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Colonialism Heart Of Darkness And Chinua Achebes British Literature Essay

Joseph Conrad's novella, Center of Darkness is considered to be always a great work of art not only since it painfully portrays how brutally and unjustly the natives are cared for in the African wilderness, but also because its treatment of colonialism is known as a cornerstone in the history of european fiction.

Colonialism refers to the enterprise where a nation expands its expert over other territories; it is seen as a an unequal relationship between the colonists and the natives of a country. Colonists usually feel that they can be doing the united states good by getting civilization and enlightenment; however the consequence is atrocity and fatality. This is clearly portrayed in Heart and soul of Darkness. Among the characters who exercises colonialism is Kurtz whose main goal is extracting ivory from the land in whatever way he can. He is treated as a supernatural expert by the Africans who always appear to obey and pay attention to him carefully. Marlow suggests the Africans' obedience to Kurtz when he explains to us, "He was not reluctant of the natives; they would not mix till Mr. Kurtz provided the word. His ascendancy was astonishing. The camps of the people surrounded the area, and the chiefs emerged every day to see him. They might crawl. " (p. 131) Kurtz is convinced that everything in the wilderness belongs to him, as Marlow hears him say, "My Planned, my ivory, my train station, my river, my" (p. 116) In addition, he thinks that there is nothing wrong using what he's doing; on the other hand, Kurtz thinks that he's doing the right thing. His civilization mission and his viewpoint regarding the natives are indicated in his record which Marlow says: "Nonetheless it was a beautiful piece of writing. The opening paragraph, however, in the light of later information, attacks me now as ominous. He started out with the discussion that we whites, from the idea of development we had attained, 'must necessarily appear to them [savages] in the type of supernatural beings--we procedure them with the might by a deity, ' and so forth, and so on. By the simple exercise of the will we can exert a electric power for good almost unbounded, ' etc. , etc. " (p. 118) Although Marlow is not really a native, he confirms himself obliged to be cured like one. In other words, he finds himself reacting in the very same way as the natives themselves to Kurtz's power. "I did so not betray Mr. Kurtz - it was bought I should never betray him - it was written I will be dedicated to the nightmare of my choice. " (p. 141) It really is interesting that Marlow identifies Kurtz as 'the headache'; it seems as if he's hypnotized by him and has no choice but to do as he is told. Furthermore, the term, 'it was bought' adds to the ambiguity of what Marlow is trying to state. He might well have said, 'I was bought' but he will not.

It will probably be worth mentioning here that Heart and soul of Darkness is a book that is partially biographical. Conrad was obliged to seek career with a Belgian company in Africa anticipated to difficult labor conditions in 1889. Although he stayed for a short while in Africa, it was an event that shattered his health and evolved his world-view, as the moral degradation he witnessed in the Congo's economical exploitation disgusted him. A decade after this, he wrote Heart of Darkness, which is approximately his experience in Africa. What is very ironic is the fact that in the e book Joseph Conrad in Context, it is stated more often than once that Conrad never acquired over his experience in Africa, as though other people in his place would not feel a similar thing! So essentially, Marlow appears to echo Conrad's own views in his novel.

Colonists are powered to exploit ivory at an insatiable rate without even bothering to think about the devastating results on the natives. That is very clearly shown in the next price: Marlow identifies the ivory retailers as a "devoted strap" dialling themselves "the Eldorado Exploring Expedition. " He says "they were sworn to secrecy. " They spoke the terminology of "sordid buccaneers: it was reckless without hardihood, greedy without audacity, and cruel without courage; there is not an atom of foresight or of serious objective in the complete batch of these, and they didn't seem aware these things are wanted for the task of the world. To tear treasure out of the bowels of the land was their desire, without more moral goal at the back of it than there is in burglars breaking into a safe. " (p. 87) In short, what these colonizers were doing was purposeless, which in turn means that the consequences which were brought about as a result of their activities were also inadequate.

