Jane Eyre 16

• "I discerned in the course of the morning that Thornfield Hall was a changed place: no longer silent as a church ... She kept running to the door and looking over the banisters to see if she could get a glimpse of Mr. Rochester ... She continued to talk incessantly of her 'ami, Monsieur Edouard Fairfax de Rochester.'" (p. 120)

At this point in the novel word has spread to Jane Eyre that Mr. Rochester has arrived at Thornfield Hall. Jane is aware of the amount of commotion and work the servants are completing to prepare for his presence. Without ever having met him, Jane has already built up a form of anxiety and respect for his projected image. This case is very similar to Conrad's novel Heart of Darkness: when the character Kurtz was mentioned, power and wealth automatically associated with his name. Charlotte Bronte illustrates similar feelings for Jane that Marlow underwent prior to meeting Kurtz. Because of both Mr. Rochester and Kurtz's high status, fellow characters are immediately influenced by their reputation. Rochester proves to be some-what like Kurtz's character in the sense that each man is determined to have one thing: Kurtz (ivory) and Rochester (Jane Eyre). Towards the end of their lives, Kurtz and Rochester become depressed and unsatisfied. Kurtz reflects - "The horror, the horror!" - while Rochester isolates himself and mourns because his dear Jane has not returned to marry him.

Jane Eyre 15

• "Mr. Rochester flung me behind him: the lunatic sprang and grappled his throat viciously, and laid her teeth to his cheek: they struggled. She was a big woman, in stature almost equaling her husband ... The operation was performed amidst the fiercest yells, and the most convulsive plunges." (p. 298)

Bertha Mason, Mr. Rochester's insane wife, is significant to the novel, and through her character, many of the major themes are expressed. Bertha Mason is referred to as the 'Madwoman in the Attic' which is also the title of the book 'Madwoman in the Attic' written by Sandra Gilbert and Susan Gubar. (The authors derived this title from Charlotte Bronte's work.) This book describes their feminist beliefs and addresses the issue of literary potential for women in a world shaped by and for men. Charlotte Bronte creates Bertha Mason's character to show the potential in a traditional Victorian marriage. Although Jane doesn't display her frustration like Bertha, she has built up fear of the possible imprisonment that marriage could bring. Bertha is calling out for help, she is shunned and isolated for so long, she eventually turns mad. Bertha speaks to Jane as a warning of the possible dangers marriage might entail.

Work Cited:
"Exposing the Role of Women in The Madwoman in the Attic." 123 Help Me. Web. 1 Dec. 2009. Exposing the Role of Women in The Madwoman in the Attic.

Photo Credit:
Portait Mad Woman. Photograph. Pictures-Images.com. Web. 1 Dec. 2009. http://images-2.redbubble.net/img/art/size:large/view:main/681988-3-portrait-of-a-mad-woman.jpg.

Jane Eyre 14

• "'Cruel? Not at all! She is severe: she dislikes my faults.' ... 'It is far better to endure patiently a smart which nobody feels but yourself, than to commit a hasty action' ... 'It is weak and silly to say you cannot bear what it is your fate to be required to bear.'" (p. 55-56)

Helen Burns, Jane Eyre's closet friend at Lowood Institute, was admired for being extremely intelligent, religious, and content. Despite her maltreatment at Lowood, Helen would continually remain calm and accept her punishment without any disagreement. Helen justifies her punishments while Jane doesn't find it allowable. Charlotte Bronte introduces two characters who have contrasting ways of approaching or viewing unjust actions. The significance in the contrasts shows Jane that she must not always rebel or lash-out against her punishment. Although Jane cannot understand Helen's justifications, she still respects her. Helen's differing character introduces Jane to a some-what better, more mature way to handle opposing views. However, perhaps witnessing Helen's tranquil attitude may have influenced Jane's outspoken character.

Jane Eyre 13

• "He had not yet imagined that a woman would dare to speak so to a man. For me, I felt at home in this sort of discourse. I could never rest in communication with strong, discreet, and refined minds, whether male or female ... very hearthstone." (p. 380)

Charlotte Bronte incorporates the issue of gender inequality throughout the novel. Jane Eyre is faced with various men who attempt to restrict her from being opinionated. During this time period, men were often the ones in power and who controlled most situations. This passage illustrates Jane's ambition and confidence when addressing men. Unlike most woman in this age, Jane never constrained her feelings. Charlotte Bronte is able to express her view on women stereotypes through Jane's character - a strong-willed, bold, independent young woman.

Photo Credit:
Gender and Frugality. Photograph. The Non-Consumer Advocate. Web. 1 Dec. 2009. http://thenonconsumeradvocate.files.wordpress.com/2009/05/men-vs-women-jpg.jpeg.

Jane Eyre 12

• "An hour or two sufficed to sketch my own portrait in crayons; and in less than a fortnight I had completed an ivory miniature of an imaginary Blanche Ingram. It looked like a lovely face enough, and when compared with the real head in chalk, the contrast was as great as self-control could desire." (p. 164)
  

Jane Eyre is fond of painting portraits throughout the novel, but specifically, the portrait of Blanche Ingram and Rosamond Oliver had significance to the major themes of the story. In this excerpt, Jane draws a portrait of herself and Blanche Ingram, leading her to criticize and compare their differences in appearance, social status, and character. Upon meeting Blanche Ingram, Jane was astonished by her unique beauty. Charlotte Bronte illustrates Jane's lack of confidence, and the feeling of "not being good enough" in Mr. Rochester's eyes through these portraits. In addition to this, Jane creates a painting of Rosamond Oliver, who is also strikingly beautiful. Jane attempts to capture Mr. St. Johns interest, in hopes to spark an stronger attraction to Ms. Oliver by creating this piece of work. In actuality, it discreetly indicates Jane's insecurities. Overall, Bronte incorporating the power of art suggests Jane's ability to express those insecurities through painting. Jane turns to art as a method to let out/overcome her jealousy and frustration.

Work Cited:
"Jane Eyre: Symbols." Lit Charts. Web. 1 Dec. 2009. http://www.litcharts.com/lit/janeeyre/symbols.

Jane Eyre 11

• "'Never,' said he, as he ground his teeth, 'never was anything at once so frail and so indomitable. A mere reed she feels in my hand!' (And he shook me with the force of his hold.) 'I could bend her with my finger and thumb: and what good would it do if I bent, if I uptore, if I crushed her?'" (p. 323)

This excerpt is taken from the point in the novel where Mr. Rochester is extremely upset with Jane's decision to leave Thornfield. His tone of voice begins to get angry as he threatens Jane with violence. Disbelief angers Mr. Rochester, leading him to sound very demanding. As a reader, it's interesting to notice Charlotte Bronte's play on words from this passage. Mr. Rochester describes Jane as a fragile reed; something he could easily break or wear down. The word 'reed' associates with Jane's unpleasant childhood guardian, Mrs. Reed, whom she experienced violence, being neglected, and verbal abuse. Charlotte Bronte draws the connection between the occurring situation and Jane's past, where she was often controlled and vulnerable. (Qualities similar to a flimsy reed)

Photo Credit:
Reed Pen. Photograph. Shepherds. Web. 1 Dec. 2009. http://images.nitrosell.com/product_images/3/609/thumb-reed%20pens.jpg.

