomy, and a broad strip of shadow had already fallen on the water” (pg. 54). “Gloomy and “Shadow” show the sadness and oppression that the Africans have to endure under the Europeans rule. The Landscape is definitely the enemy of the Europeans. We continually see the struggles between man and nature that foreshadow gruesome events to come.
ReplyDeleteI like your take on Nature trying to destroy the travelers. In my mind,Nature is trying to show the traveler's their essence of their souls, which might be the secrets that lie beyond the banks. This secret could very well destroy the self image, and their consciousness, just like what happen to Kurtz.
DeleteThe nature and wilderness described in this novella is truly a driving force in the overall plot of the story. It not only influences the way Marlow tells the story but it also influences the overall mood of the journey itself. There is no passage where he does not note the pressing grimness around him. He uses imagery like as " arid as a desert" (23) to prove a furthering point in his fascination with the wilderness. He speaks of emptiness in this fruitful and prosperous land to describe of the misconception of a hope and dream they had of the blank and white Africa he once saw on the map. Not only is Marlow fascinated about his surrounding nature but he is fixated on it like a spell or a curse. We also see that this land gives of an enchanting aura that describes the land as mysterious and alluring which is why Marlow, throughout his whole retelling of the journey, is constantly fixated on the nature and wilderness of his navigation deeper into the heart of darkness. We also see Nature have a protective side to it (opposing that of a seducer) with Marlow's description of a "formless coast bordered by dangerous surf, as if Nature herself had tried to ward off intruders" (31). She is repelling the unwanted men from her by means of disease and nature which Marlow duly notes in his recall since it seems it will soon be a lesson he will also learn.
ReplyDeleteJenni, I love how you point out the dichonomy between the illusion and reality. You would think that rainforest would be full of water, but it is actually "arid as a desert" and can be easily lost in it, as well as the illusion of his dreams of blank space of Africa on the map and the reality of the horrors that lie within. You mention nature is trying to protect something What do you think nature is protecting from the intruders? Knowledge? Her "children"? Or Herself?
DeleteFrom the beginning of the book, Conrad has described nature through personifications and mysterious descriptions. Also, he has also described it as a formidable opponent to the explorers/colonizers. "Settlements...no bigger than pinheads on the untouched expanse of their background" (Conrad 48-49). As Marlow goes deeper into the heart of darkness, it becomes more mysterious and hides (often threatening) surprises such as the natives and contemplative thought of Marlow as they drift/sail on the river. (contemplative Marlow 74) The landscape takes on the qualities of an actual character through diction that personifies it. For example, Marlow says that "the bush began to howl" (Conrad 87) right before the scuffle. The wilderness has become an active character by masking others and throwing obstacles in the path of the travelers such as when it "ripped the bottom of the boat clean through" earlier.
ReplyDeleteI like how you mentioned that nature is an opponent to the colonizers. I agree with you, and I think that this is an important obstacle for them to encounter. The intimidating landscape is cause for reevaluation, and in their case, a chance to see who really has the power.
DeleteThroughout the novella so far it seems to have been Marlow vs the landscape of the Congo. Conrad personifies the landscape of the Congo to be an antagonist or a obstacle each step of the way. The river, the trees, the land, the silence - they all pose as evil. Sometimes it seems subtle that this land is conflicting with Marlow and his crew, "But the snags were thick, the water was treacherous and shallow"(Conrad 93). Other times Conrad uses personification to make the landscape truly come to life. For example, "Trees, trees, millions of trees, massive, immense, running up high; and at their foot, hugging the bank against the stream, crept the little begrimed steamboat, like a sluggish beetle crawling on the floor of a lofty portico. It made you feel very small, very lost...."(Conrad 90). Marlow even states that this land "...looked at you with a vengeful aspect"(Conrad 89). Marlow is unfamiliar with this prehistoric land where the forest rules, and Marlow becomes intimidated by its size and its silence and its gloom. This gloom mirrors the Congolese's feelings towards the Europeans and their subservient treatment. It seems as if he is haunted by this strange, unfamiliar landscape. We see this haunting at how upset he becomes over the silence, where he is forced to look around and use introspection because their are no noises to distract. This is the prehistoric world before greed and technology became the central part of anyone's lives. I think the fact that the landscape creates its own conflict with Marlow really creates another dimension to the European vs Congolese conflict. In the end who will conquer Marlow or the landscape?
