The Mind of Man in Heart of Darkness by Joseph Conrad Essay

The id is the unconscious part of our mind that "contains our secret desires, darkest wishes, (and) intense fears" ("Psychoanalytic Criticism" 2). The id is entirely irrational and serves only to fulfill urges and wishes that the person most desires. The superego is also unconscious and is driven by the morality principal. It "represents the demands of morality and of society" (Mullahay 39). The superego urges us to do what will be accepted by our peers and by society. It can be compared to our conscious in the sense that it drives us to do what is right so that we won’t feel guilt or remorse. The third part to the trio is the ego, which is based solely on logic and rationality, and is part of the conscious mind. The ego "represents reason and sanity" and makes sensible and logical decisions even though these decisions may not fulfill all of our desires (Mullahay 36). "The ego (can be called) the battleground for forces of the superego and id" in that it "regulates (the) id and comes to terms with (the) superego" ("Psychoanalytic Criticism" 2).

    Literature is never interpreted in exactly the same way by two different readers. A prime example of a work of literature that is very ambiguous is Joseph Conrad's, "Heart of Darkness". The Ambiguities that exist in this book are Marlow's relationship to colonialism, Marlow's changing feelings toward Kurtz, and Marlow's lie to the Intended at the end of the story.

The id, the ego, and the superego are parts of the mind that work together to create behavior and personality. There is always an ongoing conflict between the id and the superego that the ego has to negotiate. The id is the “child” part of one’s personality. This is the little voice that says “I want it now.” When people do things on impulse or think only about receiving satisfaction, the id is in control. The egos function in the mind is reasoning and can be considered the “adult” part of the brain. The superego is the “moral” part of the mind that strives for perfection and enforces parental and societal rules. All three parts of personality, id, ego and superego, need to be well-balanced to have good mental health.

As the Heart of Darkness snakes its way into the savage shadows of the African continent, Joseph Conrad exposes a psycho-geography of the collective unconscious in the entangling metaphoric realities of the serpentine Congo. Conrad’s novella descends into the unknowable darkness at the heart of Africa, taking its narrator, Marlow, on an underworld journey of individuation, a modern odyssey toward the center of the Self and the center of the Earth. Ego dissolves into soul as, in the interior, Marlow encounters his double in the powerful image of ivory-obsessed Kurtz, the dark shadow of European imperialism. The dark meditation is graced by personifications of anima in Kurtz’ black goddess, the savagely magnificent consort of the underworld,

At the beginning of Marlow’s journey his aggressively states he hate of liars and hypocrites, yet at the end Marlow lies to Mr. Kurtz fiancé, “But I couldn’t. I could not tell her. It would have been too dark- too dark altogether… (Page 72).” The journey changed this aspect of Marlow’s personality. As Marlow faces the horrors of the Congo River he learns that some lies are necessary to spare others. In How To Read Literature Like a Professor, the author Thomas C. Foster states, “Okay so here’s the general rule: whether it’s Italy or Greece or Africa or Malaysia or Vietnam, when writers send characters south, its so they can run amok… if we’re being generous, that they can run amok because they are having direct, raw encounters with the subconscious (Foster, 179).” As Marlow travels down the Congo River he continues to here about Mr. Kurtz and he begins to relate himself to Kurtz. As Marlow’s journey continues he begins to realize that Kurtz is crazy. As marlow begins to realize that As that happens Marlow begins to connect himself to Mr. Kurtz but as he continues to relate to Kurtz he begins to realize hat Kurtz is not the man Marlow believed him to be. This realization of how Mr. Kurtz is subconsciously hurts Marlow because Marlow saw himself and Kurtz as kindred spirits and no that Marlow sees that Kurtz is a horrible person

Furthermore, when Marlow first arrives at the Central Station, he spots the manager. “His eyes, of the usual blues, were perhaps remarkably cold, and he certainly could make his glance fall on one as trenchant and heavy as an axe” (Conrad, “Chapter 1,” Paragraph 52). Consequently, after Marlow states that the manager's eyes are very intense, it appeared as if the manager transpired someone who was quite aggressive and very scary. Correspondingly, the characterization of the manager continues to be as someone who invigorated anxiousness, “he was obeyed, yet he inspired neither love nor fear, nor even respect. He inspired uneasiness” (Conrad, "Chapter 1,” Paragraph 52). Not to mention, although he inspired uneasiness and anxiousness, Marlow describes the manager as someone who occurred to be an extremely uneducated person that sustained the manager profession owing to the fact that he was never unhealthy. “He had no learning and no

In his story A Long Way Gone Ishmael Beah struggles to balance his id, ego and superego during his time of recovery at UNICEF’s rehabilitation center. The id, ego, and superego are terms that Sigmund Freud introduced to explain differences in the unconscious mind. The id is of the unconscious the part of our minds in which our drives towards pleasures and bodily needs, such as self preservation, aggression, and sexual urges are found this unconscious part is the primary of the unconscious this is is also primitive. I like to think when eating a cake my id will want the whole thing accepting the calories and all. The ego is the balance between the id and superego and is actually conscious. Our ego

    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.

     Heart of Darkness by Joseph Conrad is a story about a man named Marlow and his Journey into the African Congo. By reading the novel and understanding all the imagery Conrad has inserted, we can get a better understanding of the

    Within the text of Heart of Darkness, the reader is presented with many metaphors. Those that recur, and are most arresting and notable, are light and dark, nature and Kurtz and Marlow. The repeated use of light and dark imagery represents civilization and primitiveness, and of course the eternal meaning of good and evil. However, the more in depth the reader goes the more complex it becomes. Complex also are the meanings behind the metaphors of nature included within the text. It represents a challenge for the colonists, often also signifying decay and degeneration. Finally Kurtz and Marlow represent imperialism and the colonists. All these metaphors come together and contribute not only to

The Super Ego aims for perfection, it works in contradiction to the Id. It controls our sense of right and wrong.

Heart of Darkness is written by Joseph Conrad and published in 1899. It is a novella written in the early modernism literary period.

The two major themes of Heart of Darkness are the conflict between “reality” and “darkness,” and the idea of restraint and whether or not it is necessary. Conrad’s passage describing the restraint of the hungry cannibals exemplifies both themes:  It describes how reality shapes human behavior, and contrasts the characters of Kurtz and Marlow.  “Reality,” as it is used here, is defined as “that which is civilized.”

It has been said that although Conrad may not have been 'the greatest novelist, he was certainly the greatest artist every to write a novel';. I feel that this is an apt description of Conrad's writing style in Heart of Darkness (1902), as he paints many verbal pictures by using expressive words and many figurative descriptions of places and people. An extensive use of words relating to colour, is evident throughout the novella. The idea of darkness (and light) is emphasized from the title of the novella, and continues to play an important role throughout in the story .

Marlow’s attempt at recreating his subjective past is met with unease on the part of the narrator and like a litmus paper he brings out the intellectual and emotional effect the author is seeking. When the effect has been so affirmed, the author proceeds to manipulate it. When, for example, we see Marlow’s desperation for having missed the chance to speak to Kurtz as absurd, Conrad makes the listeners sigh with the same reaction. Marlow reacts heatedly- “Why do you react in this beastly way, somebody? Absurd? … This is the worst of trying to tell… Here you all are, each moored with two good addresses, like a hulk with two anchors, a butcher round one corner, a policeman round another.” Pp 53 This chastisement by Conrad gets displaced from Marlow’s companions to the reader. Marlow is trying to prevent us from judging Kurtz and by doing so highlights his importance in the tale’s critical discourse.