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Example research essay topic: Heart Of Darkness Emphasis Added - 1,377 words

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HTML 1 DocumentEncodingutf- 8 Mistake Kurtz, in Heart of Darkness, is one of Korzeniowski's revenant's: He rose, unsteady, long, pale, indistinct like a vapour exhaled by the earth, and swayed slightly, misty and silent before me (64). Kurtz originates in the missed's of time after the brief attack by the natives, Marlow concludes that Kurtz is now missing vanished and confesses, in his most intimate moment, that his sorrow at this thought had a startling extravagance of emotion. Seized with lonely desolation, he feels as if he had been robbed of a belief or had missed [his] destiny in life (48). This sense of lack helps us understand why Conrad's Marlow was anxious to deal with this shadow by myself alone even though, he adds, to this day I dont know why I was so jealous of sharing with anyone the peculiar blackness of that experience (64). He is, so to speak, niggard of his narcissism: he cannot truly share experience, coming as it does out of his past, because, being known, it would no longer be his unique, individual, peculiar past, and he would then no longer be his present self. As an author unconsciously compelled now to write volume after volume (PR 18), he no doubt feels unconsciously compelled to protect his (self-) investment.

Besides, as Marlow says of his fellow man upon his return from the depths of Congo-Conrad's Inner Station, I felt so sure they could not possibly know the things I knew (70) and why? I had no clear perception of what it was I really wanted (71). Critics now commonly point to Marlow's nervous disorder at the end (hence, beginning) of the tale, but above that narrator (like the eye above the writing hand) is another who, paradoxically, writes so as not to be understood so to have the job, the occupation of going-on-not-being- understood and so as not to understand himself. The inner truth is hidden luckily, luckily (36). When this subtle psychological machine functions ('You are so subtle, Marlow [LJ 112 ]), Conrad has the pregnant satisfaction of experiencing the brooding gloom, gloom brooding whose inspiring presence he signals no less than five times at the beginning of Heart of Darkness. Later he confides to his old friend Edward Garnett, before everything switch off the critical current of your mind and work in darkness the creative darkness which no ghost of responsibility will haunt (11 Aug. 1920, Garnett 273).

But working with mystery, in darkness, in dream, unconsciously all my work is produced unconsciously (24 Sep. 1895, CL 1. 246) one rarely finds anything definite, words least of all. In The End of the Tether, for instance, a father decides on the name Ivy for his daughter because of the sound of the word, and obscurely fascinated by a vague association of ideas (174). The more duplicitous Marlow gives this challenge regarding Kurtz: I did not see the man in the name any more than you do (29). He draws attention to the name again with KurtzKurtzthat means 'short in Germandont it? (59). Well, yes, short, or brief, or concise, but the spelling is kurz.

One critic details similarities between Kurtz and Apollo Korzeniowski, beginning with the likeness of their names (Crews 522 fn. ), and another argues that, To call his villain Kurtz was to memorialize this phase of his life when he was not yet Joseph Conrad but still Konrad Korzeniowski name prone to be shortened to Kurtz (Ellmann 18). No evidence is offered for such shortening, but its hardly necessary given the texts clear suggestion of a curtailed Korzeniowski. The connection is pressing enough to be made earlier, as Marlow discovers on the copy of An Inquiry into Some Points of Seamanship by Tower, Towson some such name, a signature, but it was illegible not Kurtz much longer word (39) implying that the name at least began Kurtz Kor. (One might remark the pivotal role of the word cur in drawing together Marlow and Jim [LJ 94 - 102 ]). Conrad writes, anyway, that the name was as true as everything else in his life and death (59; never mind who it is: Konrad is as dead lives Apollo). I am missing innumerable shades, 3 says Marlow; they were so fine, so difficult to render in colourless words (LJ 112). Absence of color is absence of light, and in Heart of Darkness we hear the trick of using black, dark, colorless words to render some of the missing shades as with the women so dramatically absent from the narrative, for example.

Forgetting his Nietzsche, Marlow remarks that Its queer how out of touch with truth women are! (16). 4 Then, emphasizing the truth of the phrase crediting their being in the present (women are), he continues: They live in a world of their own and [shifting graphemes] there [shifting tenses] had never been anything like it and [arrogating perspective] never can be. Their world which he imagines is too beautiful altogether, and if they were to set it up it would go to pieces [emphasis added]. To appreciate the pun which then follows, note that Conrad had already written a female acquaintance that [w]omen have a more penetrating vision, and a greater endurance of lifes pervers ities (27 Jan 1897, CL 1. 334): Some confounded fact which we men have been living contentedly with ever since the day of creation, would start up and knock the whole thing over (emphasis added). The confounded fact, it seems, is patriarchy itself. In an adjacent pun, Marlow remarks that to his aunts eyes, It appears however that I was also one of the Workers, with a capital you know (15). What we know is that with no Capital he is, following Marx, a Worker indeed.

Though considered by his aunt something like a lower sort of apostle, Marlow casts off the prophet-motive by venturing to hint that the Company was run for profit (16). The way to the realm of the missed lies beyond the door of Darkness (14). To get to his story Marlow comes to a city that always reminds me of a whited sepulchre (13), and passes through narrow and deserted streets to arrive at a house as still as a house in a city of the dead (14). Slipping through a crack, he ends up before two women dressed in black, whose knitting has for some critics associated them with the first two fates, Lachesis and Clotho, though their activity might equally evoke one of Conrad's fantasies of it: a universal knitting machine which knits us in and it knits us out. It has knitted time, space, pain, death, corruption, despair and all the illusions and nothing matters (20 Dec. 1897, CL 1. 425).

One knitter wore a starched white affair on her head and seems to know all about Marlow since, he reports, An eerie feeling came over me. She seemed uncanny and fateful. Often far away there [appropriately weird syntax] I thought of these two, guarding the door of Darkness (14). The uncanny, Freud argues, comes from experiencing, dimly perceiving, our compulsion to repeated certainly Conrad's narrator has been nearby this door before (in 1869) and will be there again (in 1914). In Poland Revisited (1915) the author relates how a return visit to Cracow the previous year brought back the memory of a small boy of eleven, beset by a private gnawing worm of my own at the time of my fathers last illness (223). Recalling his return from school each evening he continues: I walked all the way to a big old house in a quiet narrow street.

There, in a large drawing- room, panelled and bare, with heavy cornices and a lofty ceiling, in a little oasis of light made by two candles in a desert of dusk, I sat at a little table to worry and ink myself all over till the task of my preparation was done. The table of my toil faced a tall white door, which was kept closed; now and then it would come ajar and a nun in a white coif would squeeze herself through the crack, glide across the room, and disappear. There were two of these noiseless nursing nuns. (223 - 24)


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Research essay sample on Heart Of Darkness Emphasis Added

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