Jane Eyre 10

• "He had done. Turning from me, he once more 'Looked to river, looked to hill:' But this time his feelings were all pent in his heart: I was not worthy to hear them uttered." (p. 416)
  

The line, "looked to river, looked to hill," in this excerpt is from the poem, The Lay of the Last Minstrel, by Sir Walter Scott. The poem intends to illustrate the customs and manners that prevailed on the Borders of England and Scotland. As Mr. St. John is about to leave for the night, he states a line from this particular poem. Charlotte Bronte alludes to this poem, leaving Jane with a difficult case to ponder. This specific line refers to Mr. St. John River (assuming the river) and Mr. Rochester (assuming the hill) as Jane is torn between the decision of marrying one of the men.

"Work Cited"
"The Lay of the Last Minstrel." Poets' Corner - Bookshelf. Web. 1 Dec. 2009. http://theotherpages.org/poems/minstrel.html.
"Jane Eyre." Review Materials. Web. 1 Dec. 2009. http://reviewmaterials.tripod.com/english/jane_eyre.html.

Jane Eyre 9

• "It was one of the largest and stateliest chambers in the mansion ... Their blinds always drawn down ... This room was chill, because it seldom had a fire; it was silent ... It was in this chamber he breathed his last ... Dark wardrobe, with subdued, broken reflections." (p. 13)

Jane Eyre's experience in the red-room greatly affected her for the remainder of the novel as horrible memories accompanied her single imprisonment. Charlotte Bronte uses vivid images and key word choice to embellish Jane's frightening experience. The environment of the room is certainly not welcoming -- cool temperatures, broken mirrors, dark furniture -- but the fact that Mr. Reed died in the room makes her experience even more terrifying. Although Jane was young, this punishment had a lasting effect throughout her life as the red-room is referred to at other specific points throughout the novel. Themes such as injustice, seeking independence and her dark, unpleasant childhood are expressed through the use of the red-room symbol.

Photo Credit:
The Red Room. Photograph. Unusuallife.com. Web. 1 Dec. 2009. http://unusuallife.com/wp-content/uploads2006/2008/02/valentine-red-room.jpg.

Jane Eyre 8

• "I doubted I had taken a step which sank instead of raising me in the scale of social existence. I was weakly dismayed at the ignorance, the poverty, the coarseness of all I heard and saw round me. But let me not hate and despise myself too much for these feelings: I know them to be wrong-- that is a great step gained; I shall strive to overcome them." (p. 365)

Charlotte Bronte incorporates the many issues of social class and rank throughout the entire novel. Until now, Jane Eyre has always been surrounded by a wealthy environment: in particular, the Reed family and Thornfield Hall. During this time period, her intelligence and elegant behavior did not suffice - she was considered powerless. Because of Jane's social status, she faced many obstacles: such as the decision to marry Mr. Rochester, as she recognized she was not of equal rank. Upon leaving Thornfield Hall, Jane is able to experience some of the hardships of living in poverty, a circumstance she is not accustomed to. This experience ultimately leads Jane to overcome some internal struggles, discover the fortune her uncle left her, and gain the confidence needed in order to return to marry Mr. Rochester.

Work Cited:
"Jane Eyre Study Guide." Grade Saver. Web. 30 Nov. 2009. http://www.gradesaver.com/jane-eyre/study-guide/major-themes/.

Photo Credit:
Photograph. Blogspot.com. Web. 30 Nov. 2009. http://images.google.com/imgres?imgurl=http://3.bp.blogspot.com/ ...

Jane Eyre 7

• "Ere I had finished this reply, my soul began to expand, to exult, with the strangest sense of freedom, of triumph, I ever felt. It seemed as if an invisible bond had burst, and that I had struggled out into unhoped-for liberty." (p. 36)
  

Charlotte Bronte creates a very unique representation of a independent female figure as Jane Eyre demands to be respected. Jane is a motivated, opinionated woman, who takes initiative while remaining loyal to her character. Unlike many of the other female characters in literary works we've read, Jane is outspoken, confident, and never hesitates to follow her intuition. During her younger years, she was punished for speaking with an open mind but as she encounters Mr. Rochester, he accepts her for being intellectual and independent. Mr. Rochester acknowledges these qualities, while Mr. St. John ignores all that she has to offer. Jane recognizes that Mr. St. John does not appreciate her autonomous behavior, eventually leading her to return back to Mr. Rochester - someone who values her character.

Photo Credit:
Photograph. HollywoodJesus.com. Web. 30 Nov. 2009. http://hollywoodjesus.com/media/beauty2.jpg.

Jane Eyre 6

• "The picture you have just drawn is suggestive of a rather too overwhelming contrast. Your words have delineated very prettily a graceful Apollo: he is present to your imagination ... Your eyes dwell on a Vulcan ... You certainly are rather like Vulcan, sir." (p. 449)

There are twelve major deities in Greek and Roman mythology; two including Apollo and Vulcan. Apollo was a very important figure during this time, being recognized as the god of light, healing, music, poetry, prophecy, archery, and truth. Vulcan, named by the Romans, is identified as the god of fire and blacksmiths. Charlotte Bronte illustrates Mr. Rochester's jealously by comparing Mr. St. John's character to the well-known god, Apollo. To Mr. Rochester, Mr. St. John appears to possess multiple qualities that Jane would find attractive, therefore associating him with Apollo. Mr. Rochester expresses his inadequacy by relating himself to Vulcan, only then to experience a cutting surprise as Jane agrees with his statement.

Work Cited:
"Vulcan - Roman God of Fire." Volcanoes and Mythology. Web. 30 Nov. 2009. http://www.crystalinks.com/volcanomyth.html.
"Apollo." Encyclopedia Mythica. Web. 30 Nov. 2009. http://www.pantheon.org/articles/a/apollo.html.

Photo Credit:
Photograph. WIlson's Almanac. Web. 30 Nov. 2009. http://www.wilsonsalmanac.com/images2/vulcan_venus.jpg.

Jane Eyre 5

• "I walked a while on the pavement; but a subtle, well-known scent -- that of a cigar -- stole from some window ... not by sound, not by sight, but once more by a warning fragrance." (p. 252)
  

From this excerpt, Charlotte Bronte's style of writing is clearly illustrated to readers. Her exceptional use of imagery appears in this description of a midsummer night. There are various cases where Bronte appeals to the five senses -- taste, smell, touch, sight, sound -- truly capturing the readers interest. The following appeals are covered: Smell - cigar, flowers, "warning fragrance." Taste - cigar, fruit-parterres. Sight - "I might be watched," "wander unseen," "now rising moon." Sound -"silence reigned." Touch - "walked a while on the pavement," "my step is swayed." The most effective type of imagery appeals to more than one sense because humans are constantly experiencing these senses simultaneously. This specific use of imagery enhances the descriptions in the novel because despite time, Jane is able to remember past moments in her life so clearly. Appealing to the senses illustrates Janes vivid memory and also allows readers to relate/understand the true, significant meaning of her life.

Jane Eyre 4

• "He has again and again explained that it is not himself, but his office he wishes to mate. He has told me I am formed for labour -- not for love: which is true, no doubt. But, in my opinion, if I am not formed for love, it follows that I am not formed for marriage ... If forced to be his wife, I can imagine the possibility of conceiving an inevitable, strange, torturing kind of love for him." (p. 423)

For Jane Eyre, marriage is a confusing, controversial concept as she is faced with two men who have very dissimilar ideas of what marriage is. After turning away Mr. Rochester's proposal, Jane undergoes an unexpected request from Mr. St. John. However, instead of being naive to the situation, Jane recognizes the significant difference between love and marriage. In this excerpt, Charlotte Bronte creates an instance where Jane questions Mr. St. John's genuine love. She realizes that love would certainly not accompany this marriage, as Mr. St. John is merely using her "as a useful tool." Here, Jane is able to compare her current situation with her past connection with Mr. Rochester - a bond where authentic and passionate love was evident.

