The Portrayal of Women in Joseph Conrad's Heart of Darkness Essay

Another issue that has been raised continuously throughout time has been how women are depicted in novels. Conrad in particular, reflects his original context by objectifying the women he creates in his novel ‘Heart of Darkness’. The roles of women here are hardly acknowledged and are portrayed as naïve; senseless beings having to be protected, Marlow commenting that in essence, men ‘…must help them…stay in that beautiful world of their own…’ This is characterized in Kurtz’ Intended who is pictured as an ideal woman, ‘…smooth and white…illumined by the…light of belief and love…’ The soft gentle imagery, in particular the use of ‘white’ shapes this woman as pure, submissive and weak, but also isolated in her naivety of the real world. If not white, then the other kind of woman Conrad gives a role to is the savage African mistress. ‘…Savage and superb, wild-eyed and magnificent…ominous and stately…’ With such large and grand descriptions, Conrad portrays the native woman as defiantly capable however fearful. ‘Wild-eyed…ominous and stately…’ illustrate Conrad’s view that the black woman is untamed and uncivilized, akin to an animal and therefore not considered as graceful or a desired woman. These opposing ideas of woman in Conrad’s text inform the audience of today, the strict and patriarchal ideals of Conrad’s context that were imposed on women.

    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.

    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.

There is an abundance of literature in which characters become caught between colliding cultures. Often, these characters experience a period of growth from their exposure to a culture that’s dissimilar to their own. Such is the case with Marlow, Joseph Conrad’s infamous protagonist from ‘Heart of Darkness’. Marlow sets off to Africa on an ivory conquest and promptly found himself sailing into the heart of the Congo River. Along the way he is faced with disgruntled natives, cannibals, and the ominous and foreboding landscape. Marlow’s response to these tribulations is an introspective one, in which he calls into question his identity. This transcending of his former self renders the work as a whole a

     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

"Restraint! I would have just as soon expected restraint from a hyena prowling amongst the corpses of a battle," comments Marlow as he questions why the hungry cannibals aboard his steamer hadn't gone for the white crew members (Conrad 43). "The glimpse of the steamboat . . . filled those savages with unrestrained grief," Marlow explains after recalling the cries of the natives seeing the steamer amidst a brief fog lift (Conrad 44). "Poor fool! He had no restraint, no restraint . . .a tree swayed by the wind," speaks Marlow of a slain helmsman amidst an attack by tribal savages (Conrad 52). "Mr. Kurtz lacked restraint in the gratification of his various lusts," says Marlow a few moments after he tells of his first glimpse of

This paper will discuss the way Conrad's novel Heart of Darkness relies, both thematically and formally, on values that could be called sexist. By "sexism" I mean the those cultural assumptions that make women be regarded, unjustly, as in different ways inferior to men: socially, intellectually and morally. Since Heart of Darkness has often been regarded as one of the best and profoundest discussions of morality in English literature, this issue is very important.

Joseph Conrad’s varying depiction of women in his novel Heart of Darkness provides feminist literary theory with ample opportunity to explore the overlying societal dictation of women’s gender roles and expectations in the late nineteenth and early twentieth century. The majority of feminist theorists claim that Conrad perpetuates patriarchal ideology, yet there are a few that argue the novel is gendered feminine. Sandra Gilbert and Susan Gubar claim “Conrad’s Heart of Darkness…penetrates more ironically and thus more inquiringly into the dark core of otherness that had so disturbed the patriarchal, the imperialist, and the psychoanalytic imaginations…Conrad designs for Marlow a pilgrimage whose

In the Joseph Conrad’s novel, Heart of Darkness, Marlow, the main character, shows his opinion of women in a well masked, descriptive manner. Although women are not given a large speaking role ,the readers still feel their presence throughout the novel. In the scene at the Central Station, the description of the symbols in the painting,the blindfold, the torch, and the darkness, allow the readers to see the darkness in the world and the thought that women should not be exposed to that darkness. Marlow believe that women are too fragile to know the truth and should instead be left in their beautiful, untouched world.

In the 1900s novella Heart of Darkness by Joseph Conrad, the protagonist often encounters women at landmarks of his life. Charlie Marlow is a sailor and imperialist who sets out along the Congo River to “civilize” the “savages.” The novella begins with a crew on the Thames waiting for the tides to change. During their wait, a character named Marlow tells of his exploits on the African continent. In his recounted travels, Marlow meets other imperialists such as Mr. Kurtz, a man who is obsessed with the pursuit of ivory and riches. Like Mr. Kurtz, Marlow embarks across the African continent in hopes of earning both money and respect. One early critic of the novel, Edward Garnett, wrote in his review that “[Heart of Darkness] is simply a

Johanna Smith gives many examples of Marlow’s contradictions that his ideological discourse of empire and gender work to mystify. In Heart of Darkness the women are often silenced. Smith points out the example of the laundress: the company’s chief accountant insists that she had to be taught to launder his clothes properly and that she had a strong disliking for the job. But you never truly hear her side of the story; Smith suggests “Marlow’s silencing of the laundress shows Marlow’s authority as the masculine narrator of his story, to conceal not only her story but also those of the other silent women in Heart of Darkness” (Smith 193). Marlow’s Way of self asserting his dominating silence of the women is a clear example of Marlow’s view towards women and is a key illustration of just how much Marlow believes he, as a male, is far more superior than a women.

In Heart of Darkness women are not paid much attention beyond that of Kurtz's mistress and his fiancee. The only other women mentioned in the novel are the two ladies knitting with skeins of black wool, and the narrator's aunt, who got him his job with the Company. Since the aunt and the knitters are no mentioned hardly at all, only the

 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

The representation of women in Joseph Conrad’s ‘Heart of Darkness’ has received much scrutiny since its publication in 1899. The novella reflects a period in Britain and other parts of the world, where women were viewed as inadequate and deficient compared to their male counterparts. Women were not respected as strong-minded individuals, treated as equals and given fair opportunities in a male centric world. This is evidenced in the rise of the suffrage movement in the early to mid 1900s whose main purpose was to allow women the right to vote. Conrad’s ‘Heart of Darkness’ supports a stereotypical mind-set of women through the narrative voice and main character of Charles Marlow. In this essay, I will accentuate the latent sexism in ‘Heart

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.”