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The Role of Women in Joseph Conrad's Heart of Darkness
Joseph Conrad's Heart of Darkness is more than a mere exploration of the harsh realities of European colonialism in Africa during the late nineteenth century. In fact, it is rich in symbolism as demonstrated by his negative portrayal of women. Conrad chooses his language well, for his prejudice towards women is easily recognizable. To him, women were nothing more than soft, delicate, and naive. However, Conrad's condemnation of women is no longer a valid interpretation of women in the 21st century; thus, we must overlook Conrad's invalid judgment of women and take a modernistic approach in scrutinizing the women's actual representation in Heart of Darkness. When looking at the role of women in Heart of Darkness through a twenty-first century perspective, it becomes apparent that these women represent parts of the European societies that were in the dark about the brutalities of colonialism. Conrad used Marlow to demonstrate his attitude towards the obliviousness of women, who paralleled the unawareness of the European society as a whole.
The Europeans' obliviousness was first seen in Marlow's aunt. Before Marlow departed from London, he visited his aunt, who talked about "weaning those ignorant millions from their horrid ways" (16). His aunt strongly believed that the Company's mission was to enlighten the Africans. Her knowledge about European colonialism was based only on her own assumptions. Marlow's aunt believed only what she chose to believe instead of seeing the real reasons for colonial pursuits. Marlow then goes to criticize women's mentalities: "It's queer how out of touch with the truth women are! They live in a world of their own [.....
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...ialist pursuits and trusted the integrity of those who carried out its mission. Revealing the reality of nineteenth century colonialism would have lead to the destruction of the economy. The only way to preserve it was to conceal all scrupling facts about European colonialism.
Works Cited and Consulted:
Brantlinger, Patrick. "Heart of Darkness: Anti-Imperialism, Racism, or Impressionism?" Murfin 277-298.
Conrad, Joseph. Heart of Darkness. Murfin 17-95.
Murfin, Ross C., ed. Heart of Darkness: Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives. 2nd ed. Case Studies in Contemporary Criticism. Boston: Bedford-St. Martin's P, 1996.
Smith, Johanna M. "'Too Beautiful Altogether': Ideologies of Gender and Empire in Heart of Darkness." Murfin 169-184.
Joseph Conrad's Heart of Darkness shows the disparity between the European ideal of civilization and the reality of it, displayed by the domination, torture, exploitation and dehumanization of the African people. Conrad often emphasizes the idea of what is civilized versus what is primitive or savage. While reading the novel, the reader can picture how savage the Europeans seem. They are cruel and devious towards the very people they are supposed to be helping.
In the 1900s novella Heart of Darkness by Joseph Conrad, the protagonist often encounters women at landmarks of his life. Charlie Marlow is a sailor and imperialist who sets out along the Congo River to “civilize” the “savages.” The novella begins with a crew on the Thames waiting for the tides to change. During their wait, a character named Marlow tells of his exploits on the African continent. In his recounted travels, Marlow meets other imperialists such as Mr. Kurtz, a man who is obsessed with the pursuit of ivory and riches. Like Mr. Kurtz, Marlow embarks across the African continent in hopes of earning both money and respect. One early critic of the novel, Edward Garnett, wrote in his review that “[Heart of Darkness] is simply a piece of art…the artist is intent on presenting his sensations in that sequence and arrangements whereby the meaning or meaninglessness of the white man in uncivilized Africa can be felt in its really significant aspects,” (Garnett). What Garnett fails to observe is that Heart of Darkness is not only an observation of “the white man,” but the white woman as well.
Joseph Conrad’s “Heart of Darkness” is the author’s most celebrated work. The book conveys the story of Marlow, who is a sailor on the ship. Marlow narrates the story describing particularly what he came across during his journey and experienced. When we look at the events that take place in the book, it is unquestionable that Women do not occupy a significant portion of the story; the story is predominately male dominated. However, does women’s lack of appearance make them minor characters? Or do women have a minor effect in the story? Having analyzed the book under the scope of “Feminist View”, we can answer these questions and say that women play considerable roles even though they occupy a small portion in the story. In my essay I will
"I don't want to bother you much with what happened to me personally,' [Conrad] began, showing in this remark the weakness of many tellers of tales who seem so often unaware of what their audience would most like to hear" (Conrad, 9). Heart of Darkness, Joseph Conrad's best-known work, has been examined on many bases more than I can possibly list here, but including imperialism, colonialism, and racism. I would reason that all bases of analysis are perfectly acceptable through which to critique Conrad's novella, or any piece of writing. I would reason this, were some of these bases mainly, racism not taken to an extreme level. In arguing racism, many critics seem to take Heart of Darkness as Conrad's unwavering view on Africa, Africans, life, or whatever else one may please to take it as. I, therefore, propose that Heart of Darkness be taken for what it truly is: a work of fiction set in late 19th century Europe and Africa.