Photo Credit:
Marriage4. Photograph. Same Day Marriage. Web. 29 Nov. 2009. http://www.samedaymarriage.com/marriage/images/marriage4.jpg.

Jane Eyre 3

• "'What would uncle Reed say to you, if he were alive?' was my scarcely voluntary demand. I say scarcely voluntary, for it seemed as if my tongue pronounced words without my will consenting to their utterance: something spoke out of me over which I had no control." (p. 27)

Throughout the novel, Jane Eyre is portrayed as a strong-willed, forceful woman who is never afraid of expressing what's on her mind. This excerpt captures Jane's habit of blurting out her most recent feeling. Her blunt personality may lead her to occasional trouble, but she continuously remains honest with herself and others. Unlike the lack of communication in books such as "Mrs. Dalloway" and "The Hours," where the characters emotions are locked up, Charlotte Bronte allows Jane to be direct and frank with whomever she speaks with. By doing so, Bronte emphasizes the importance of being true to yourself, following your intuition, and communicating your feelings.

Photo Credit:
Photograph. Career Faqs. Web. 29 Nov. 2009. http://www.careerfaqs.com.au/images/articles/1323/large/Facebook_hand_covering_mout.jpg.

Jane Eyre 2

• "Thank you, Mr. Rochester, for your great kindness. I am strangely glad to get back again to you; and wherever you are is my home -- my only home ... This was very pleasant: there is no happiness like that of being loved by your fellow-creatures, and feeling that your presence is an addition to their comfort." (p. 250)
  

Over the course of the novel, Jane Eyre has never experienced the feelings that accompanies having a permanent home. Her memory of the places she has lived are not warming or comforting by any means. Jane tends to associate where she lives with the people she lives with, not the actual place. Charlotte Bronte intends for Jane to determine her home based on who is associated with it. Jane begins to feel that sense of belonging upon living at Thornfield Hall because of her connection with Mr. Rochester, Adele, and the various other characters who reside there.

Photo Credit:
Home Sweet Home. Photograph. Photobucket. Web. 29 Nov. 2009. http://media.photobucket.com/image/home%20sweet%20home/itcha17/home-sweet-home.jpg.

Jane Eyre 1

• "'But I apprised you that I was a hard man,' said he; 'difficult to persuade.' 'And I am a hard woman, -- impossible to put off.' 'And then,' he pursued, 'I am cold; no fevour infects me.' 'Whereas I am hot, and fire dissolves ice.'" (p. 390)
  

Charlotte Bronte incorporates some of the reoccurring symbols throughout the novel, fire and ice, to describe Jane Eyre and Mr. St. John's character. Here, Mr. St. John is perfectly described as he is shown to be a cold-hearted, cruel person. He claims nothing can affect him, yet Jane states that "fire dissolves ice." Jane is truly a passionate, determined, and fiery young woman. She accomplishes what she is after and has no problem expressing her opinion. In the excerpt, Bronte implies that Jane has the ability to break down Mr. St. John until she obtains what she wants, much like fire is capable of melting ice.

Photo Credit:
Fire and Ice. Photograph. Google. Web. 29 Nov. 2009. http://ladyfi.files.wordpress.com/2009/01/fire-n-ice.jpg.

Mrs. Dalloway 17

• "But she's extraordinarily attractive, he thought, as, walking across Trafalgar Square ... Straightening himself and stealthily fingering his pocket knife he started after her to follow this woman, this excitement." (p. 52-53)
  

During this excerpt, Peter Walsh follows a woman who is a complete stranger. Within this scene, Peter creates a made-up relationship between him and this anonymous woman, often comparing her to Clarissa. Obviously Peter is still in love with Clarissa because even now, after all these years, is dwelling on her rejection. Woolf displays the major themes of communication and privacy within this scene as Peter obtains private thoughts, rather than communicating actual conversation and emotion.

Mrs. Dalloway 16

• "Death was defiance. Death was an attempt to communicate; people feeling the impossibility of reaching the centre which, mystically, evaded them; closeness drew apart; rapture faded, one was alone. There was an embrace in death." (p. 184)

Throughout Mrs. Dalloway, Virginia Woolf enhances this piece of literature by incorporating significant themes within the text. Communication and the fear of death define this novel's main messages. In this excerpt, Clarissa is preaching her view on death; expressing that she thinks death is bold, suicide was a way to escape/go against society. Death was a way to try to get your point across, a call for help, or an opinion to be heard. This clearly was difficult for many of the characters in the novel. However, there was an acceptance in death; even though the concept scared Clarissa, it was one that she had to overcome and knew would eventually happen. The suicide of Septimus was a turning point in the novel for Clarissa; this incident helped her become more at ease with the idea of death.

Mrs. Dalloway 15

• "How extraordinary it was, strange, yes, touching, to see the old lady ... that old lady, she meant, whom she could see going from chest of drawers to dressing-table. She could still see her." (p. 127)
  

Throughout the novel, Virginia Woolf creates a minor character, the old lady, who, despite her role has a significant impact on Clarissa. Clarissa thought it "was fascinating to watch her, moving about, that old lady, crossing the room, coming to the window." (p. 186) Clarissa respected the woman for her independence, but also felt sympathetic as she believed the old lady was very lonely. During various scenes in the novel, Clarissa intently watches the old woman and notices the privacy of her character. While Clarissa is hosting an extravagant party, the old woman is tinkering around her house all by herself. The old lady has significance in the novel as Virgina Woolf intends for Clarissa's character to picture herself in the future. Although Clarissa claims she is fascinated, deep inside she is most likely very frightened of the concept of getting older (eventual death) and the loneliness that accompanies age.

Photo Credit:
Old Woman by the Window. Photograph. Flickr. Web. 30 Sept. 2009. http://farm1.static.flickr.com/136/375075892_f285827fdf.jpg?v=0.

Mrs. Dalloway 14

• "For in those days she was completely reckless; did the most idiotic things out of bravado; bicycled round the parapet on the terrace; smoked cigars. Absurd, she was - very absurd." (p. 34)

One of the major themes throughout the novel Woolf addresses is feminism and women contribution to society. This description of Sally Seton reveals her un-lady-like manners and her attitude towards society. Clarissa clearly admires her for being an independent, carefree woman. Sally Seton did not care what she did in public; she smoked cigars and once ran naked - certainly actions that a stereotypical woman during this time period would not commit. One could argue that Sally Seton was seeking negative attention or just plainly leading an independent woman's lifestyle.

Mrs. Dalloway 13

• "She had gone. Mrs. Kilman sat at the marble table among the eclairs, stricken once, twice, thrice, by shocks of suffering. She had gone. Mrs. Dalloway had triumphed. Elizabeth had gone. Beauty had gone, youth had gone." (p. 133)
  

At this point in the novel, Mrs. Kilman and Elizabeth sit down to have tea, but eventually Elizabeth gets up and leaves. The relationship between Mrs. Kilman and Elizabeth is rather strange, as it appears Mrs. Kilman has a lesbian attraction to the young girl. Obviously Mrs. Dalloway isn't comfortable knowing this, hence the reason why Woolf describes Clarissa's enjoyment ("Mrs. Dalloway had triumphed") knowing Elizabeth feels discomfort too. Mrs. Kilman is very upset because Elizabeth's sudden decision of leaving shows rejection or disapproval of Mrs. Kilman's feelings towards her. It is ironic that Woolf writes the line "beauty had gone" because the rest of the characters in the novel are suddenly noticing Elizabeth's beauty and beginning to notice how attractive she is. Mrs. Kilman also experiences a sense of defeat as she feels that Elizabeth leaving is a direct indication that she has chosen to follow the lifestyle her mother leads, rather than her own.