ReplyDeleteConrad paints the landscape of the Congo as dark, silent, frightening, and unearthly revealing a sense of evil that lies within. Marlow and the other men are always apprehensive and on edge as if ready to defend themselves against whatever comes out of the forest. When Marlow describes the landscape the tone is very gloomy and dark and slowly starts the show how the landscape is developing into its own character. The forest "had stepped leisurely across the water to bar the way" and had the ability to make "you feel very small" and "very lost" (90). The landscape seems to go against the Europeans and resembling the conflict between them and the Congolese. However, in this situation, the Congo is depicted as the dominant force and the one that has potential control over the Europeans. The land is unknown, overwhelming, and thick as if it were so easy for you to be swallowed up inside and lost forever.
ReplyDeleteI like how you said that the land is overwhelming because it is unknown. Could it be that this means that the colonization of the Congolese is overwhelming because the Europeans do not know the relationships between certain tribes enough to be in the position of colonizing them?
DeleteConrad uses words such as “gloom” and “shadow” to illustrate the darkness of the jungle, but Marlow sees more than just a dark environment. The silence of the jungle is deafening to him. Marlow forms a connection with the landscape, perhaps because the land affects his ability to properly steer his boat, or perhaps because he sees deeper into the jungle than just wild and free-growing plants. He can hear “the mist itself [screaming]” (48) and can feel the fog—“choking, warm, stifling”(53). It is almost as if Marlow and the jungle are enemies. The landscape is portrayed as a character because it is an important aspect of Marlow’s struggles. In addition to the Europeans conquering the Congolese people, they must conquer the land, too. The jungle poses as the mystery that lies in Africa. Marlow tries to understand it but instead comes to terms with the undefeatable darkness that lies within the jungle.
ReplyDeleteHi, Miranda!
DeleteI've always thought that the idea of a "deafening silence" is really interesting. A lot of the things you described in your paragraph (the screaming, the struggle, the feeling of being stifled) remind me of concepts usually associated with a madhouse. Do you think that the landscape is trapping Marlow in his own personal insane asylum?
-Leigh
Conrad describes the landscape as dark, gloomy, and evil. The diction reveals the mood Marlow is feeling during the voyage and shows his struggles while undergoing the nature in heart of darkness. The tone of these passages seems to be both hopefulness and hopelessness. Marlow goes through the foggy nature of the wilderness with some hope of seeing and talking with Kurtz but this hopefulness is turned upside down after they are attacked by the natives, making Marlow think Kurtz is dead. The landscape here definitely takes on qualities of an actual character. The nature provokes many thoughts and feelings in Marlow and seems to be acting like an enemy to prevent Marlow from reaching the place Kurtz is located.
ReplyDeleteI like how you brought up the idea of how the nature/landscape is reflecting the emotions of Marlow as he travels on the river. Now that I think about it, it really is! The nature acts in and of it self, but it also amplifies any negative emotions that Marlow is potentially feeling at the time when he is in "contact" with it.
DeleteThe main conflict in this story could be argued as being Nature vs. Colonists. However, I would not go as far to say that Conrad depicts nature as a separate character. Rather, I think Conrad uses nature in conjunction with numerous other elements to help enhance the plot’s morose atmosphere and symbolize the natives’ struggle against the European colonists.
ReplyDeleteIn the beginning, when Marlow, discusses Fresleven, the captain he was replacing, he mentions how “the grass growing through his ribs was tall enough to hide his bones” (Conrad 73). This can be seen as symbolizing nature eventually overcoming the colonists. In this way, the nature does seem to take on the role of a powerful and vengeful character, eventually coming back to dominate the colonists. Later on, Marlow discusses how, as he and his crew neared Kurtz’s station, “The living trees, lashed together by the creepers… it was not sleep, it seemed unnatural” (Conrad 113). Here, instead of being described as a concrete character, nature is being used to set a certain atmosphere: an atmosphere of gloom and oppression. This general description trend follows Marlow as he journeys inward, and seems to intensify, possibly to heighten the tension.
Hello Hasit. I like how you mention that nature seems to take on a darker and darker connotation as the men journey deeper into the heart of darkness and how that could be to heighten the tension. What do you suppose is going to happen? Why heighten the tension? Or do you think it's to emphasize the dark nature of Kurtz's heart? The closer we get to it, the darker the novella is getting.
DeleteHAYSIT DEYWIN. The reference to the grass growing "through" Fresleven's I also found to be symbolic. Conrad bends certain phrases to reflect his implicit purpose. This symbol happened to be slightly more conspicuous of the nature overtaking the intruders. I can see how you made the connection to nature being a vengeful character.
