Marlow ironically criticizes the essence of the relation between European and African. The narrator does so by creating a indifferent tone, in order to accentuate the banal manner in which cruelty took place during the colonialist period. As seen at the start of the chapter, Fresleven, a Danish sailor brutally murders a native individual for a feeble cause. The notions implemented within the narration relate to white men having incited acts of non-justifiable violence, which in return contradict the principles of their initial mission. Indeed, in the passage, several black men are chained up, seen through the usage of the term “chain-gang”. The black man was considered essentially portrayed as the “nemesis”, however Marlow demonstrates his skeptical vision of the situation by valorizing, the illogical faculty of this political system: “These men could by no stretch of imagination be called enemies. They were called criminals”, an emphasis on the corruption of the presumed order is created, as Marlow realizes the violation of all forms of justice. Above all, the man in charge of the chain-gang is European as well, an image of the perversion of white men as well as the immoral complicity, due to illusions of dominance and power, between them. This passage epitomizes Marlow’s first realization of the existing relation between both opposing groups of individuals. He does so by firstly, criticizing and mocking the essence of the white man’s principle: “After all, I also was a part of the great cause of these high and just proceedings”, in this citation he discovers the hypocrisy of Europeans as well as his by simply being a part of the imperialistic movement as well. Secondly, Marlow dictates a strong contrast between two types of devils in the world: the devils of violence, greed, and hot desire are an image of the white man’s utter immoral presence on the African continent, in the illogical nature of his acts, his want yet impossible control over all objective elements, as well as his dark desire to attain in. However, the narrator opposes this satanic entity to the flabby devil, an individual, characterized as being blinded by illusions of higher principles. Concretely, Marlow implies that such an individual has no use over his reason; therefore he lives in his lost sense of humanity which intensifies the actual bestiality of his perverted mind. Marlow however characterizes himself as being in complete disdain, the psychological mutation within him is taking place.
Monday, January 31, 2011
Sunday, January 30, 2011
Sheet of the Week 1/31
A few reminders/developments for the upcoming week:On Monday, we will fill in the rest of Part 1 of Heart of Darkness, concentrating on Marlow's observations of both the Congolese and the Europeans in Stations 1 and 2.
On Wednesday, we will spend the first hour doing the close reading annotation we'd proposed to do last Thursday. You are required to read part 2 and write an RR for Wednesday. (We'll talk a bit more about options tomorrow...) We'll plunge into our discussion of part 2 in the second hour.
Remember also that you were supposed to post a portion of your reader response on the blog. Please do so immediately, if you haven't already. I'll ask you to do the same for your second response. You are also accountable for writing a response to one student's post, for each rr.
Enjoy your evenings!
RR: Heart of Darkness
As Marlow arrives to the First Station, we can already tell that the atmosphere is not pleasant, “an undersized railway-truck lying there on its back with its wheels in the air…the thing looked as dead as the carcass of some animal”. The railway-truck is used as a metaphor to describe the environment that Marlow is seeing, which are “dead animals”. The diction in this passage is negative and dark, “dark things, smoke, war, enemies, deathlike, devil, greed, violence, Inferno.” The way I imagine what Marlow is describing this place to be is an image of a hell-like place. He perceives the station to be this horrible place of violence and when he wants to get away from it by “going under the trees for shade” he realizes that he is in a place of no good. When Marlow encounters the six men, “they walked erect and slow, black rags were wound round their loins, I could see every rib, the joints of their limbs were like knots in a rope; each had an iron collar on his neck, and all were connected together with a chain”, it is revealed that they are treated like animals, chained together with iron collars around their neck. Marlow doesn’t understand how these people can be called enemies, when they are treated as criminals in their own country. These six men pass Marlow with “deathlike indifference of unhappy savages”, which suggests these men are treated like animals. In addition, we know that Marlow is completely horrified by what he sees because he says, “I’ve seen the devil of violence, greed and hot desire…But…” the conjunction “but” shows Marlow’s change in emotion and that this place is in fact the “heart of darkness” controlled by men with no morals. As Marlow is completely appalled with what he sees, he seeks a place to go away from all this nonsense and finds a hole and Marlow realizes that he has stepped into a “gloomy circle of some Inferno”.