Mrs. Dalloway 12

• "Big Ben was beginning to strike, first the warning, musical; then the hour, irrevocable ... The sound of Big Ben flooded Clarissa's drawing-room, where she sat, ever so annoyed." (p. 117)
  

Big Ben is the nick name for the bell on the clock at the Palace of Westminster in London. Big Ben is the largest four-faced chiming clock and the third tallest free standing clock tower in the world. Virginia Woolf intends for the concept of time to be a very significant theme throughout the novel. One of the unique features of this novel is that it takes place over a period of one day, and not several. The short time period in Mrs. Dalloway suggest all that has taken place throughout Clarissa's life. The passing of time is frightening to Clarissa; once time has passed, everything is final and cannot be changed. Woolf shows all the possibilities that can happen in a short time-frame; by doing so, readers feel overwhelmed by all the chaotic experiences the characters reveal in one day.

Work Cited:
"Big Ben." Wikipedia. Web. 28 Sept. 2009. http://en.wikipedia.org/wiki/Big_Ben.

Photo Credit:
Palace of Westminster, London - Feb 2007. Photograph. Wikipedia. Web. 28 Sept. 2009. http://en.wikipedia.org/wiki/File:Palace_of_Westminster,_London_-_Feb_2007.jpg.

Mrs. Dalloway 11

• "But he wanted to come in holding something. Flowers? Yes, flowers, since he did not trust his taste in gold; any number of flowers, roses, orchids, to celebrate what was, reckoning things as you will, an event." (p. 115)
  

In the novel, Mrs. Dalloway, Virginia Woolf uses flowers as a symbol to express emotion, or the diversity in shades or colors. Usually these positive feelings are associated with Clarissa, who comes across as feeling comfortable whenever flowers are present. However, here Woolf associates flowers with Richard Dalloway, and it is very apparent that he feels uneasy. Upon making his purchase, Richard doesn't feel confident choosing something for his wife, so he resorts to what the general public might buy for a woman; flowers. Woolf also describes his discomfort with the flowers; "bearing his flowers like a weapon, Richard Dalloway approached her." Instead of expressing love and delicacy, Richard appears awkward.

Photo Credit:

Photograph. Blogger.com. Web. 28 Sept. 2009. http://3.bp.blogspot.com/_0XQB5t5onj8/RjgL4Tp7fVI/AAAAAAAAAJU/CQ4NYFRDDRg/s400/woman%2Bholding%2Bflowers.

Mrs. Dalloway 10

• "Here he opened Shakespeare once more. That boy's business of the intoxication of language - Antony and Cleopatra - had shrivelled utterly. How Shakespeare loathed humanity - the putting on of clothes, the getting of children, the sordidity of the mouth and the belly! This is now revealed to Septimus; the message hidden in the beauty of words." (p. 88)

Virginia Woolf alludes to many Shakespeare pieces throughout the novel, and here Septimus is referencing Antony and Cleopatra. This tragedy describes the relationship between Cleopatra and Mark Antony between the Parthian War and Cleopatra's suicide. Woolf alludes to Shakespeare's work so frequently because it is known for expressing deep emotions and feelings. The characters Woolf create in Mrs. Dalloway, such as Clarissa and Septimus, are extremely sensitive, just like the work Shakespeare produced. The multiple references to Shakespeare suggest the characters' desire to be remembered/noticed; like Shakespeare was, and it reveals the respect they had for him as a writer.

Work Cited:
"Antony and Cleopatra." Wikipedia. Web. 28 Sept. 2009. http://en.wikipedia.org/wiki/Antony_and_Cleopatra.

Photo Credit:
Lawrence Alma - Tadema - Anthony and Cleopatra. Photograph. Wikipedia. Web. 28 Sept. 2009. http://en.wikipedia.org/wiki/File:Lawrence_Alma-Tadema-_Anthony_and_Cleopatra.JPG.

Mrs. Dalloway 9

• "There remained only the window, the large Bloomsbury-lodging house window, the tiresome, the troublesome, and rather melodramatic business of opening the window and throwing himself out." (p. 149)

Throughout the story, Septimus has been mentally ill and once Dr. Holmes arrives, Septimus is forced to make the decision of either committing suicide or killing his soul. Septimus has experienced emotional damage ever since the war, constantly fights insanity, and ultimately, has given into the pressure of society. It is interesting that Virginia Woolf writes about the topic of suicide because later on in her life, she takes her own. Claiming to hear voices and the inability to concentrate, Woolf becomes depressed and eventually kills herself by walking into a river with her coat pockets filled with stones. Septimus' character shows multiple similarities that Woolf is said to have experienced.

Works Cited:
"Virginia Woolf." Wikipedia. Web. 28 Sept. 2009. http://en.wikipedia.org/wiki/Virginia_Woolf.

Photo Credit:

George Charles Beresford. Photograph. Wikipedia. Web. 28 Sept. 2009. http://en.wikipedia.org/wiki/File:George_Charles_Beresford10.jpg.

Mrs. Dalloway 8

• "He could reason; he could read, Dante for example, quite easily ("Septimus, do put down your book," said Rezia, gently shutting the Inferno)." (p. 88)

Inferno is Italian for “Hell” and here, Virginia Woolf is alluding to Dante’s poem Divine Comedy. The poem is divided into three parts, Inferno, Purgatory, and Paradise. The first part of the poem, Inferno, describes the acknowledgment and rejection of sin. In summary, the poem describes the journey of Dante through his medieval perception of Hell which is portrayed as nine circles of misery within the Earth. To develop his character, Woolf has Septimus, who shows signs of insanity, read something with deep meaning rather than a book which discusses a lighter subject.

Works Cited:
"Inferno (Dante)." Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/Inferno_(Dante).

Photo Credit:
Photograph. Word Search with Adair Jones. Web. 27 Sept. 2009. http://adairjones.files.wordpress.com/2009/07/william_blake_dantes_inferno_whirlwind_of_lovers.jpg.

Mrs. Dalloway 7

• "She could see Peter out of the tail of her eye, criticising her, there, in that corner. Why, after all, did she do these things? Why seek pinnacles and stand drenched in fire? Might it consume her anyhow! Burn her to cinders! Better anything, better brandish one's torch and hurl it to earth than taper and dwindle away like some Ellie Henderson!" (p. 167-168)

Clarissa Dalloway has an emotional breakdown during her party even though she has carried these inner feelings throughout the entire novel. Clarissa cares way too much about what people think of her, is deathly afraid of failure, and hates to be criticized. She feels that she constantly needs to be impressing people, and if she hasn't reached the top, she feels extremely unsuccessful. Virginia Woolf relates Clarissa's feeling of failure to the character Ellie Henderson. Ellie is Clarissa's dreary cousin who doesn't really fit into the crowd, thought of as plain, and doesn't have many qualifications. Clarissa imagines her hypothetical downfall to be much like the life Ellie Henderson leads.