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ReplyDeleteMan vs. Nature is a predominant conflict in the novella. Furthermore, as the story progresses and Marlow begins his journey "in the heart of darkness" the atmosphere surrounded nature gradually becomes darker. Nature becomes an enemy. The fog prevents them from going on and the narrow pathway during the attack made escape impossible. Also, the rapid flow of the river posed a constant threat to the travelers. The oppressive silence slowly consumes the travelers as they slowly journey deeper into the Congo. The silence threatens their sanity and their sense of reality. They are all slowly consumed by their inner thoughts due to their thoughts being the only voices to be truly heard in such torturous silence. Furthermore, the forest is described as very primordial: "[w]e were wanderers on prehistoric earth, on an earth that wore the aspect of an unknown planet." This takes us back to the very savage nature of earth. Survival was of the utmost importance, and nothing else truly mattered. Also, references to eyes were often seen as well. The travelers felt as is the forest was constantly observing them, judging them. Overall, nature is described as oppressive, omniscient, and watchful; these elements all combine to make it seem as if nature is a character in the novella. Further support is found in how the traveler's interaction with anything but each other was with nature; it became a part of their only connection to reality but also a factor of their slowly descending insanity.
ReplyDeleteIn Conrad’s Heart of Darkness, the landscape takes on a visage of mystery. The Congo is to be subjugated and exploited; it is both alluring (it holds great treasures such as timber, rubber, and ivory) and threatening (it does not wish to hand over these resources). As Marlow enters the “heart of darkness,” he “penetrates deeper and deeper” (31) into the depths of the Congo, suggesting that nature itself is resistant to colonial advance. Nature is vengeful; nature is dominant.
ReplyDeleteIn fact nature is noted for its animalistic qualities. Marlow notes that the Congo resembles an earlier era, when “vegetation rioted on the earth,” a time when nature is unshackled and free of human intervention. Conrad’s diction reveals that the landscape reflects the nature of the Congolese; the landscape is untamed and wild, free of European influence. Like the Congolese, nature is unwilling to be exploited.
The closer Marlow and his crew progress to the heart of the Congo, the more dynamic the landscape becomes. It’s sense of brooding and “stillness” (31) is replaced by an “incomprehensible frenzy” (32). Nature, because it does not resemble European conceptions, is “monstrous” (32).
I like how you made the connection between nature and the Congolese and how they are both "unwilling to be exploited". This shows how wrong it is for humans to treat other humans as lesser and the problems that can arise from this injustice taking place because, by nature, this immense exploitation is just not supposed to happen.
DeleteIn Heart of Darkness, Conrad repeated creates this feeling of "gloom" and "quietness" and "darkness". As he goes deeper and deeper into it, the more the tension is heightened. While reading this book, I noticed that nature is personified so much that it could be its own character. Marlow states that the land "looked at you with a vengeful aspect" and that it is "monstrous and free". This shows that the landscape is actually very untamed and does not agree with the doings of the Europeans. It very much resembles the Congolese in that it goes against the colonization because the drawing of borders in random places of which they see fit actually does harm by putting together warring tribes, etc. I see nature as symbolic of the inability of the Congolese to cope with the problems created as a result of the colonization.
ReplyDeleteExcellent observation of the landscape! I like your version on how the land possesses the trait of vengeance; I agree completely, in that not only the Congolese people can feel infringed upon, but also the Congolese land as well.
DeleteThe diction that Conrad uses in part 2 inspires certain feelings within the reader. The diction creates and air of having lost the way or of floundering about aimlessly. Conrad mentions the "blind whiteness of the fog" showing that the pilgrims do not know their way or what they are doing. The inefficiency in the region highlights the fact that the Europeans own racial whiteness is blinding them. They can't see past their assumed superiority. If the Europeans knew the landscape they could avoid some of the problems they have, such as the brick maker that has no straw. If they knew the land they would know that there isn't any straw. How can the foreigners lead when they don't know how to navigate the vast landscape?
ReplyDeleteThe tone of the description of the landscape seems to be slightly irritated. "We wouldn't be able to tell where we were going to- upstream or down stream..." (63). "How long would [the fog] last?" I like the idea that the landscape is helping to protect the people. It would provide a basis for why when Marlow talks about the landscape he seems a bit irritated. If he feels the land is protecting the people and resources that he and his fellow Europeans want to exploit, of course he'd be tired or weary of constantly fighting against it.