Saturday, January 29, 2011
RR#1 Hear of Darkness (Option B)
Marlow’s aunt: Marlow talks about his aunt in the beginning of the novel, stating that it was her influence that led him to obtain this job; becoming skipper of a river steamboat. Marlow’s aunt had friends in the Company’s administration and thus used her connections to let her nephew Marlow obtain a job in the Company, after the death of one of the Company’s captains in Congo. It seemed like Marlow’s aunt loved him and wanted to do anything that would make him happy. Marlow shared that same feeling at first and was anxious to go to Congo, after being appointed quickly following Fresleven’s death and following the request made by his aunt. She doesn’t play a big role in the novel, except for the fact that she is the one who allowed and made possible for Marlow to be able to go on his adventure to Africa and meet Kurtz. Without her, it would have been harder for Marlow to have obtained this position and achieve his aspirations and there would have not been a story maybe, or at least things would have been very different and more complicated for him. Marlow’s aunt made matters easier for him, using her influence to get him a job.
Marlow changes a bit his opinion of his aunt when he goes to tell her goodbye and when she tells her nephew that hopefully he will help in civilizing the population of Congo except the fact that she used harsher words, making Marlow “uncomfortable” and labeling his aunt like women in general in Charles’ opinion as out of touch with truth. It is a bit of a critique as Marlow seems against Imperialism so his aunt’s words didn’t really make him happy. Marlow’s aunt also plays a motherly figure to him, worrying about him. She plays her role well as an aunt or a mother.
Darkness
So far in Joseph Conrad’s “Heart of Darkness”, we as readers are still left to speculate what “darkness” is referred to in the title of the book. There is no lack of the word itself; however darkness and somber tones are used throughout the book to describe an entire range of objects and concepts, leaving us unsure of which usage of the term is the important one.
Darkness can be found in the wool of the old women in Brussels, in the skin color of the slaves, in the night, in the undergrowth of the Jungle trees at night and all around [...] Kurtz. [...] darkness is omnipresent through the tone of the narration, linking these separate themes together.[...] there is a certain passivity and restraint to the character’s (Marlow’s) tone and actions in the face of such animated events. [examples]. This passivity of character is also accompanied by the length of time in this book; [...]. Through this dark narration, all the dark attributes of the Congo seem to blur together into a single overhanging gloom that is ever present. These elements are never as closely brought together as when Marlow questions: “What was in [the wall of matted vegetation]? I could see a little ivory coming out of there, and I had heard Mr. Kurtz was in there.” (p.32)
The darkness could also be interpreted as the absurdity that is ever present: the lack of clear goals and directions, the absurd shelling of the continent by the ship; the blind leading the blind, or more precisely the blind leading themselves. [...]. These incoherencies further reinforce [...] the “overall darkness” of the book.
Therefore, it is my opinion that darkness in this book is not brought in by a single defined dark entity but by a collection of dark subjects, situations, places and people which together form the Congo. [...].
Friday, January 28, 2011
The French Man of War
French Man of War
Marlow comes upon the French man-of-war when he is still on the coasts of Africa and has not yet reached the first station. This ship was considered the most powerful type of armed ship from the sixteenth to the nineteenth century. Its presence in "the empty immensity of the earth, sky, and water" (p.16) is thus a contradiction to its usual activity: the contrast between the object within the landscape creates an antithesis through imagery. It is clearly not in its rightful place and has no true reason to be here. Beyond the comical appearance of this odd situation, there lies a darker message about the role of Europe within Africa. The "incomprehensible" feeling that emanates from Marlow when discovering the ship reflects how profoundly disturbing its action really is. It fires bullets in an empty land, deranging everything around, yet "nothing happened". It perseveres in a fruitless and cruel enterprise, which only consists of destroying its surroundings. The men claim that its goal is to kill the "enemies" that are hidden somewhere; yet there is no proper evidence of their guilt. This man of war is the symbol of the Europeans' exaggerated parasitical power within the African continent, desiring to control every part of the land using the tool of destruction. However, "nothing could happen": in the end, no matter how much power they appear to have, their bullets never reach the natives. They may have colonized the land, but the essence and culture of the people remains untouched.