Furthermore, the colonists possessed a quasi divine specialist to do as they delighted in the colonies; this is portrayed by the chat between the uncle and the nephew, that was overheard by Marlow, "'Certainly, ' grunted the other; 'get him hanged! You will want to? Anything--anything can be done in this country. That's what I say; nobody here, you understand, here, can endanger your situation. And just why? You stand the climate--you outlast them all. '" (p. 91) Here, these are talking about suspending Kurtz's assistant and probably Kurtz himself, so that they can get Kurtz's belongings, including his ivory.

Colonialism is also explored in other areas of the novella, where the reader can see precisely how mercilessly and brutally the natives are cured by the colonizers. When Marlow is on a machine with a Swedish captain, he represents how the natives, whom he recognizes on his way to the place, are being exploited and cured as mere beasts. All the natives are symbolized as being naked and horribly skinny; they should never be known as humans. They are simply required to work under hard conditions, receive no clothes, and are remaining to starve: "A continuous noise of the rapids above hovered over this scene of inhabited devastation. Lots of people, mostly black and naked, moved about like ants. A jetty projected into the river. A blinding natural light drowned all this at times in a sudden recrudescence of glare. " (p. 63) When Marlow finally finds the station, he sees yet another traumatizing scene,

"A slight clinking behind me made me flip my mind. Six dark men advanced in a record, toiling up the road. They strolled erect and sluggish, balancing small baskets full of earth on their heads, and the clink kept time using their footsteps. Black color rags were wound around their loins, and the short ends behind waggled back and forth like tails. I could see every rib, the bones of their limbs were like knots in a rope; each got an iron back of the shirt on his neck, and all were connected as well as a string whose bights swung between them, rhythmically clinking but these men could by no stretch of thoughts be called opponents. These were called criminals, and the outraged rules, like the bursting shells, got come to them, an insoluble secret from the sea. Almost all their meagre breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily uphill. They exceeded me within six inches wide, with out a glance, start complete, deathlike indifference of unhappy savages. Behind this uncooked subject one of the reclaimed, the product of the new forces at the job, strolled despondently, carrying a rifle by its midsection. He previously a uniform coat with one button off. " (p. 64)

When scanning this passage, one cannot help but think about, how could these poor natives possibly be criminals? They are doing every single thing they are told to do, without the least bit of complaining yet, they can be called criminals. What 'tails, ' 'collar, ' 'breasts panted, ' and 'dilated nostrils' immediately bring to the mind the image of pet dogs. And undoubtedly, we should remember the colonizer, who's right behind them with a rifle, ensuring these men walk 'in a data file, ' 'without glancing' at Marlow, in support of 'staring stonily uphill. ' So not only are they in comparison to animals, nonetheless they are also likely to work like machines!

This is the main reason why Achebe does not accept Heart of Darkness, it is because he will not like the way African people are portrayed in it. Chinua Achebe, a Nigerian poet and novelist, was drawn to Conrad's Heart and soul of Darkness as a kid. However, in the 1970s, he transformed his mind about any of it and until today, he continues to dismiss the book. In his article on Conrad's novel, Achebe tries to describe why. He says that what Conrad is terribly worried about is the idea of kinship between him and the blacks, which explains why he dehumanizes them. Contrasting with this is Edward Said's thoughts and opinions that Conrad is exaggerating the imperialistic and the dehumanizing discrepancies so that people, as visitors, are outraged at its injustice and therefore workout "solutions" for ourselves. In other words, Heart of Darkness is, according to Said, a self-referential novel. But nonetheless, Achebe has a solid point in stating that Conrad has dehumanized the Africans because Conrad appears to be obsessed with what 'dark-colored' and 'darkness' since he affiliates them with the Africans and uses these words numerous times throughout his book.

Convincingly Achebe believes that the most revealing passages in the book are about people. He says that the next quote provides the meaning of Heart of Darkness, " but what delighted you was just the thought of your remote kinship with this crazy and passionate uproar. Ugly. Yes, it was unattractive enough " If only the thought was thrilling, then what would knowing do to us?! It is this 'distant kinship' that seems to terrorize Conrad and is also implied throughout the novel many times.

