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Psychoanalytic approach to heart of darkness by conrad
Psychoanalytic approach to heart of darkness by conrad
Conrad's Heart of Darkness and Dark Psychology
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Drawing the parallels between Jungian psychology and Conrad’s novella leads to the discussion of its relevance to Marlow; moreover, as aforementioned, Marlow’s journey in the interior of the Congo transposes into and facilitates his personal individuation, which as Jungian psychology contends, is an important factor in achieving homeostasis in one’s psyche. Failure to do so can lead to the manifestation of the shadow in the physical realm, which oftentimes presents negative consequences. In Marlow’s case, his shadow is personified by Kurtz; additionally, Jungian psychology contends that one ought to confront their shadow in order to actualize it and become enlightened. The amalgamation of this Jungian principle and Kurtz’s embodiment of everything Marlow detests including greed and lack of humanity leads to the …show more content…
Marlow recalls the “natural aversion [he] had to beat that shadow” (Conrad 84), alluding to Kurtz and acknowledging the fact that Kurtz represents his inner shadow. Additionally, he refers to Kurtz as a “wandering and tormented thing” (Conrad 84) which illustrates the empathy he holds for Kurtz. Conversely, he also holds a pugnacious attitude that is characterized by his desire to kill Kurtz. Marlow recalls how he had “some vague notion of falling upon [Kurtz] and giving him a drubbing” (Conrad 83), reinforcing the dichotomy that exists in Marlow’s psyche regarding Kurtz. By virtue of this dichotomy, it becomes important to realize the influence of such dichotomies in the psyche. Moreover, Jungian psychology contends that a tension of opposites exists within one’s psyche, and that creates a figurative “storm” within one self that can contribute to the heightening of the potency of one’s shadow. As such, Marlow’s ambivalent feelings towards Kurtz illustrates the diametrically opposed psyche he struggles
Marlow tells of a vision that he has on his way into seeing the intended. He says that he saw Kurtz on the stretcher opening his mouth voraciously as if to devour all of the earth with all its mankind2 and that he had seen. Kurtz as 3a shadow insatiable of splendid appearances, of frightful. realities, a shadow darker than the shadow of night,(72). This is a a real and vivid description of his feelings for Kurtz.
Both Marlow and Willard became obsessed with a man by the name of Kurtz. Marlow wanted to meet Kurtz very bad. He was so fascinated with his accomplishments that he...
In German “kurtz” means short. What Kurtz actually says is plain and terse, but appalling. It is not hidden behind words, but revealed within Kurtz’s own voice and scribbled in margins. However, it is the voiceless words, the written words, the lies, and not the note scribbled by his own voice that Kurtz asks Marlow to preserve. By wanting to preserve his report, Kurtz acknowledges the power of written words. He knows that besides Marlow’s memory, writing is the only thing that can begin to immortalize him. But, perhaps, Kurtz’s knowledge is meant to die along with his voice.
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
Nietzsche cringes before the civilization of Europe and seeks a man unencumbered by moral principles, principles that he believes form from the stifling existence of being surrounded by weaker beings. Nietzsche’s cry for a superhero is realized in the quest of Marlow in Joseph Conrad’s novella, Heart of Darkness. Marlow travels up the Congo River in Central Africa, driven by curiosity that morphs into raving monomania to find the premier Belgian ivory trader, Kurtz, a man seemingly distinguished from the hollow men of the Company, a man to make Nietzsche proud. But the average reader is not proud, as through Heart of Darkness Conrad displays for him the horror that lurks within his own soul through the flow of the story ever inward from the mouth of the Congo, to the Belgian ivory stations, to the innermost darkness, Kurtz himself. Conrad’s narration is as smooth as a stream with a barely perceptible current bearing readers along with his story in blissful contentment, only to be jostled suddenly by waves of uncomfortable fact, then let down into lethargy and sweet beautiful language again.
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.
One of the central tragedies of Joseph Conrad’s Heart of Darkness is the insanity of Mr. Kurtz. How could a man who seemed so good, so stable, suddenly become so mentally lacking? Through the deterioration of Kurtz’s personality and Marlow’s response to his breakdown, Conrad explores the elements of strong versus weak characters.
...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.
Carl Jung was a pioneer of psychoanalytic theory along with his former partner and mentor, Sigmund Freud. Though Jung split from Freud and diverged onto his own unbeaten trail of psychoanalysis two years before his decease, they are both highly revered for the myriad of ways in which they developed the understanding of the mind. Parallel to this period, Joseph Conrad penned and published the novella Heart of Darkness, which tackled much of what Jung had found about the psyche and its inner workings. In Heart of Darkness, both Marlow and Kurtz are representations of strong reoccurring archetypes within human myth, religion, and folklore. They work together to epitomize one of Jung’s Cores of Personality: the Principle of Opposites. The Principle of Opposites states that both sides of opposite pairs—good and bad, light and dark, joy and despair, et cetera—are present to complete the other. In this way, Marlow and Kurtz are opposite replications of each other in Conrad’s Heart of Darkness; they are doppelgängers that complete each other, as in Jungian theory.
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.
He even considers that he would have as soon expected such restraint from a hyena prowling amongst the corpses of a battlefield.... ... middle of paper ... ... Interestingly, Marlow and Kurtz are very comparable and several parallels can be drawn between them, yet their fates differ in the end. Kurtz’s fate is due to his lack of restraint, but Marlow’s restraint only saves his life for the time being.
...ters and foils of each other. Marlow could symbolize an innocent child corrupted by the world it lives in and Kurtz, the bully who took it upon himself to pick on the innocent kid. Marlow even aspires to be like Kurtz, had his perception not been distorted he may have found a different path leading to his fate. Mr. Kurtz tapered off into insanity, driven by the wilderness. Marlow, on the other hand, found himself, with his back to the jungle, looking over the edge of a cliff that would fall to insanity. Instead of doing as Mr. Kurtz had done and falling he turned around and left. Had Marlow lived in the Congo any longer he may have found himself the same place as Kurtz. Marlow saved himself from a trip aboard, in the words of Ozzy Osbourne, the crazy train
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.
...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.?
...il of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision,-he cried out twice, a cry that was no more that a breath- 'The horror! The horror!' "(Longman, 2000, p. 2240). This is what distinguishes the two men; Kurtz abandoned himself and went over the edge, but Marlow is aware of just how close he was to becoming what Kurtz was.