Compare And Contrast Heart Of Darkness And Kurtz

Kurtz has become corrupt and his obsession with ivory seems to have overcome his morality. He has gained the loyalty of the natives, and has convinced them to be his followers by scaring them into it. He has no mercy for anyone. He puts the savages' heads on a stake if they rebel against him. When Marlow arrives at the camp and sees these severed heads on sticks he says, ."..that was only a savage sight, while I seemed at one bound to have been transported into some lightless region of subtle horrors, where pure, uncomplicated savagery was a positive relief, being

When the Russian was talking to Marlow, he said, "’I offered to go back with him. And he would say yes-and then he would remain-go off on another ivory hunt-disappear for weeks-forget himself amongst these people-forget himself-you know’"(Conrad 56). Once Kurtz got into the wilderness, he spent a lot of time by himself. Even when the Russian offered to go with, Kurtz would still go off on his own to do his ivory hunting. Marlow even saw the isolation in Kurtz’s life. He said, "’There was nothing either above or below him-and I knew it. He had kicked himself loose of the earth. Confound the man! he had kicked the very earth to piece. He was alone’"(Conrad 65). Marlow knew that Kurtz was alone in his life since he lived in the wilderness. He knew that no one really knew who he really was, "’He was alone’"(Conrad 65).

An interpretation of Marlow's changing feelings towards Kurtz is that he ends up being disgusted and

As the story continues, Marlow meets Mr. Kurtz who represents the id. Kurtz has submitted to the id and is not ashamed of it: “You can’t judge Mr. Kurtz as you would an ordinary man” (135). Marlow and others couldn’t judge him for the things he did because he was so far removed from society and traditional civilization that his id became unbalanced which is why Kurtz is characterized as being “sick”. When Kurtz says “The horror! The horror” it shows that his ego has achieved balance. Kurtz is

Conrad’s distinguished style emerges in this scene as he utilizes fragmented sentences and poetic imagery to recount Marlow’s venture to Kurtz’s house. Marlow’s encounter begins with a detailed sentence that has a slow, meditative rhythm, but creates suspense by the addition of interruptive phrasing. Conrad writes, “The woods were unmoved, like a mask—heavy, like the closed door of a prison—they looked with their air of hidden knowledge, of patient expectation, of unapproachable silence.” The author succeeds in creating an uneasy, wary sensation in the atmosphere as the short fragments of the description produces natural tension. “Of patient expectation” and “of unapproachable silence” are crucial to the scene as the phrasing generates cadences that suggest the need for hesitation. The author’s use of phrases rather than long sentences is a functional mechanism that allows for the generic emotional response of fright and punctuates a sense of urgency in the reader. In addition to Conrad’s production of tension, he also creates melodrama through his utilization of poetic imagery. In the scene above, Conrad uses descriptions that are eloquent and hypnotic in contrast to the disturbing topics he is discussing. The author writes, “ and there it was, black, dried, sunken, with closed eyelids—a head that seemed to sleep at the top of that pole.” The sentence has a melodic stylistic form employed by Conrad, but describes the grotesque, shrunken heads of natives decorating Kurt’s house. This

    Joseph Conrad's Heart of Darkness is full of oppositions.  The most obvious is the juxtaposition of darkness and light, which are both present from the very beginning, in imagery and in metaphor.  The novella is a puzzling mixture of anti-imperialism and racism, civilization and savagery, idealism and nihilism.  How can they be reconciled?  The final scene, in which Marlow confronts Kurtz's Intended, might be expected to provide resolution.  However, it seems, instead, merely to focus the dilemmas in the book, rather than solving them.

Marlow has been an explorer and a dreamer his entire life; he says that he would “look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration” (Conrad 8). These vocations are fostered in modern 1890 Europe. This European mindset leaves the reader with little surprise that Marlow soon idolises Mr. Kurtz to be something of a legendary figure who exemplifies the proper conduct and attitude of an European adventurer in the ivory trade. Marlow becomes entranced by the many descriptions of Mr.