However, his passages about the natives or savages, as Conrad refers to them, seem only information of what they are and what they will do. His personal sentiments are never revealed. But the vocabulary he decides and just how he details the Africans force the audience to sympathize with them. However, there are parts in the novel where we can infer that Conrad, but not showing sympathy to the savages, cannot bear looking at them. For example, when he views the six men linked with one another with chains around their necks, he says, "My idea was to let that chain-gang escape sight before I climbed the hill. " And in another occurrence, he says, "The wounded nigger moaned feebly somewhere close by, and then fetched a deep sigh that made me mend my pace away from there. " Plainly, he had not been strong enough to neither hear nor see these savages being treated mercilessly.

When Marlow arrives at the Central Station, he witnesses more of the atrocities to the 'niggers. ' The supervisor of the place is obviously an uncivilized one who is there only because he hasn't been ill, as Marlow tells us, "He had no genius for arranging, for initiative, or for order even. That was visible in such things as the deplorable state of the train station. He had no learning, no intelligence. His position possessed come to him--why? Perhaps because he was never ill. . . He had served three terms of three years out thereHe was neither civil nor uncivil. He was silent. He allowed his 'boy'--an overfed young negro from the coast--to treat the white men, under his very eye, with provoking insolence. " (p. 74)

One of Conrad's ideal anxieties that is implied in the novel is the possibility of the whites having 'faraway kinship' with the blacks, and this is stated by Achebe. This points out why Marlow wasn't able to neglect his African helmsman's look on his face right before he perished, "And the intimate profundity of this look he gave me when he received his damage remains even today in my recollection - such as a claim of distant kinship affirmed in a supreme point in time. " Conrad's careful word choice of 'faraway kinship' alternatively than 'brother, ' for example, is cautiously witnessed by Achebe. He understands that Conrad is wanting, whenever you can, to create tiers between himself and the natives. Also, the words 'remains to this day in my ram, ' are recognized by Achebe as a negative connotation, as if this 'storage' continues to torture him to the very day. Achebe concludes from this that Conrad is a racist.

Moreover, Achebe states that Conrad has dehumanized Africans. But I do not agree with him upon this point. My facts to this can be seen in this quote, when Marlow who can be considered Conrad's mouthpiece at this case says, "The conquest of the planet earth, which generally means the taking it from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you consider it too much. " We are able to infer out of this estimate that Conrad was actually against the idea of Africans being treated the way they were. Also, relating to Edward Said, Conrad, being a creature of his time, 'could not offer the natives their flexibility, despite his severe critique of the imperialism that enslaved them. ' Quite simply, Conrad was from this imperialism and he criticized it as well, however the era that he resided in made it impossible for him to do anything about it. In my opinion, it could be that Conrad never meant to dehumanize the Africans; it might be that the experience he was going right through during his stay static in Africa was so overpowering to him that he cannot or was not able to reveal his sympathy. Maybe he didn't want to uncover some thing to be able to emphasize it being truly a part of its "darkness. " In the end, it is Conrad himself who chose to write his book within an ambiguous and simple way which leaves the reader with puzzled thoughts about what exactly Conrad is trying to say. Almost everything in Heart and soul of Darkness seems; everything is not is.

In conclusion, even as we can see, types of colonial works are displayed throughout Center of Darkness. Colonists take over the wilderness and practice exploitation and then acquire ivory. But at the same, the colonists' activities are purposeless, such as when they order the natives to aimlessly blast the railway when there is actually little or nothing to blast. This results in the failure of their exploitation and civilizing objective.