The way that the landscape is described in the book leaves the reader to think that it is alive because it seems to move, breathe, and interact as humans do. Conrad describes the fog as "standing all around him"(58). Such verbs as standing are usually reserved for people, so personification plays a huge rolls in this novella.
The landscape is mentioned far more times than most of the unnamed characters. It is possible that the people are unnamed because the nature has such a large role, because it's voice is so clear.
As I read I feel as if the landscape posses a pulsing quality, almost like a heart beat keeping its inhabitants alive. I'm interesting to see how this role of the landscape plays out. Will it be the Congolese's saving grace?
Hi, Dierra!
DeleteI had mainly been thinking about the landscape as an adversary to the Europeans; I liked the way you turned that around and viewed as a force protecting the natives. Do you think that, in defiling the land as they are, the Europeans are weakening this protection over the native people? Conversely, is the landscape weakening the Europeans?
-Leigh
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ReplyDeleteThe landscape becomes more of a creature than a character. The diction gives it characteristics that tell a story of foreshadow and mystery. We aren't greeted with clear skies or singing birds, instead Conrad displays a journey of murky isolation in which each character experiences an unique perspective alone. The diction in this novella also shows a lot of restriction within the character's senses--with words such as blinding, separate, gloom, stillness, and shadow. Conrad paints a picture that is literally covered in fog--could it be that the fog is actually a harbinger that Marlow and the others have become lost within the crossfire of civil vs. savage, causing them to become slowly less human and more primative?
ReplyDeleteThe landscape becomes more and more personified and it made me feel as if we are waiting on the forest itself to do something, or fight back. The diction shows the forest as this being trying to protect what it's losing- itself. He uses words like-- shadow and stillness-- and maybe Marlow is foreshadowing that something bigger is going on. I'm not sure what yet, but the forest is going to fight back.
ReplyDeleteAs Marlow journeys deeper into the heart of the Congo, the landscape becomes a living, breathing obstacle. Marlow describes it as "choking, warm, stifling" and says that being in the Congolese environment is like being "buried miles deep in a heap of cotton-wool" (Conrad 53). He feels oppressed by the fog that surrounds the steamboat; it blinds him to the world around him so that he has no control over what he can perceive. Nature is in complete control of his senses, and he must yield himself to her completely. In the same vein, Marlow's surroundings begin to take on a living and vaguely humanlike quality. He describes a sand bank as appearing "exactly as a man's backbone is seen running down the middle of his back under the skin" (Conrad 53). The landscape becomes Marlow's id, the base, instinctual part of his human existence, and as he gives himself up to nature, so does he give up his humanity in order to embrace the animalism of his nature. He cannot think clearly; he finds himself thinking of Kurtz with an obsession that defies human logic. The Europeans' attempts to control Africa are futile. In attempting to harness the land, they only find themselves caught within her. Africa is like a dormant beast who captures her prey through temptation rather than force. As Marlow journeys closer to her heart, he comes closer and closer to being caught.
ReplyDeleteI find the tone to be increasingly eerie as the crew progresses further into the "heart of darkness". Marlow mentions the "roll of drums" that sound at night and how the sounds would fade as dawn approached (Conrad 31). The supporting diction reveals that he is, in fact, clueless as to how his surroundings function--"we were wanderers on prehistoric earth" (Conrad 31). The landscape augments to the mysterious tone. Whereas the land changes with the excessive toil of laborers, the waters remain constant and memories drift away like Marlow's ship navigating the river.
ReplyDeleteI do not think that the landscape can be expressed as a character; rather, it affects the character of Marlow and those who voyage into the darkness. We see a Marlow that is now moving toward more oblivious diction, like "seemed" and "like", which exemplifies his inability to grasp what lies around him. "The earth seemed unearthly" (Conrad 32) is an oxymoron that captures the eerie tone and mysteriousness of the landscape. Thus, the landscape functions as a catalyst for a change in Marlow's persona.
In HoD the jungle acts as a mysterious an eerie character. Throughout the story the jungle is depicted as a character who "rejects" Marlow and his crew from the jungle.Conrad's dark diction gives the jungle an eerie, uninvited feel to it. As if the jungle is telling Marlow to leave. For example the thick fog always appears to prevent the crew from sailing up the river. Marlow states the "monstrous and free" land "looked at you with a vengeful aspect" which shows that Marlow and his crew were oblivious to the fact that they were not welcomed by the jungle. The diction and tone help set up the Nature vs Man conflict which exist in HoD. Will nature win?
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