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THE NOVEL
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Conrad's so-called impressionist method lets us experience Marlow's sensations along with him. The author mounts detail on detail before finally putting them all together to find their significance. For example, at the Inner Station where Marlow has gone to retrieve Kurtz, he spies six posts with ornamental balls on top and assumes that they must be the remainder of some kind of fence. Later, looking through a telescope, the balls come into focus and he realizes they're human heads. We experience his misperception as well as his sudden revelation, and even the revelation comes in stages: first his surprise- "its first result was to make me throw my head back as if before a blow" (Chapter III)- and then his deduction. So we take part in the mental process. This kind of immediacy, this emphasis on sensation, makes the jungle seem very real, and it's particularly effective during such episodes as the attack on the steamer.
But it has a further implication. The emphasis is on what you can know with your senses- these facts are reliable. Marlow, of course, is constantly examining his sensations to find the meaning in them, expressing opinions and doubts, but seldom coming to firm conclusions. Marlow's experiences, as the narrator tells us (Chapter I), are "inconclusive," and for such inconclusiveness Conrad's impressionist style is appropriate.
© Copyright 1984 by Barron's Educational Series, Inc.
Electronically Enhanced Text © Copyright 1993, World Library, Inc.
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