HOD

Joseph Conrad was consumed with writing about the human condition and the underlying circumstances that drive humans to do the things they do. He recognized early on that the psyche can be an enhancer, a redeemer, and a destroyer. Heart of Darkness is not only a tale of Marlow’s self-discovery in the Congo, but one which exposes and redefines morality, amorality, and immorality. This moral ambiguity is a common thread throughout Marlow’s story deriving from his inconsistent moral standards relying on the activity of societal checks and cultural norms. On the other hand, Kurtz neither survives nor returns from the heart of darkness because he takes advantage of his surrounding and thus suffers from moral regression. Kurtz therefore represents the effect of Freud’s “uncontrollable personal needs” acting as the physical representation of Marlow’s unfulfilled desires.

HOD Question

Kurtz neither survives nor returns from the heart of darkness because he takes advantage of his surrounding. Using the ivory, human skulls, and the natives to exert his domination, Kurtz’s mentality is regresses. On the other hand, Marlow had societal checks on him so he was able to survive in the heart of darkness and come back as a “changed man”.

HoD Psychological Journey

Marlow begins his journey into the “Heart of Darkness” by creating a thick and ambiguous atmosphere. As a reader, I notice that the only things he had secured were his mission to meet Kurtz and his acute awareness and intelligence that would get him there. Consistently, Marlow makes comparisons between England and Africa, reminding the reader of their missions manifested by polarized attitudes. Faced with death, helplessness, and hunger, Marlow questions his leadership abilities and his existence on the mission, while having to confirm his morals every step of the way. For this reason, he admires the Chief Accountant for succeeding in adverse conditions. The Accountant's acceptance of responsibility motivates Marlow to reflect on his progress, but also to recognize the torture and mental pain inflicted by colonizers who claim to be bringing "light".

As Marlow travels further and further into the continent, he digs deeper into his conscience and that of Africa's inhabitants. As his sole purpose and psychological desire is to merely meet Kurtz, Marlow understands that the challenges he is faced with can best be navigated with his moral compass. That is why Marlow begins to see the importance of situational analysis.

The reader's journey into the "Heart of Darkness" is fulfilled by Marlow's unexpressed thoughts. By the choices he makes, Marlow conveys his personal principles to his readers, leaving them with a colourful tapestry of his subconscious, stung by memories of the Congo and exasperated by his hopes to meet his idol.

HoD P. 430 #6

This portrait strikes me as a woman bringing light to darkness, creating a path for those who follow behind her. At further glance, however, the woman's blind sight reminds the observer that her purpose is to lead the way without bias, judgment, or preference. Can this be true? Does the blindfold represent her lack of knowledge instead? In other words, it is the blind leading the blind into deeper darkness. Marlow will reveal this "dark" mystery. 

HoD P. 429 #2

Marlow opens his tale by insisting that the men reflect on the trials and tribulations of the Romans traveling from Europe ages ago. Appalled by the barbaric inhabitants, repulsive lifestyle, and depressing weather, the Romans’ endured a great deal for their current conditions because of their “Conquering mentality.” Hence the parallels drawn to Marlow’s story, one of colonizers seeking the African adventure. However, Marlow distinctly separates the Romans from himself by recalling their greedy objectives. I believe this challenge of taking what is necessary for self-indulgence rather than survival will become prominent in his personal narration into the Congo.  The story also suggests how the “Power of the situation” prevails, justifying man’s voracity, exposed by the pressures of endurance. 

Tone/Mood- Blog #8

Tone is the speaker's attitude, whereas mood is the reader’s feeling. These devices are therefore crucial to literature in order to familiarize and personalize the text, providing an emotional relationship to the reader. In “To His Coy Mistress”, Marvell’s tone shifts throughout the poem. Seeming romantic, the poet explains how his love for his mistress transcends time, "My vegetable love should grow Vaster than empires, and more slow". The reader expects the poem to be a progression of their mutual love and unwavering loyalty to each other. However, the speaker expresses urgency, with morbid descriptions of inevitable death, contradicting his previous claims about boundless and timeless love, "Nor, in thy marble vault, shall sound My echoing song; then worms shall try".  In lines 27, 29, and 30, the words "worms,” “dust,” and “ashes" alter the pleading (manipulative?) tone introduced through imagery associated with decomposition. These words firmly establish the crass reality of looming death, developing a melancholy tone. The jarring juxtaposition leads the reader to question the speaker's true desires regarding his lover. The matter becomes convoluted and the only solution is the passionate tone, devoid of genuine affection: "And now, like amorous birds of prey, rather at once our time devour". "To His Coy Mistress" begins with a tone of romance and tranquility but concludes with almost violent lust. In response to this tonal transition, the mood of the poem changes drastically. The reader is clued into the mood shift by obvious word such as “But” and “Now”. From sweet and romantic to sexual and tense, the reader responds to the man’s shift in mentality.

Diction- Blog #7

     Diction conveys emotions, intent, and point of view by the author. Evidently, diction is the key of exploration into Shakespeare's world. The playwright uses different types of diction to develop a character's thought process, intent, and desire. In his "To be or not to be" soliloquy, Hamlet weighs the value of life and fortune and suicide as an escape, further revealing his indecisiveness. He relates death to sleeping and by metonymy, claims that self-destruction is just a pleasant and extended rest. However, he stops at the realization that to sleep implies dreaming, and "in that sleep of death what dreams may come, when we have shuffled off this mortal coil, must give us pause." In other words, Hamlet, fearing to find himself in Hell should he commit suicide, discovers that his fear of the after-life prevents people with fortune to commit suicide.
     Therefore, diction is not only an essential foundation for a coherent Shakespearean plot , but also for the actors, who need to speak seeminly without effort in order for audience to become engaged rather than regard Shakespearan literature as archaic monotonous. To do so,  enunciation rather than pronunciation of Shakespeare is vital for the audience, as variation in tone will facilitate meaning and give depth to stark words rather than existing as a mere distraction. As evidenced above, analysis of diction, often minimized, leads to a crucial understanding of Hamlet's soliloquy, his character, and the entire play. Hence by firm belief that  diction is the actor on the stage of emotion, storytelling, and experience, namely drama.