Works cited:

Conrad, Joseph. Heart of Darkness. London: J. M. Dent and Sons Ltd, 1967

Achebe, Chinua. "An Image of Africa: Racism in Conrad's 'Center of Darkness'" Massachusetts Review. 18. 1977. Rpt. in Heart and soul of Darkness, An Authoritative Text message, background and Sources Criticism. 1961. 3rd ed. Ed. Robert Kimbrough, London: W. W Norton and Co. , 1988, pp. 251-261

http://kirbyk. net/hod/image. of. africa. html

Said, Edward. "Two Visions in Heart of Darkness" Culture and Imperialism, (1993) pp. 22-31

http://www. ecfs. org/Projects/EastWest/Readings/SaidConrad. pdf

Feminism in To the Lighthouse

Mrs. Ramsay vs. Lily Briscoe

During Virginia Woolf's time, women were deprived of several rights which men experienced usage of, including education. Women were only likely to get married, give labor and birth to children, increase them, and take care of family members. However, towards the finish of the 19th century, some feminist movements initiated, whose concern was to provide equality to ladies in terms of education, job, and marriage laws. These movements are known as the three waves of feminism. The First Influx occurred in the overdue 19th century and concluded in the first 20th century, during Woolf's time; its major gains were to acquire the to vote and the right to practice contraceptive. Virginia Woolf, among other female writers, needed to fight for her rights as a female. In the book, Towards the Lighthouse, Woolf presents two female people, Mrs. Ramsay and Lily Briscoe, as complete opposites. Mrs. Ramsay is depicted as a subservient Victorian woman, whose main mission isn't only to manage her family, but also of others around her. This is very typical of Victorian women, who basically put in their time at home, ensuring everything was tidy and fine. However, Lily Briscoe on the other hand, is the total opposite of Mrs. Ramsay. The actual fact that she achieves her eyesight and completes her picture at the end of the book is because she has asserted her privileges as an independent individual and has declined Victorian morality.

Throughout the book, it is obviously known that Mrs. Ramsay can be an uneducated female. Her lack of education is provided in several estimates: "What achieved it all mean? Even today she experienced no notion. A square root? That which was that? Her sons recognized. " (p. 123) Woolf's deliberate use of 'sons' instead of 'sons and daughters' or 'children' is showing that Mrs. Ramsay's daughters, exactly like Mrs. Ramsay herself, are uneducated. "Her husband spoke. He was duplicating something, and she realized it was poetry from the rhythm and the diamond ring of exaltation and melancholy in his tone. " (p. 129) This again shows her insufficient education, for she recognizes that her husband is speaking poetry as a result of rhythm and tone, not because she recognizes the poet Charles Elton. Whilst reading a publication, she has no idea of what she is reading, for she feels that she actually is "climbing backwards, up-wards, shoving her way up under petals that curved over her, so that she only realized that this is white, or this is red. She did not know initially what the words meant at all. " (p. 139) Also, when Charles Tansley talks to her about his dissertation, she is not able to "quite catch this is, only the words, here and there dissertation fellowship readership lectureship. She could not follow the awful academic jargon. " (p. 13) Although this may seem to be exaggerated, it was very true of the health of women during that time. Women being uneducated was a privilege to men because of this provided them superiority and complete control over women. While looking at his partner reading, Mr. Ramsay "wondered what she was reading and exaggerated her ignorance, her convenience, for he liked to feel that she was not smart, not book-learned in any way. He considered if she recognized what she was reading. Probably not, he thought. She was astonishingly beautiful. " (p. 141) Not only does he seem to be to take pleasure from that his partner is uneducated, but he also mocks at her for not being able to understand what she is reading. The thing that he praises about her is her beauty.

In his critical essay, John Hardy presents the metaphor of Mrs. Ramsay as a queen. He boasts that she actually is constantly queen like during meal; while relaxing at the top of the stand, she carefully observes, one by one, every single person sitting round the stand. Hardy furthermore says that Mrs. Ramsay is enabled to overcome her hubby, because during meal and even later on when dinner has ended, she is able to "read his mind. " These two qualities, again, elevate the female, i. e. Mrs. Ramsay, above the men, i. e. Mr. Ramsay.