Mrs. Dalloway 6

• "A sound interrupted him; a frail quivering sound, a voice bubbling up without direction, vigour, beginning or end, running weakly and shrilly and with an absence of all human meaning into ee um fah um so foo swee too eem oo." (p. 80)

Opposite Regent's Park Tube station, an old woman is carelessly singing an old song. Regardless of the people around her, the old woman is content singing. Throughout the entire novel, the characters are very critical of each other and often care what society thinks of them. However, Virginia Woolf makes a point to include this free spirited woman into Mrs. Dalloway. Upon leaving the station, Peter Walsh pities the old woman, perhaps feeling embarrassed for her, while this is an eye-opener for Rezia; causing her to appreciate the old woman's carefree attitude and assures her that "everything was going to be right." (p. 83)

Mrs. Dalloway 5

• "Kilman her enemy. That was satisfying; that was real. Ah, how she hated her - hot, hypocritical, corrupt; with all that power; Elizabeth's seducer; the woman who had crept in to steal and defile." (p. 174-175)

Clarissa has built up anger towards Mrs. Kilman, as Clarissa feels that the relationship between her and her daughter, Elizabeth, is rather questionable. Virginia Woolf creates an intimate relationship between Mrs. Kilman and Elizabeth as Mrs. Kilman adores the young girl. To the reader, the relationship appears very innappropriate, yet it seems strange that Clarissa has never tried to end her daughters communication with Mrs. Kilman. Virginia Woolf creates this ironic intimacy for Elizabeth (although she shows no signs of attraction towards Mrs. Kilman), as her mother experienced similar relations with Sally Seton.

Mrs. Dalloway 4

• "Poor Peter, thought Sally. Why did not Clarissa come and talk to them? That was what he was longing for. She knew it. All the time he was thinking only of Clarissa, and was fidgeting with his knife." (p. 191-192)
  

Throughout the novel, Peter Walsh carries a pocket knife and it always appears in the presence of Clarissa. The knife is a very significant symbol showing Peter's discomfort in certain situations regarding Clarissa. The constant fidgeting shows his insecurities and lack of confidence, as well as his inability to make commitments. Virginia Woolf creates this symbol for Peter's character as it shows he needs a security item in order to endure Clarissa's presence.

Photo Credit:
Photograph. Blogger.com. Web. 27 Sept. 2009. http://www.skybluesoccer.com/var/ezwebin_site/storage/images/media/images/nervous/30677-1-eng-US/nervous_large.gif.

Mrs. Dalloway 3

• "The ideas were Sally's, of course - but very soon she was just as excited - read Plato in bed before breakfast, read Morris, read Shelley by the hour." (p. 33)
  

Virginia Woolf introduces the writer Plato, the Greek philosopher, mathematician, and writer of his well known Socratic dialogues in her novel. William Morris, an English writer and socialist who was a very active figure of socialism in Britain is also mentioned in this excerpt, as well as Percy Shelley, a major English romantic poet. Each of these men had a dramatic influence on society and were very successful during their careers. Clarissa thinks very highly of Sally Seton, as she wishes to "reform the world and to find a society to abolish private property." These intellectual men are associated with Sally Seton's power and determination to change society.

Works Cited:
"Percy Bysshe Shelley." Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/Percy_Bysshe_Shelley.
"William Morris." Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/William_morris.
"Plato." Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/Plato.

Mrs. Dalloway 2

• ""If it were now to die 'twere now to be more happy." That was her feeling - Othello's feeling, and she felt it, she was convinced, as strongly as Shakespeare meant Othello to feel it, all because she was coming down to dinner in a white frock to meet Sally Seton!" (p. 35)

Virginia Woolf alludes to Shakespeare's Othello, a tragedy which deals with various themes such as love, betrayal, and jealousy. In the play, the main character, Othello, kills his wife out of immense jealousy. After killing her, he commits suicide realizing that his envy was unnecessary. Clarissa relates her feelings regarding Sally Seton to Othello's story as she remembers how she loved Sally long ago. Like Othello, Clarissa use to feel excitement, anxiety, and strong emotion towards Sally when love powered her decisions and controlled her feelings.

Works Cited:
"Othello." SparkNotes. Web. 27 Sept. 2009. http://www.sparknotes.com/shakespeare/othello/summary.html.

Photo Credit:
Othello Bouchet and Gonzalez. Photograph. Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/File:Othello_Bouchet_and_Gonzalez.jpg.

Mrs. Dalloway 1

• "Fear no more the heat o' the sun Nor the furious winter's rages." (p. 9)

Virginia Woolf alludes to Shakespeare's play, Cymbeline, as Clarissa looks into Hatchards' flower shop window. This excerpt is a line from a funeral song in the play which celebrates death after a complex life. Death is constantly on Clarissa's mind throughout the novel; she is very frightened by the concept. These lines appear further into the story as a reminder that Clarissa should not necessarily consider death a scary concept, just one that should be accepted and realized it exists. As the song preaches, death should be a celebration of one's life and show signs for a peaceful future.

Works Cited:
"Cymbeline." Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/Cymbeline.

Photo Credit:

Imogen Discovered in the Cave of Belarius. Photograph. Wikipedia. Web. 27 Sept. 2009. http://en.wikipedia.org/wiki/File:Imogen_Discovered_in_the_Cave_of_Belarius_-_George_Dawe.jpg.

Heart of Darkness 30

• “Then I noticed a small sketch in oils, on a panel, representing a woman, draped and blindfolded, carrying a lighted torch. The background was sombre - almost in black. The movement of the woman was stately, and the effect of the torch-light on the face was sinister.” (p. 62)

Marlow discovers the painting Kurtz has created of a woman who is blindfolded, and carries a torch. Conrad most likely intended the woman to be a representation of the Europeans who have come to change the native Africans' culture. Light usually symbolizes knowledge or discovery, which represents the new customs Europeans are trying to enforce. Being focused on their own culture, the Europeans are unaware that these alterations are negative to the native Africans. The Europeans' lack of acknowledging negativity is denoted by the woman in the painting wearing a blindfold.

(Works Cited)
"Heart of Darkness." Marketgems.com. Web. 29 Aug. 2009. http://www.marketgems.com/heartofdarkness/symbolism.html.

(Photo Credit)
Photograph. Life in the Fast Lane. Web. 29 Aug. 2009. http://www.lifeinthefastlane.ca/wp-content/uploads/2007/08/olympic_torch_bearer_4_sfw.jpg.

Heart of Darkness 29

• “There was a vast amount of red - good to see at any time, because one knows that some real work is done in there … However, I wasn’t going into any of these. I was going into the yellow.” (p. 45)

As Marlow is viewing a map, he comments on the colors associated with each country. During this time period, the different colors on the map represented the different territories of certain countries. The color coded system stood as follows: Red - British, Blue - French, Green - Italian, Orange - Portuguese, Purple - German, Yellow - Belgian. Conrad adds the descriptions of the map to reveal Marlow's feelings towards these countries; note that Marlow comments on the British territory, applauding them for their accomplishments, and the German territory, informing the reader that Germany is commonly known for celebrating with beer.

(Works Cited)
Conrad, Joseph. Heart of Darkness. New York: Barns & Noble, Inc., 2003. Print.

(Photo Credit)
Congo Free State. Photograph. Wildlife Direct. Web. 29 Aug. 2009. http://farm3.static.flickr.com/2087/1508818337_2a69c7cbb2.jpg.

Heart of Darkness 28

• “I could see little ivory coming out from there, and I had heard Mr. Kurtz was in there … no more than if I had been told an angel or a fiend was in there. I believed it in the same way one of you might believe there are inhabitants in the planet Mars.” (p. 64)

Much talk is going around about Mr. Kurtz and his existence. Yet, because Marlow hasn’t seen him himself, he is having trouble generating an image based on his description. Throughout the beginning of the journey, Kurtz has simply been a voice or a character, and Marlow has not been able to associate a mental picture with reality. This is exactly why Conrad relates Marlow's situation to the belief of life on Mars; scientists claim there are different forms of life existing, yet it's hard to picture and believe until one has actually seen it with his/her eyes. Until Marlow has witnessed Kurtz’s existence, he has trouble believing the voice and image others have created.