At the end of his journey he realized the reason that everyone who went on this expedition was trying to make their fortune and that is how Kurtz eventually died. His “appetite for more ivory had got the better” of him. No matter what the cost to himself and the people around him, he was going to be the best and get the most money. His selfishness eventually caused his death when the manager downstream would not send food because he hoarded all of the ivory all to himself. Marlow knew that Kurtz was very serious about his job when he saw “heads on the stakes” in front of his house. Which could have been a warning to other people who try to come get his ivory. But the interesting part was most of the heads are faced toward his house. Kurtz wanted attention and loved to have power. These heads could be there to adore him just like the natives when he was with them. Kurtz search for power and wealth left in its wake death and destruction, showing that humanities quest for wealth leads to destruction.

The final thing Kurtz had an affect on was the other characters development; specifically Marlow’s. Marlow spent his journey on the Congo listening to so many stories about Kurtz that he becomes obsessed with meeting him. At one point in the story, Marlow finds out there is a possibility that Kurtz is dead and he admits that, “For the moment that was the dominant thought. There was a sense of extreme disappointment, as though I had found out I had been striving after something altogether without a substance” (41). When Marlow finally meets Kurtz he is a little disappointed. He finds out that Kurtz actually isn’t as amazing as he expected. Marlow is thrown a back but doesn’t give up complete hope. When Kurtz dies, and says his final words, Marlow realizes that

     The film also depicts the character of Kurtz in a very different light. Conrad builds up the appearance of Kurtz so much that his first scene is intentionally anti-climactic. He is discovered to be an ailing, elderly gentlemen, malnourished and on the verge of death. Marlow himself is simultaneously impressed with and disappointed by Kurtz. He enjoys listening to the old man’s philosophies, but he is let down by Kurtz’s lack of realistic thinking. He has clearly lost his mind, and with it, some of his credibility and mysticism.

Mr. Kurtz was the "chief of the inner station" (Conrad, pg. 28). He was "in charge of a trading post, a very important one, in the true ivory country." Kurtz sent in "as much ivory as all the others put together" (Conrad, pg. 22). The company described him as the "best agent, an exceptional man, of the greatest importance to the company" (Conrad, pg. 25). Kurtz went to the jungle for many reasons, but mostly to make money to return to Europe and marry his intended. Marlow "heard that her engagement with Kurtz had been disapproved by her people. He wasn't rich enough or something." He had given Marlow "some reason to infer that it was his impatience of comparative poverty that drove him out there" (Conrad, pg. 74). He had been driven into the jungle to procure money for the company and for himself and for his life with his intended. Greed is what kept him out there so long and clouded his mind regarding thoughts of nobility.

In Heart of Darkness, Marlow and Kurtz have many similarities. Perhaps the most apparent and literal similarity is the likeness of their journeys. Both men journey farther and farther into the African jungle. Kurtz, however, is driven to

 Marlow's journey leads him in an urgent search for Kurtz, the one man who can provide him with the truth about himself. Like Marlow, Kurtz came to the Congo in hopes to bring "light" and civilization to a backwards society. He is a highly-educated, refined gentlemen; yet, in the end, the brutal nature of the Congo forces him to resort to the life of a murderer and pilferer. The name Kurtz itself has symbolic meaning. "The physical shortness in Kurtz implies a shortness of character and spirit" (Heart of Darkness: A systematic evaluation). Marlow and Kurtz both symbolize the two conditions of human nature. "Kurtz represents what man could become if left to his own intrinsic devices outside protective society. Marlow represents a pure untainted civilized soul who has not been drawn to savagery by a dark, alienated jungle." (Heart of Darkness: A systematic evaluation). When the two come face to face, each man sees a reflection of what he might have become in the other. In Kurtz, Marlow sees the potential

Kurtz's whole orientation in the Congo was based on the quest for ever-increasing quantities of ivory. In this lay the weakness of Kurtz, for he wanted something, unlike his Russian companion. Kurtz's intelligence, his ideas, and his plans, were captive to his status as ivory gatherer. Kurtz's rejection of the validity of the 'unsound method' was not the problem. The problem with Kurtz, which Marlow does not realize, is not that Kurtz went native, but that he did not go native enough. In other words, Kurtz did not abandon the ivory-fetish. Kurtz's link with colonialism is therefore his undoing, even in the individual decay he undergoes.

 At first Marlow was speechless to finally have met this seemingly "idol." Yet, after having spent time with Kurtz and getting to know his character, Marlow finds out for himself that Kurtz really was not the person that the stories had described him to be. Heart of Darkness is an accurate example of how stories can be a negative impact upon an individual. An accumulation of false information can be deceiving, as well as, misgiving- and in Marlow's case, disappointing.