However, although being uneducated, Mrs. Ramsay seems to have supernatural forces, such as having premonitions and casting spells. "They need to come now, Mrs. Ramsay thought, taking a look at the door, and at that instant, Minta Doyle, Paul Rayley, and a maid holding a great dish in her hands arrived in mutually. " (p. 114) "Always she got her own way in the end, Lily thought She put a spell on all of them, by wishing, so simply, so immediately. " (p. 118) They are powers that none of them of the male character types in the book have; in reality they do not even seem to comprehend might be found. Woolf, giving Mrs. Ramsay such forces, has elevated the feminine figure to a higher status. "Will you not inform me simply for once that you like me?. . . But she could not do it; she cannot say it For she possessed triumphed again. " (p. 144) Mrs. Ramsay, by not declaring the thing that her man very desperately desires her to say, has triumphed over him. Relating to John Hardy, in this scene, what may appear to us as Mrs. Ramsay's surrendering to her spouse is in fact the inverse. By admitting that he was right and that they would not be able to go directly to the lighthouse, she has surrendered to her man. But because, while doing so, she has lost her do it yourself, i. e. her personality as a Victorian female, the surrender becomes a triumph. Quite simply, her being able to say that she herself was wrong places her, Hardy says, "on another and higher planes" which is undoubtedly right. Hardy, furthermore, views Lily's final painting of Mrs. Ramsay as an admiration of her, in overcome her husband.

Even more important than her powers and intuitions is the fact that she not only takes care of her family, but also of others around her, even as learn that she knits a stocking for the lighthouse keeper's ill youngster. (p. 5) It is Mrs. Ramsay who prepares supper for her complete family as well as the guests and tries her best, during meal, to ensure everything should go fine. This again is another characteristic of a typical Victorian woman. In the end, "it had not been knowledge but unity that she desired. " (p. 59)

Interestingly, Hardy argues it is Mrs. Ramsay who contains everything together and therefore is the central figure of the novel. In the end, it is merely after Mrs. Ramsay's death that the character types feel "an intolerable silence with undertones of worry. " Since Mrs. Ramsay is gone, her power in addition has gone. Moreover, we live left with the idea that if it wasn't on her behalf, there never is a visit to the lighthouse. And Lily too, can complete her painting only after Mrs. Ramsay's loss of life. Berenice A. Carroll, however, in her article, "To Crush him in our own Country, " has compared this view. Relating to her, it is Lily who's the heroine of the novel. But the fact that she actually is persistently associated with being "little" and "insignificant" and also that "she paints as she perceives, not as the dominant musician of that time period" makes her anti-heroine.

By creating the character of Lily Briscoe, Woolf presents the absolute opposite of Mrs. Ramsay. Although experienced by many hurdles, particularly Charles Tansley, who tells her "women can't coloring, women can't write" (p. 56) and whose words appears to haunt her for the others of her life, Lily Briscoe overcomes them and succeeds in asserting her rights and attaining her vision. It really is this exact thing that has stunned many visitors in the Modernist Era - a female breaking from Victorian beliefs and customs. Each and every time Lily hears Charles' words "women can't paint, women can't write" (pp. 100, 106, 183, 184, 228) in her mind, she is greatly disturbed and challenges, yet will not give up. Aside from stating that women can neither paint nor write, Charles also believes that "It was the women's mistake. Women mad civilization impossible with all their 'allure, ' all their silliness. " (p. 99) Women, relating to him, are charming and silly, nothing at all more.

Yet, what's ironic is that while everybody is having meal alongside one another, it is Lily who involves Charles' rescue after he undergoes great pains to be able to convey his opinions. "Lily Briscoe realized all that. Relaxing opposite him could she not see, as in an X-ray photo, the ribs and thigh bones of the young man's want to impress himself lying dark in the mist of his flesh - that slim mist which convention experienced laid over his losing desire to break right into the discussion? But she thought, screwing up her Chinese eyes, and keeping in mind how he sneered at women, 'can't color, can't write, ' why should I help him to relieve himself?" (pp. 105-106) Lily can very evidently notice that Charles is struggling for not having the ability to join the dialog, yet she does not help and enjoys watching, alternatively she sits there "smiling. " "Obviously for the hundred and fiftieth time Lily Briscoe had to renounce the experiment - what goes on if the first is not nice to that son there - and become nice. " (p. 107) It is only after Mrs. Ramsay's need that Lily finally helps Charles and he is "relieved. " Again, it is women who seem more powerful than men and come to the save.