Heart of Darkness 27

• “I began to feel slightly uneasy. You know I am not used to such ceremonies, and there was something ominous in the atmosphere … the other scrutinizing the cheery and foolish faces with unconcerned old eyes.” (p. 45-46)

The description of this passage clearly reveals Marlow’s fear and anxiety towards his upcoming trip. As the two women knit, Marlow becomes very uncomfortable. Their stares and quick glances appear to him like he is under the watch of someone. The reader is misled as it appears the women are fearful for the men about to travel the Congo, by knitting feverishly and staring with intensity. However, in reality, the women don’t seem to care about the dangers that await them because they see different men walk in and out every single day. Conrad perfectly illustrates an uncomfortable atmosphere by the actions of the characters and the setting of the scene.

(Photo Credit)
Old Women Knitting Punk Slogans. Photograph. Glitty Knitty Kitty. Web. 13 Sept. 2009. http://www.glittyknittykitty.co.uk/archive/banksy_grannies.jpg.

Heart of Darkness 26

• “I had no idea of the conditions, he said: these heads were the heads of rebels … Those rebellious heads looked very subdued to me on their sticks.” (p. 103)

Conrad shows Marlow's understanding of injustice as he appears shocked and outraged upon hearing the label the heads on the sticks are given. He finds it extremely unfair for the native Africans to posses such a title as "rebels," as they have not done a single thing to harm the white men. The natives haven’t had nearly enough independence to commit such acts that would rightly earn them that cruel name. Marlow then makes a sarcastic remark saying these supposedly “rebellious creatures” look “very subdued on their sticks.”

Heart of Darkness 25

• “Besides that, they had given them every week three pieces of brass wire, each about nine inches long … So, unless they swallowed the wire itself, or made loops of it to snare the fishes with, I don’t see what good their extravagant salary could be to them.” (p. 82)

This pathetic system of how the Company treats the native Africans truly shows how selfish these men are. Because the natives are so hungry, they become greedy and will do anything for the slightest bit of food. Conrad intends to portray the men of the Company as selfish; they are so low and uncaring that they think giving the natives a useless, non-edible piece of brass wire will suffice as a tool to obtain food. However, because a piece of wire is so hopeless and unsatisfying, the native Africans go crazy in search of any source of food.

(Works Cited)
"Heart of Darkness." Shmoop. Web. 27 Aug. 2009. http://www.shmoop.com/heart-of-darkness/power-quotes.html.

(Photo Credit)

Ningbo Jintain Copper. Photograph. World Importers. Web. 13 Sept. 2009. http://jintiancopper.win.mofcom.gov.cn/www/10%5Cjintiancopper%5Cimg%5C200782091915.jpg.

Heart of Darkness 24

• “The word ‘ivory’ rang in the air, was whispered, was sighed. You would think they were praying to it. A taint of imbecile rapacity blew through it all, like a whiff from some corpse. By Jove! I’ve never seen anything so unreal in my life.” (p. 60)

Marlow is beginning to realize the obsession men have of obtaining ivory. The men of the Company get carried away with their desire to have ivory and turn very greedy, putting aside their morals and civil lifestyle. Marlow notices that the men’s obsession has taken over their minds - appearing to have caused them to worship or ‘pray’ to the ivory. Conrad compares this disturbing concept to “a whiff from some corpse," making Marlow feel sick that a hunger for ivory could take over one’s mind.

(Works Cited)
"Heart of Darkness." Marketgems.com. Web. 27 Aug. 2009. http://www.marketgems.com/heartofdarkness/symbolism.html.

(Photo Credit)
Raw Ivory. Photograph. The Trophy Room Collection. Web. 13 Sept. 2009. http://www.trophyroomcollection.com/ivory/ivoryimg/ivory.JPG.

Heart of Darkness 23

• “It’s queer how out of touch with truth women are. They live in a world of their own … the day of creation would start up and knock the whole thing over.” (p. 48)

As Marlow is conversing with his aunt, he comes to the conclusion that women are unrealistic, and their dreams are slightly out of reach. Marlow seems to be looking down upon and ridiculing their impractical hopes, almost finding it humorous they could possibly dream of such things. Conrad intends for Marlow's character to find this amusing; however, as rude as his opinion is, Marlow also understands and applauds their genuine desire to achieve their goals.

Heart of Darkness 22

• “The moon had spread over everything a thin layer of silver - over the rank grass, over the mud … I felt how big, how confoundedly big, was that thing that couldn’t talk, and perhaps was deaf as well. What was in there?” (p. 64)

Conrad uses vivid imagery in this passage, and establishes a clear connection to human life as Marlow is beginning to consider the silence of nature a little unnatural to tolerate. Under the circumstances, he is uncomfortable with the calm and quiet atmosphere and questions whether the stillness of nature is normal. Marlow also compares the silence to being mute and deaf, much like a human being who possesses that handicap, whose world is completely silent and tranquil.

(Photo Credit)
Beautiful and Tranquil Lake Alpsee. Photograph. Pbase.com. Web. 13 Sept. 2009. http://k43.pbase.com/u32/seanathan/large/33133072.MUNCHEN002.jpg.

Heart of Darkness 21

• “These round knobs were not ornamental but symbolic; they were expressive and puzzling, striking and disturbing … smiling continuously at some endless and jocose dream of that eternal slumber.” (p. 102)

Marlow is extremely mistaken as he thought that the heads on stakes were ornamental balls. Instead, this graphic description is an example of Kurtz’s extreme cruelty. It seems rather unusual that Marlow takes this so lightly and doesn’t seem surprised by Kurtz’s twisted acts. In a way, Conrad assures readers that this act is permissible with the humorous line he includes - “the shrunken dry lips showing a narrow white line of the teeth, was smiling, too, smiling continuously at some endless and jocose dream of that eternal slumber.” It seems obvious to readers that this act of violence is one Marlow shouldn’t be taking lightly.

(Photo Credit)
Thirty Days of Night. Photograph. StateUnit. Web. 13 Sept. 2009. http://www.stateunit.co.nz/images/tdon_30_03_.jpg.

Heart of Darkness 20

• “He cried in a whisper at some image, at some vision - he cried out twice, a cry that was no more than a breath - ‘The horror! The horror!’” (p. 115)

“The horror! The horror!” The last words Kurtz spoke certainly stand out to the reader, clearly marking some significance to Kurtz’s life. The reader can interpret this line in a few ways, but it appears Conrad intends for Kurtz to either be reminiscing on his past or preparing for his future. If Kurtz is referring to his past, he might finally recognize the dark experiences he endured/pursued. On the other hand, Kurtz possibly says this line to inform the reader of the horror/torture his future might hold for him.

(Works Cited)
"Heart of Darkness Group." Http://www.enotes.com/heart-of-darkness/q-and-a/heart-darkness-kurtz-says-horror-what-did-he-mean-1585. Web. 26 Aug. 2009. http://www.enotes.com/heart-of-darkness/q-and-a/heart-darkness-kurtz-says-horror-what-did-he-mean-1585.

