Boat And The Sea Isolation

Symbolism allows writers to suggest their ideas within a piece of literature. This is found in most types of writing. Stephen Crane expresses this in his short story, The Open Boat. Through symbolism and allegory, it is demonstrated that humans live in a universe that is unconcerned with them. The characters in the story come face to face with this indifference and are nearly overcome by Nature’s lack of concern. This is established in the opening scenes, the “seven mad gods” and in the realization of the dying soldier. The descriptions that Crane uses in the opening scenes illustrate nature’s lack of concern for their tragedy. He discusses the waves in the ocean that continually roll and crest. The waves are problems or

Suddenly, a man appears on shore stripping his clothes off and running into the water. The rescuer

By using a wide range of symbols, Joseph Conrad displays how the negative outcomes of European imperialism far outweigh the positive outcomes.

The unknown and uncharted topography of the African continent first beckoned Conrad’s narrator, Marlow, into its depths in his boyhood: “Now, when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration” (Conrad, 5). When Marlow was grown and Africa was no longer a blank space on the map, but rather “a place of darkness,” there was still one river there that drew him especially, “a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land” (Conrad, 5-6). This same deep place that had seduced Conrad’s ivory hunting Kurtz into the horrors of its savage embrace had, in 1890, lured Conrad himself into adventure that turned him from sailor to writer (Smith, 25) and severely effected his health for the rest of his life (Conrad,v). As the voyage up the Congo proved fateful for the development of Conrad’s narrator, Marlow, it was equally fateful for Conrad’s individuation, as he reflects in his letters “Before the

Nevertheless, the flag stands erect and flapping in the wind. On the right side of the piece, we view the exact magnitude of the storm through the “white wash” of the violent waves. Additionally, the sky to the right of the ship’s crow’s nest is lighter and hints of a sun trying to break through the lurking darkness. Despite the presence of other visual elements, what clearly connects is that the ocean, embellished and predominantly highlighted in the work, was Moran’s principal interest. However, the fact that something so fleeting as surging waves dominates the composition even to the visual expense and weight of an obviously colossal ship.

The main argument of the book ‘The Sea-Wolf’ is about opposing behaviors of human being depicted by the role of nature in revealing the inner self of a person. In this regard, London uses two of his main characters to demonstrate the distinct opposing sides of human beings. The first part is about Humphrey, who is a young Dutch struggling with his demons and difficulties in the sea as he hope to change his life and those of fellow crews . Humphrey is initially weak, rich and naïve, and with straight morals . Humphrey believes on fairness, compassion, and all through the story despite being close to the evil Larsen he refuses to follow his footsteps .

Marlow’s evolution renders ‘Heart of Darkness’ a remarkable work of literature, but it is not simply the budding of the narrator’s mind that makes the novel sensational. Marlow’s perception of the voyage is what truly renders the work exceptional. European expansion, as written by European writers, was generally cast in a positive light. When Conrad depicts the desolation of the journey and reveals the sanities and lives robbed through the conquest, he clearly does not conform to the writers of his time. This exposure of European expansion in such a sinister a fashion was innovative for writers of the late 17th century. This revolutionary perception is what truly allows ‘Heart of Darkness’ to be considered a novel rich in moral and detail.

First of all, in “The Seafarer” the writer discusses the internal conflicts he is having among the waves of the sea. Even though this self-chosen exile causes this man pain and sorrow, peace is not a common entity for him while on land. “The time for journeys would come and my soul/ called me eagerly out, sent me over/ the horizon, seeking foreigners’ homes.” (lines 36-38). The gallant mortal does not doubt that there is no fear among his heart, but his longing for the tides is far too strong to be confined to the dry, lifeless land. His experiences only bring him back to where he feels at home the most - the sea. “But there isn’t a man on earth so proud,/…/he feels no fear as the sails unfurl/…/only the ocean’s heave; But longing wraps itself around him.” (lines 39-47). The way he shows his fearful arrogance is an example again of his internal conflict.

In Joseph Conrad’s Heart of Darkness, the author fiercely challenges imperialism. Through this challenge, he demonstrates the internal battles of good and evil. In his work, he also displays issues of personal morals and alienation. At the time the novella was written, Europe had established territories across the map. It holds true that power corrupts and absolute power corrupts absolutely, especially when said power reigns over the fate of humans in society. Conrad illustrates the corruption of power through the books’ motif of darkness and the renegade of Kurtz.

     Conrad uses light and dark imagery to help create the setting for the story; light represents civilization while darkness suggests the uncivilized. The novel opens on the deck of a boat called the Nellie, as we are introduced to the

It is noticeable that elements of Joseph Conrad’s novella ‘Heart of Darkness’ is appropriated into Francis Ford Coppola’s film ‘Apocalypse Now’ however it is set in the jungles of Vietnam during the Vietnam War. As the title suggests, Conrad’s novel deeply explores the ‘darkness’ potentially inherent in people’s hearts. Heart of Darkness is set on the Congo River during the European occupation of Africa and was written in the 18th Century at the time of Belgian Imperialism. Conrad explores the effect of exploitation on humanity. Similarly, Coppola’s film explores the metaphorical ‘darkness’ in Vietnam that causes the ‘apocalypse’ in the soldiers’ hearts, when they were sent to Vietnam.

It’s easy to tell that the ocean is a mysterious and isolating place from all of the tragic tales we hear from sailors both real and fictional. Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and an anonymous author’s “The Seafarer” are quite similar in that they both revolve around said tragic tales told by sailors. However, there seem to be more commonalities between their themes, tones, and messages rather than their seaward-bound settings. But before we can discuss these similar settings and deeper themes, we have to tackle their origins.

The characteristics of Modernism are nowhere more prevalent than in his 1899 novel Heart of Darkness. It provides a bridge between Victorian values and the ideals of modernism. It is about a British seaman, Marlow, and his journey down the long River Congo into the darkness of Africa to meet up with and bring home his employer’s local representative, Kurtz. Heart of Darkness represents as well as any novel ever written the bleakness and cynicism that are characteristic of the Modernist movement. Conrad’s observations on the effects of European colonialism provided a full-scale view to the emergence of

Joseph Conrad’s Heart of Darkness is a novella that explores the greed and the suffering of the human race through the idea of corruption. The novella criticises European imperialism and the Victorian treatment of the foreign, causing humans to suffer. Through Conrad’s most savage critique of the facade of philanthropic intention and the criticism of his analysis of the Western domination from the Belgium Congo he condemns the corruption of truth. Conrad illustrates the western indifferences portraying the corruption of the Europeans attitudes of death and destruction and human suffering. The European’s corruption of greed manifests in the exploitation of the natives to serve the Europeans pursuit of ivory and ultimately suffer at the hands of the Western society in their avarice for prosperity and superiority. Ultimately Conrad is suggesting how both suffer within the hands of greed and human suffering.

       Conrad emphasizes the idea of what is real versus what is “dark,” what is civilized versus what is primitive, what colonizes versus what is colonized, repeatedly throughout Heart of Darkness.  As stated above, “real,” in this case, contains all the implications of a civilized society:  clothing which covers a person’s