Comparing Heart Of Darkness And Apocalypse Now
Joseph Conrad's novel, Heart of Darkness makes a statement about the struggle between civility and savagery, and the lingering effects of the Congo. Francis Ford Coppola's 1979 film, Apocalypse Now, is based on Heart of Darkness, so the two share similar themes, though they are not identical. Despite the difference in media, Heart of Darkness and Apocalypse Now use similar devices to convey their themes, but take on drastically different tones. Conrad uses the scene leading up to Mr. Kurtz's 'death' to set theme of the struggle between civility and savagery. Conrad uses dark, inhuman imagery to convey Kurtz's savage nature: he is a "shadow" and a "nightmare ... crawling on all-fours" (64). Marlow's diction shows the conflict between his
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Kurtz's 'death' in the jungle, Marlow and Kurtz's return to civilization shows the lingering effects of Africa (upon them). After Marlow confronts Kurtz, Conrad uses no outside sound until the natives begin yelling (66). The absolute silence outside of Marlow's inner monologue reflects the "heavy, mute spell of the wilderness" (66), and conveys his inability to shake the effect of Africa even after removing himself from immediate danger (corruption). Back on the ship, though Kurtz's voice may "ring deep to the very last" (68), Conrad uses dark and empty diction to liken Kurtz's current state to a lifeless shell of himself: "the barren darkness of his heart ...the hollow sham" (68). Kurtz may still have a few bits of himself that reflect society, but, ultimately, he is not fit to return to civilization; his fate is"to be buried presently in the mold of primeval earth" (68). Kurtz giving Marlow his manuscript and letters, symbols of civilization, is a metaphor for him giving up his weak grip on what is left of his civility, and, therefore his life. Kurtz dies in the jungle, but Marlow returns to civilization "to dream the nightmare out to the end, and to show my loyalty to Kurtz" (70). His diction conveys that he is driven to return to society purely to appease Kurtz's wishes, despite the horrible repercussions that might come from such a "nightmare" (70). This shows the dangerous effect that Kurtz has even when he is gone. Conrad explicitly depicts Marlow's return to civilization, and his constant use of negative diction conveys his distaste for every little thing: "resenting the sight of people ... [who] filch a little money ... gulp their unwholesome beer ... dream their insignificant and silly dreams ... their bearing ... was offensive to me ... they could not possibly know the things I know" (70-71). Marlow's experiences in Africa had such a great impact that they cause him to resent all civilized people for simply existing and being civilized. Kurtz
Kurtz's 'death' in the jungle, Marlow and Kurtz's return to civilization shows the lingering effects of Africa (upon them). After Marlow confronts Kurtz, Conrad uses no outside sound until the natives begin yelling (66). The absolute silence outside of Marlow's inner monologue reflects the "heavy, mute spell of the wilderness" (66), and conveys his inability to shake the effect of Africa even after removing himself from immediate danger (corruption). Back on the ship, though Kurtz's voice may "ring deep to the very last" (68), Conrad uses dark and empty diction to liken Kurtz's current state to a lifeless shell of himself: "the barren darkness of his heart ...the hollow sham" (68). Kurtz may still have a few bits of himself that reflect society, but, ultimately, he is not fit to return to civilization; his fate is"to be buried presently in the mold of primeval earth" (68). Kurtz giving Marlow his manuscript and letters, symbols of civilization, is a metaphor for him giving up his weak grip on what is left of his civility, and, therefore his life. Kurtz dies in the jungle, but Marlow returns to civilization "to dream the nightmare out to the end, and to show my loyalty to Kurtz" (70). His diction conveys that he is driven to return to society purely to appease Kurtz's wishes, despite the horrible repercussions that might come from such a "nightmare" (70). This shows the dangerous effect that Kurtz has even when he is gone. Conrad explicitly depicts Marlow's return to civilization, and his constant use of negative diction conveys his distaste for every little thing: "resenting the sight of people ... [who] filch a little money ... gulp their unwholesome beer ... dream their insignificant and silly dreams ... their bearing ... was offensive to me ... they could not possibly know the things I know" (70-71). Marlow's experiences in Africa had such a great impact that they cause him to resent all civilized people for simply existing and being civilized. Kurtz