Heart of Darkness 19

• “A continuous shower of small flies streamed upon the lamp, upon the cloth, upon our hands and faces. Suddenly the manager’s boy put his insolent black head in the doorway, and said in a tone of scathing contempt - ‘Mistah Kurtz - he dead.’” (p. 116)

When Kurtz dies, flies immediately flood the ship illustrating a main symbol in the story. The flies arriving right after the incident symbolize death. However, it is not a destructive type of death that ends on the spot; it represents a lingering, decaying death much like flies create as they eat and pick away at dead matter. Kurtz’s final words, “The horror! The horror!” seem to be more sensitive and meaningful than the incredibly different words of the servant - “Mistah Kurtz - he dead.” - where Conrad intends the tone to be harsh, yet realistic.

Heart of Darkness 18

• “Kurtz - Kurtz - that means short in German - don’t it? Well, the name was as true as everything else in his life - and death. He looked at least seven feet long.” (p. 104)

Marlow is revealing the ironic comparison between Kurtz’s name and its definition in German. Kurtz’s life seemed far from short, as he was an accomplished and motivated worker. He became powerful, influential, and ambitious. The character he became took much time and many experiences to develop. Conrad also adds that Kurtz’s body looked “seven feet long," somewhat contradicting the idea of the word “short” associated with Kurtz’s character.

Heart of Darkness 17

• “Evidently the appetite for more ivory had got the better of the - what shall I say? - less material aspirations. However he had got much worse suddenly.” (p. 101)

The Russian trader is sharing Kurtz’s desire for more and more ivory. Throughout the story, Conrad reveals the development of Kurtz’s personality. The reader learns he is very power hungry and his thirst for authority is growing rapidly. The desire of power is very dangerous as it can control one’s mind, emotions, and acts. The personality of Kurtz is very similar to Victor, in Mary Shelley’s Frankenstein, as Victor becomes obsessed with uncovering new knowledge/the unknown.

Heart of Darkness 16

• “His aspect reminded me of something I had seen - something funny I had seen somewhere. As I maneuvered to get alongside, I was asking myself, ‘What does this fellow look like?’ Suddenly I got it. He looked like a harlequin.” (p. 95)

This passage is describing the Russian trader who comes to meet Marlow and the manager. Marlow appears to recognize the similarities in appearance between the Russian and a harlequin. A harlequin is a fictional character similar to a clown that could appear in a comic book. Harlequins typically dress in very bright, vibrant colors, with either a checkered or patched pattern. The image Conrad illustrates shows bright colors, patch work, and characteristics a clown might possess. The connections Conrad draws between a harlequin and the Russian reveal a lot about his character - someone who appears not to be taken seriously.

(Works Cited)
"Definition of Harlequin." Google. Web. 25 Aug. 2009. http://www.google.com/search?hl=en&rlz=1G1GGLQ_ENUS315&q=define%3A+harlequin&aq=f&oq=&aqi=g-s1g-sx4.

(Photo Credit)
Circus Clown Costume. Photograph. Costume-Shop.com. Web. 13 Sept. 2009. http://www.costume-shop.com/images/products/80002.jpg.

Heart of Darkness 15

• “And you say, Absurd! Absurd be - exploded! Absurd! My dear boys, what can you expect from a man who out of sheer nervousness had just flung overboard a pair of new shoes!” (p. 90)

This emotional outbreak is the result of Marlow’s decision to throw a brand new pair of shoes into the ocean having heard the death of Kurtz. This selfish act, disposing something that many other men in his situation would dream of having, shows how desperately Marlow wanted to meet and talk with Kurtz. However, after performing that ridiculous act, Marlow agrees that his behavior was “absurd” and out of pure disappointment. Conrad purposely includes this situation in the novel to prove to readers that acting on impulse from frustration or anger sometimes results in immature and dangerous consequences.

Heart of Darkness 14

• “All Europe contributed to the making of Kurtz and by-and-by I learned that, most appropriately, the International Society for the Suppression of Savage Customs had intrusted him with the making of a report, for its future guidance.” (p. 92)

The International Society for the Suppression of Savage Customs seems to have gotten its name from the organization created in 1876, The International Association for the Exploration and Civilization in Africa. King Leopold II formed this organization once the Congo Free State was approved by the Berlin Conference. King Leopold II went on an expedition of the Congo and allowed the Belgians to take any raw materials from the area, particularly rubber, without trading with the natives. Much conflict arose from this system resulting in King Leopold‘s withdrawal and Belgium’s new ownership of the Congo. Conrad sarcastically includes this organization into Heart of Darkness as he is one of King Leopold’s biggest critics.

(Works Cited)
"Leopold II." Answers.com. Web. 25 Aug. 2009. http://www.answers.com/topic/king-leopold-ii.

(Photo Credit)
Leopold II Garter Knight. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Leopold_ii_garter_knight.jpg.

Heart of Darkness 13

• “You should have heard him say, “My ivory.” Oh yes, I heard him. “My Intended, my ivory, my station, my river, my ---” everything belonged to him. It made me hold my breath in expectation of hearing the wilderness burst into a prodigious peal of laughter that would shake the fixed stars in their places. Everything belonged to him - but that was a trifle.” (p. 91)

In this passage, Conrad is describing Kurtz’s obsession with authority and ownership. Kurtz’s list of objects or places he “owns” truly reveals his character as he comes off as selfish and demanding. Kurtz even goes to the extent of claiming things in nature such as “my river.” Marlow finds Kurtz’s desire for power quite humorous and pathetic; he is surprised the wilderness isn’t laughing at Kurtz’s ridiculous “possessions.”

Heart of Darkness 12

• “The simple old sailor, with his talk of chains and purchases … and making notes - in cipher at that! It was an extravagant mystery.” (p. 78-79)

Marlow’s fascination with his new discovery shows how desperately he has missed contact with civilization. With this recent book, Marlow is distracted from his familiar surroundings and is brought back to a sense of reality and reassurance. Conrad shows Marlow completely surprised and amazed that actual human hand writing was written in the margins; this also makes him feel more connected to civilization.

Heart of Darkness 11

• “This devoted band called itself the Eldorado Exploring Expedition, and I believe they were sworn to secrecy.” (p. 68)

In this excerpt, Conrad is alluding to El Dorado - a mythical country located in South America. El Dorado, or The City of Gold, became known as a legendary place for its fabulous riches, gold, and treasures. The legend began when a tribal chief covered himself in gold and then washed himself in a sacred lake, leaving remains of gold in the water. For centuries, explorers have tried to discover this enchanting, mysterious place but have experienced much disappointment not finding anything. Conrad refers to the Eldorado Exploring Expedition as men who travel in Africa, in search of treasure, but are yet to uncover the unknown.

(Works Cited)
"El Dorado." The Free Dictionary. Web. 24 Aug. 2009. http://encyclopedia2.thefreedictionary.com/El+Dorado+(legend).
"El Dorado." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/El_Dorado.

(Photo Credit)
El Dorado. Photograph. Jewelry.com. Web. 13 Sept. 2009. http://www.jewelry.com/binaries/2009-04-jn-eldorado.jpg.

Heart of Darkness 10

• “I let him run on, this papier-mache Mephistopheles, and it seemed to me that if I tried I could poke my forefinger through him, and would find nothing inside but a little loose dirt, maybe.” (p. 63)

During this part of the story, Marlow is describing the brick maker as he is rambling on in hopes of getting on Marlow’s good side. Mephistopheles is a name given to one of the chief demons of Christian mythology. Mephistopheles is commonly used as an another name for Satan or the Devil. Mephistopheles is most known for appearing in the Legend of Faust - an evil spirit who sells his soul to the Devil. However, in this case, Conrad portrays the brick maker as a “papier-mache Mephistopheles,” or someone who appears solid, but is really empty on the inside.