Heart of Darkness by Joseph Conrad is one of the most widely recognized and acclaimed novellas written. But with fame and recognition comes controversy, which is clearly demonstrated by the broad interpretations of the book. Many people believe Heart of Darkness is racist, while others believe the book is perfectly civil. Chinua Achebe, one of Africa's most renowned novelists, strongly believes that the book is dehumanizing and racist; I agree with him, to a certain extent. Three of the most prominent ways that Achebe discusses Conrad’s racism is by the way the African people are portrayed, the African culture, and the comparison of Europe to Africa.
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* Conrad, Joseph. “Heart of Darkness” in The Norton Anthology of English Literature, M.H. Abrams, general editor. (London: W.W. Norton, 1962, 2000)
One interpretation of Marlow's relationship to colonialism is that he does not support it. Conrad writes, "They were not enemies, they were not criminals, they were nothing earthly now,-nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom" (p. 27-28). Marlow says this and is stressing that the so-called "savages", or Africans, are being treated and punished like they are criminals or enemies when in fact they never did anything. He observes the slow torture of these people and is disgusted with it. Marlow feels sympathy for the black people being slaved around by the Europeans but doesn't do anything to change it because that is the way things are. One can see the sympathy by the way that he gives a starving black man one of his biscuits. "To tear treasure out of the bowels of the land was their desire, with no moral purpose at the back of it than there is in burglars breaking into a safe" (p. 54). This statement by Marlow conveys that he doesn't believe that the Europeans have a right to be stripping Africa of its riches. He views the Jungles of Africa as almost it's own living, breathing monster.
In the tale Heart of Darkness, Kurtz, a European "White Knight", sets out on a crusade to win the hearts and minds of the lesser African people. Kurtz was ignorant of the degree to which Africa is dangerous, wild, timeless, feminine, unfettered by letters, religious, and vibrant. His love turns to rape when he discovers how unfitted he is to master the magnificent vitality of a natural world. The difference between Europe and Africa is the difference between two secondary symbols: the European woman who has helped to puff up Kurtz's pride and the African woman who has helped to deflate him.
At the beginning of the novel, the idea of light being a torch and beacon remains, but the purpose is no longer bright. Before Marlow reaches Africa, the Swedish captain remarks that “it is funny what some people will do for a few francs a month” (Conrad 10). The shining quest for civilising “savages” is reduced to the prospect of riches. Marlow has long realized that the company operates out of profit and is very hypocritical in its goals, thinking that the city it is located in is “a whited sepulcher”(Conrad 6). Nonetheless, Marlow is still a member of the society and considers himself “something like an emissary of light, something like a lower sort of apostle” (Conrad 8), despite realizing that they are not bringing any light. The doctor that checks up on Marlow suggests people change when they go to Africa, and this serves to foreshadow Marlow’s own later changes and perceptions.
Women have gained equality with men over the many centuries of the evolution of the modern western civilization. Hence, it cannot be overlooked that there still exist many literary examples of social disregard for woman potential. Joseph Conrad's "Heart of Darkness" exemplifies the Western patriarchal gender roles in which women are given the inferior status. Not only are women portrayed as being inferior to men, but Marlow's (the protagonist's) seldom mentioning of them in his Congo adventure narrative symbolizes his view of their insignificance. There is a total of five women presented in Marlow's narrative but only three of them are significant minor characters: Marlow's aunt, Kurtz's African mistress, and Kurtz's "Intended." The following essay will examine how the presentation of each of these three women in Marlow's narrative contributes to connecting events in the story.
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Conrad, J. (2006). Heart of darkness. In P. B. Armstrong (Ed.), Heart of darkness (4th ed., p. 50). New York London: Norton Critical Editions.
For the most part people who read Heart of Darkness by Joseph Conrad may feel that the novella is strictly a story of exploration and racial discrimination. But to Johanna Smith who wrote “’Too Beautiful Altogether’: Ideologies of Gender and Empire in Heart of Darkness” it is much more than that. Johanna Smith along with Wallace Watson and Rita A. Bergenholtz agree that throughout Heart of Darkness there are tones of gender prejudice, but the way that these three different authors perceive and interpret those gender tones are to a certain extent different.