Thursday, January 27, 2011
Papier-maché Mephistopheles
Although Ann-Sophie has just posted her interpretation of the papier-maché Mephistopheles, I too wanted to contribute my take on the comparison.
The papier maché Mephistopheles is an interesting comparison. The allusion is to the legend about the damnation of Faust, where Faust is a character who trades his soul to devil in exchange for limitless knowledge. Faust's pact is an act of ignorance, especially in its irony in which Faust was actually seeking more knowledge. Mephistopheles in the legend is a messenger or representative of the devil who meets with Faust to seal the pact, and serves his end of the bargain for 24 years. Also, papier maché is a material that can be molded and hardens when dry. In this case it seems that the so-called Mephistopheles is a manipulated character who then will serve the same purpose as the Mephistopheles as the one in the old German legend. The scene that Marlow describes evidently makes him out to be Faust and the other man (I forgot who he is) is Mephistopheles. Marlow had said before on page 25 "I fancy I see it now." The note talks about some kind of plot to eliminate Kurtz, who was next in line to become manager of the Station. Marlow apparently feels himself being dragged into this so-called plot as Faust.
Wednesday, January 26, 2011
The papier-mâché Mephistopheles
Hi everyone!
The papier-mâché Mephistopheles
The papier-mâché Mephistopheles is the name Marlow gives the brick-maker of the Central Station. He, at first glance, appears to be a kind soul, but it doesn’t take long for Marlow to discover that he isn’t: he is a “devil”, more than an enabler or the grim-reaper, but less than Lucifer (who, I anticipate, is Mr. Kurtz himself). This is therefore the second level of the “Inferno”. He is in papier-mâché because he is not real, though he could very well be: he is not really Mephistopheles, merely because he wants to be wants to be this type of character. They have the same traits but the difference between them is that the actual character of Mephistopheles is not discovered, whereas Marlow perceptively calls the brick-maker out in his mind, though the latter is very stealthy and smug in his position of power. Furthermore, Marlow claims:
“[…] and it seemed to me that if I tried I could poke my forefinger
through him, and find nothing inside but a little loose dirt, maybe.” (31)
The brick-maker therefore not only has an agenda, but is not even “pure” enough to be entirely composed of dirt. In terms of substance, purity (that is, complete dedication of a specific ideal, for instance), and allegiance, he has nothing to offer. He is made of “a little loose dirt” not only because he is “dirt”, but because his existence is not even worth being in possession of a lot of it. The papier-mâché Mephistopheles is but a shell. His role is, not to corrupt white men who enter the Congo, but to further their corruption, for he sees it in their souls (the proof is that they are physically on the continent in search for glory, money, and such): he pushes them to accept the horrid conditions in the Congo for his benefit and to assert his influence on incoming men.
Saturday, January 22, 2011
Sheet of the Week 1/24 (Revised and Updated!)
It's been a while since we've all been blogging, but now that the Bac Blanc's done, it seems a good time to virtually re-convene...
A few things to look forward to this week:
Monday: Shakespeare Contest! Meet in the auditorium to watch and cheer on your fellow students for the annual Shakespeare contest. From Falstaff to Lady Macbeth, there should be something for everyone.
Wednesday and Thursday we'll continue Heart of Darkness. By Wednesday you should have finished reading section 1, and should complete one of the two options for the readers response. I have high hopes that once you actually get into the novel yourselves, you'll begin to see a difference in your understanding and interest. I know it's not easy, but it's a book for which effort definitely pays off. And since it's one of your oral texts, you NEED to plunge in...