(Works Cited)
"Mephistopheles." Global Oneness. Web. 24 Aug. 2009. http://www.experiencefestival.com/a/Mephistopheles/id/524767.

(Photo Credit)
Mephistopheles. Photograph. Answers.com. Web. 13 Sept. 2009. http://wpcontent.answers.com/wikipedia/en/thumb/b/b9/Mephistopheles2.jpg/250px-Mephistopheles2.jpg.

Heart of Darkness 9

• “By heavens! There is something after all in the world allowing one man to steal a horse while another must not look at a halter. Steal a horse straight out.” (p. 61)

This excerpt has very similar wording to the phrase “one man may steal a horse, while another may not look over a hedge.” There are various ways to interpret this saying - however, its general meaning is there are people who can get away with mischief, solely because one thinks highly of them. Then, there are the people whom one is prejudiced against, and are automatically and most always looked upon under a careful eye. In this excerpt, Conrad expresses his ideas through the brickmaker, as he preaches that everyone should give everyone equal opportunities and not be judgmental.

(Works Cited)
"One man may steal a horse, while another may not look over a hedge." Answers.com. Web. 24 Aug. 2009. http://www.answers.com/topic/one-man-may-steal-a-horse-while-another-may-not-look-over-a-hedge.

(Photo Credit)
Young woman sitting on shoulders of young man, looking over hedge. Photograph. Gettyimages. Web. 13 Sept. 2009. http://cache1.asset-cache.net/xc/200503876-001.jpg?v=1&c=NewsMaker&k=2&d=CED48661B87C5DBF0B18CBA22587CA001F6F6178A68B340C.

Heart of Darkness 8

• “My purpose was to stroll into the shade for a moment; but no sooner within than it seemed to me I had stepped into the gloomy circle of some Inferno.” (p. 52)

Inferno is Italian for “Hell” and here, Conrad is alluding to Dante’s poem Divine Comedy. The poem is divided into three parts, Inferno, Purgatory, and Paradise. The first part of the poem, Inferno, describes the acknowledgment and rejection of sin. In summary, the poem describes the journey of Dante through his medieval perception of Hell which is portrayed as nine circles of misery within the Earth. Clearly, the imagery used in this segment from Heart of Darkness, bases its ideas from Dante’s poem.

(Works Cited)
"Inferno (Dante)." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/Inferno_(Dante).

(Photo Credit)

Dante's Inferno. Photograph. Joystiq. Web. 13 Sept. 2009. http://www.blogcdn.com/www.joystiq.com/media/2008/12/dantes_inferno_top.jpg.

Heart of Darkness 7

• “Every day the coast looked the same, as though we had not moved; but we passed various places - trading places - with names like Gran’ Bassam, Little Popo; names that seemed to belong to some sordid farce acted in front of a sinister back-cloth.” (p. 49)

The Gran’ Bassam, or Grand Bassam, was a French colonial capital city. It was a key seaport, but once the capital city was moved to Bingerville, the commercial shipping slowly declined. Little Popo, or Aného, had a Portuguese slave market and became the first German capital of Togo. The town was especially known for its farming and fishing but lost its importance after coastal erosion. Conrad is comparing these names to a comedy act which is described as broad, often with vulgar, dirty, or degrading humor. His description creates a negative feel for readers as an evil, absurd, and offensive atmosphere is being illustrated.

(Works Cited)
"Aneho." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/An%C3%A9ho.
Google. Web. 24 Aug. 2009. http://www.google.com/dictionary.
"Grand Bassam." Wikipedia. Web. 24 Aug. 2009. http://en.wikipedia.org/wiki/Grand-Bassam.

(Photo Credit)

Photograph. Show Me What I'm Looking For. Web. 13 Sept. 2009. http://showme.debockwebdesign.com/wp-content/uploads/2009/05/evil_clown_by_namesjames1.jpg.

Heart of Darkness 6

• “Then with a certain eagerness asked me whether I would let him measure my head. Rather surprised, I said Yes, when he produced a thing like calipers and got the dimensions back and front and every way, taking notes carefully.” (p. 46)

In this excerpt, Conrad is referring to the practice of craniology, which during the 18th and 19th centuries was the pseudoscientific study that believed that a person’s character could be determined by examining the shape, size, proportion, and every bump in one’s head. At the time, it was thought that head form indicated the differences in race and intelligence. The doctor believes and suggests that there are noticeable changes in men once they travel in Africa. He claims that men normally go mad once they are exposed to the African race and culture.

(Works Cited)
"Definition of Craniology." MedicineNet.com. Web. 20 Aug. 2009. http://www.medterms.com/script/main/art.asp?articlekey=10855.

(Photo Credit)
Museum Exhibit #1. Photograph. Our Nineteenth-Century American Museum. Web. 13 Sept. 2009. http://antiquescientifica.com/phrenology_calipers_George_Combe_on_Wells_bust.jpg.

Heart of Darkness 5

• “Ave! Old knitter of black wool. Morituri te salutant. Not many of those she looked at ever saw her again - not half, by a long way.” (p. 46)

The Latin phrase, Ave! … Morituri te salutant, translates into “Hail … Those who are about to die salute you.” Before the Roman gladiators entered a match, they would salute the emperor with this phrase. Conrad is drawing a parallel between the two situations; before entering the doctor's office and shipping off into the sea, the two old knitters would be a few of the last people one would see before never returning - similar to saluting the emperor before dying in the arena.

(Works Cited)
"Moritui te Salutant." Wikipedia. Web. 20 Aug. 2009. http://en.wikipedia.org/wiki/Morituri_te_salutant.

(Photo Credit)
Morituri te Salutant. Photograph. Flickr. Web. 13 Sept. 2009. http://farm1.static.flickr.com/82/215205130_d483e9f04a_o.jpg.

Heart of Darkness 4

• “But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land … The snake had charmed me.” (p. 43)

Marlow is describing his fascination of maps and particularly one river that strikes his interest. This river, the Congo, is described as shaped like a snake. The last sentence of the paragraph is slightly ironic, considering that shake charming is the act of hypnotizing a snake merely by playing an instrument. However, in Conrad's case, the “snake” (the river) is the object which is hypnotizing or mesmerizing Marlow. The mystery and adventure which awaits on the river has captivated Marlow to explore it.

(Works Cited)
"Snake Charming." Wikipedia. Web. 20 Aug. 2009. http://en.wikipedia.org/wiki/Snake_charmer.

(Photo Credit)
Charmeur de serpents a Jaipur. Photograph. Wikipedia. Web. 13 Sept. 2009. http://en.wikipedia.org/wiki/File:Charmeur_de_serpents_%C3%A0_Jaipur_(2).JPG.

Heart of Darkness 3

• “I was thinking of very old times, when the Romans first came here, nineteen hundred years ago - the other day …. Light came out of this river since - you say Knights? Yes; but it is like a running blaze on a plain, like a flash of lightning in the clouds. We live in the flicker - may it last as long as the old earth keeps rolling! But darkness was here yesterday.” (p. 40)

In this excerpt, Conrad is referring to the Roman invasion into Britain, led by Julius Caesar. The invasion took place in 55 B.C. and continued in 54 B.C. as the Romans established themselves as a military force in Britain. The Romans didn’t return to Britain for another 90 years but came back to take over the island in A.D. 43. Marlow is saying that even though this event took place “nineteen hundred years ago,” it seems like just yesterday the invasion took place.

(Works Cited)
"The Romans in Britain." History Learning Site. Web. 20 Aug. 2009. http://www.historylearningsite.co.uk/romans_in_britain.htm.