Mrs. Ramsay also functions as a match maker in the book. In fact, this is actually the only thing she seems to be thinking of the majority of the time. "She was influenced on, too quickly she recognized, almost as though it were a getaway for her too, to say that folks must marry; people must have children. " (p. 70) Mrs. Ramsay's idea that people must get married actually appears to come out of her spontaneously. The word 'powered' shows that she cannot help but think this way. Of Paul and Minta, Mrs. Ramsay retains insisting that they need to marry. (p. 57) In fact, Paul is driven to propose to Minta because of Mrs. Ramsay's ceaseless insistence. (p. 136) This shows that Mrs. Ramsay is only concerned with making the match, but completely indifferent of its results, as what happens to Paul and Minta. This is why Hardy argues that Mrs. Ramsay is a "colossal egotist" - the fact that she fits up couples and arranges walks for the kids by the beach but at the same time is irresponsible of these outcomes does in truth show her as egotistical.

"Ah, but was not that Lily Briscoe strolling along with William Bankes? Yes, indeed it was. Did that not imply that they might marry? Yes, it must! What an admirable idea! They must marry!" (p. 83) Another clear example where we see Mrs. Ramsay being obsessed with corresponding up people for them to get hitched. However, Lily is really the only girl in the book to say her freedom as a person. Using this method, she becomes Mrs. Ramsay's foil. Lily, in truth looks at marriage, as "degradation" and "dilution. " "She need not marry, give thanks to Heaven: she need not experience that degradation. She was saved from that dilution. " (p. 119) In his article, Hardy points out that Lily will go as far as to spell it out Mrs. Ramsay's matchmaking objective as "mania of hers for marriage. " After ten years, when Lily will in reality not get committed, she feels she has "triumphed over Mrs. Ramsay. " (p. 202) "I have to move the tree to the middle; that matters - little or nothing else. " (p. 100) For Lily, her art work is more important to her than other things, including marriage. Whilst having dinner, while every person is involved in conversation, all Lily can think about is how to improve her painting. During Woolf's time, it was very hard for females to get educated and even if indeed they were informed secretly, it was problematic for them to create their writing. Therefore, they had to cover their work and Woolf shows this in her novel through the type of Lily. "She placed a feeler of her environment lest someone should creep up, and all of a sudden she should find her picture viewed. " (p. 20) "therefore to clasp some miserable remnant of her eyesight to her breasts, which one thousand forces did their best to pluck from her. " (p. 22) Both of these parts are where Virginia Woolf has very skillfully portrayed the issue women had to go through in order to do what men could without facing any hardships.

Mrs. Ramsay's daughters, in a way, resemble Lily, though not completely, in that they too dream of a life, where they do "not necessarily have to manage some man or other. " (p. 7) However, this isn't what Mrs. Ramsay thinks. During meal, she looks at Prue, her eldest daughter who is watching Minta, and says to herself, "You'll be as happy as she actually is one of the days. You'll be much happier, she added, because you are my girl, " (p. 128) referring that she'll get married.

Mrs. Ramsay feels that girls, only through matrimony, will find true happiness. According to her, "an unmarried girl has skipped the best of life. " (p. 58) Ironically, those who do get married in the book end up in a tragic life. After Paul and Minta's marriage, not even yearly moves and Paul leaves Minta for another woman. As for Prue Ramsay, she dies in childbirth. Even Mrs. Ramsay dies. It is as though these women are educated a lessons for pursuing Victorian conventions.

Lily, on the other palm, does not get married and it is rewarded by being in a position to complete her painting that she experienced started ten years ago. Hardy highlights that Woolf has deliberately chosen to end her book with Lily and her painting, nothing at all else. We never become familiar with about the task of Augustus Carmichael, the only other musician in the book. This again, is performed intentionally by Woolf, her purpose was to reinforce Lily's, and subsequently the female's work over that of the male.

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