To that end, I'm going to ask that you post 15-20 lines of your readers response on the blog (a paragraph or two, an interesting point or question) by Friday. I'll then ask you to respond by the following Wednesday to at least one of your colleagues on the blog as well. You'll get a grade for both the RR and the response.
On Thursday, I will be away at a conference, but will have you work in pairs to begin developing an oral close reading on an excerpt from the text (with a little help from the sub, who will facilitate). You'll be turning in the outlines at the end of class, just so I can keep track of where you are and provide help on my return.
In the meantime, enjoy your Sunday. It's not the Superbowl yet, is it??
Monday, January 3, 2011
Review of Broadway production of Streetcar
Okay so I found this review on the New York Times website as I was researching Tennessee Williams. I made an account and copy pasted the article since you have to have be registered to see it. I thought it might be a little helpful for the synthesis question or just in general. SO HERE YA GO :)
December 4, 1947
By BROOKS ATKINSON
ennessee Williams has brought us a superb drama, "A Streetcar Named Desire," which was acted at the Ethel Barrymore last evening. And Jessica Tandy gives a superb performance as a rueful heroine whose misery Mr. Williams is tenderly recording. This must be one of the most perfect marriages of acting and playwriting. For the acting and playwriting are perfectly blended in a limpid performance, and it is impossible to tell where Miss Tandy begins to give form and warmth to the mood Mr. Williams has created.
Like "The Glass Menagerie," the new play is a quietly woven study of intangibles. But to this observer it shows deeper insight and represents a great step forward toward clarity. And it reveals Mr. Williams as a genuinely poetic playwright whose knowledge of people is honest and thorough and whose sympathy is profoundly human.
"A Streetcar Named Desire" is history of a gently reared Mississippi young woman who invents an artificial world to mask the hideousness of the world she has to inhabit. She comes to live with her sister, who is married to a rough-and-ready mechanic and inhabits two dreary rooms in a squalid neighborhood. Blanche- for that is her name- has delusions of grandeur, talks like an intellectual snob, buoys herself up with gaudy dreams, spends most of her time primping, covers things that are dingy with things that are bright and flees reality.
To her brother-in-law she is an unforgiveable liar. But it is soon apparent to the theatregoer that in Mr. Williams's eyes she is one of the dispossessed whose experience has unfitted her for reality; and although his attitude toward her is merciful, he does not spare her or the playgoer. For the events of "Streetcar" lead to a painful conclusion which he does not try to avoid. Although Blanche cannot face the truth, Mr. Williams does in the most imaginative and perceptive play he has written.
Since he is no literal dramatist and writes in none of the conventional forms, he presents the theatre with many problems. Under Elia Kazan's sensitive but concrete direction, the theatre has solved them admirably. Jo Mielziner has provided a beautifully lighted single setting that lightly sketches the house and the neighborhood. In this shadowy environment the performance is a work of great beauty.
Miss Tandy has a remarkably long part to play. She is hardly ever off the stage, and when she is on stage she is almost constantly talking- chattering, dreaming aloud, wondering, building enchantments out of words. Miss Tandy is a trim, agile actress with a lovely voice and quick intelligence. Her performance is almost incredibly true. For it does seem almost incredibly that she can convey it with so many shades and impulses that are accurate, revealing and true.
The rest of the acting is also of very high quality indeed. Marlon Brando as the quick-tempered, scornful, violent mechanic; Karl Malden as a stupid but wondering suitor; Kim Hunter as the patient though troubled sister- all act only with color and style but with insight.
By the usual Broadway standards, "A Streetcar Named Desire" is too long; not all those words are essential. But Mr. Williams is entitled to his own independence. For he has not forgotten that human beings are the basic subject of art. Out of poetic imagination and ordinary compassion he has spun a poignant and luminous story.