The Limits of Narrative in in Joseph Conrads Heart of Darkness Essay

The Limits of Narrative in feeling of repulsiveness Early English novelists depicted a very general public that is, what m both observed to be real(a) is what found its way into the narratives. For example, some(prenominal) novels of the eighteenth and nineteenth centuries emphasize, or entirely revolve around, the idea of kindly status. Samuel Richardsons Pamela addresses a servants dilemma between her morals and disordered social bureau the hero of Henry Fieldings Tom J nonpareils must also confront his low birth. Jane Austen famously portrayed class struggles in nearly every one of her novels. These texts all represented the world at its face the actions of the characters spoke for their reality, and the cashier was simply the descriptor of these events. The novels conformed to a very narrow world-view, limited by popular thought. True, there was much to explore within this confinement, as shown by the range of commentary in the texts. Still, as stories they could only offer what purchase order observed a kind of reality by consensus. As Joseph Conrads Heart of Darkness demonstrates, modernism rejected the aims and methods of realism, and claimed the inner self represented the real more closely than the public world. Furthermore, realism appeared to represent the world on the whole and concisely. Conrads novel rejects this, and instead exposes the failure of language to describe a unload reality. In Heart of Darkness, Marlow himself is incomplete, and so is his narrative. He is forced into imprecise language, resigned to employ negative modifiers and repeating inexact words. He struggles to tell his story satisfactorily, and by his own admission, his telling is deficient. The limitation of language, then, becomes the focus of t... ...e rejection of nineteenth century realism. Since Marlow the teller is flawed, his story falters as a result. The novel effectively reduces each to their flaws, plainly does not attempt to hide its limitations behind a manufactured authority. It is this absence, or seeming absence, of controlled writing that brings Heart of Darkness closer to the real than any authoritative work of realism. Works Cited Conrad, Joseph. Heart of Darkness. 1902. New York Dover, 1990. Erdinast-Vulcan, Daphna. The Strange utterly Fiction of Joseph Conrad. Oxford Oxford University Press, 1999. 78-108. Greaney, Michael. Conrad, Language, and Narrative. Cambridge Cambridge University Press, 2002. 57-76. Hawthorn, Jeremy. Studying the Novel. 4th ed. London Arnold, 2001. 60-61 Leavis, F.R. The Great Tradition. New York Stewart, 1950. 173-82.