Narrative Technique Of Heart Of Darkness

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The complexity of narration in Joseph Conrad’s Heart of Darkness functions to serve Marlow’s assertion that, "No, it is impossible; it is impossible to convey the life- sensation of any given epoch of one's existence—that which makes its truth, its meaning—its subtle and penetrating essence. It is impossible. We live, as we dream—alone ..." ( ). The varying levels of diegesis in Heart of Darkness move the reader further and further outward from the essence of the story, from the darkness that consumes Kurtz, threatens to overtake Marlow, and of which Marlow feels the entire English society is painfully ignorant. Heart of Darkness is a frame narrative. On the outer level of this story is a primary narrator who is actively listening to Marlow’s recollection of his time spent in what can be assumed to be the Congo. This type of narrator is typical to 19th century fiction. Heart of Darkness confounds the idea of the detached narrator by making him an active participant, a receiver of Marlow’s narrative. The unnamed narrator offers various insights into the character of Marlow, as well as the outward setting of the narrative taking place. This primary narrator is akin to the reader who is at once absorbing the story, as well as actively participating in its creation. The secondary narrative is told in the first person by Marlow. This first person narration raises issues of personal motivation and reliability. Marlow attempts to illuminate to his audience the implications of the darkness, the purpose behind his narrative. In this way Marlow becomes the narrator, and the primary narrator becomes the narratee receiving the story alongside the reader. But Marlow isn’t telling his own story. He is essentially attempting to describe the experience of Kurtz. Heart of Darkness is Kurtz’ story, but Kurtz cannot tell it as the darkness has consumed, and therefore silenced him.
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