Heart of Darkness questions help?

What is the point of providing a "frame narrator"? How does the presence of this kind of narrator affect your view of Marlow's authority as a narrator?
2. What does the frame narrator say distinguishes Marlow from other sailors? How is this distinction significant with respect to the adventure that Marlow recounts?

What does Marlow say about the Roman imperial project? How does the Roman project compare to the Belgian (and British) motivations for seeking an empire?
4. Keep track of references to maps. What significance lies in Marlow's references to maps? How, for example, do they represent the novella's frequent opposition between light and "darkness"?

5. Marlow describes a map image of the Congo River in Africa as being like a snake. What snake-like qualities does this reference transfer to the River, and how does the transference set us up for the rest of the novel's events?

6. Marlow meets a pair of women weaving -- to what Classical myths does this scene appeal, and why would such an appeal be significant in the context of the story as a whole?

7. Describe the exchange between Marlow and his idealistic Aunt. How well does Marlow's self-description as a realist hold up over the course of the story? Explain.

8. Soon Marlow sets out for Africa on a French steamship, and gets his first look at native Africans along the shore. What qualities does he observe in them, and what seems to be his attitude about those qualities?

9. When Marlow reaches the Company's Outer Station, and offers us some observations about it. What does he say about the reigning "Devil" in this Outer Station? How does this "Devil" differ from others with whom he has made acquaintance?

10. What fundamental contrast or contradiction among the Outer Station inhabitants begins to appear right away, as soon as Marlow comes across dying workers and the smartly dressed Company Accountant?

11. What is the first description we hear of Kurtz? For what quality or activity is he praised? How does the praise bring up the novella's frequent oppositions between light or whiteness and darkness?

12. When Marlow reaches the Central Station, how does he describe nature's effects on the Station and its inhabitants? What power does the wilderness have over the Station, and what appears to motivate its occupants?

13. What view of Kurtz does the Brickmaker (a favorite of the Manager) take? Why does he appear to resent Kurtz?

14. Marlow says that he detests lies. Does this implied (and elsewhere stated) preference for truth hold constant in the novella? Does Marlow seem to understand his own character, or is he at times confused about his interests and beliefs? Explain.

15. How do the Manager and his nephew reveal their resentment of Kurtz in spite of that agent's obvious success as an ivory collector? What effect does their resentment have upon Marlow, who has overheard their conversation?

16. How does Marlow describe the Congo River and its environs? How does he describe his interaction with the River? What illusion does the River promote? What insight does it provide, at least so far as Marlow is concerned?

17. What does Marlow imply is the basis for his ability to respond to the African natives he observes? To what extent does he here invoke the distinction often made between nature and culture, primitive and civilized? Does he accept that distinction?

18. Marlow discovers a hut with some firewood and a book. Why does this book impress him?

19. Marlow says that he came to an important realization as he neared Kurtz's Station. What is the realization, and to what extent does it influence or explain his behavior in the rest of the story?

20. What commentary does Marlow offer on the issue of "restraint"? What accounts for the restraint shown by the natives, and what accounts for the restraint shown by the Manager?

21. Marlow speaks of Kurtz as "a voice." Soon thereafter, how does Marlow's manner of relating his story change? What seems to be the reason for his fascination with Kurtz' voice?

22. How does Marlow describe the partially completed report that Kurtz penned before lapsing into his fatal illness? What effect does that report have on Marlow?

23. Marlow meets a Russian devotee of Kurtz. What view of Kurtz does the Russian set forth? How does he differ from Kurtz?

24. Marlow sees the "symbolic" skulls lining Kurtz's hut? What reflections do those skulls lead Marlow to make regarding the nature of Kurtz' downfall in the wilderness?

25. The travelers meet Kurtz' mistress. Does her presence affect their (or your) understanding of Kurtz? If so, how?

26. After making some less than condemnatory remarks about Kurtz, Marlow is pegged as a "fellow traveler" of Kurtz. How does Marlow react when he finally closes in upon and then encounters Kurtz?

27. What does Kurtz say in his final illness? What, if anything, does Marlow learn from Kurtz? How does he interpret Kurtz's phrase "the horror, the horror"?

28. Kurtz finally passes away, and, at the text's conclusion, Marlow decides to visit Kurtz's "Intended," or fiancee. Why does Marlow lie to her about Kurtz's last words? Does his lie reflect any insight he has gained from his trip up the Congo and to "the Heart of Darkness"? Explain.





For my buddys college class he needs to have these questions answered and he's struggling mightly. I personally have never read this book but have researched the questions online and found that they were taken off a website. The only problem is there are no references to the questions. Any help with these questions would be much appreciated.

1.What is the point of providing a "frame narrator"? How does the presence of this kind of narrator affect your view of Marlow's authority as a narrator?

Ans: The frame narrator or as I call the secondary narrator has been frequently compared to Conrad himself. Note, that Marlow = Conrad's POV. In fact the introduction of the frame narrator distances Conrad's view from Marlow's.
Marlow is more the one involved in the action of the novella, like going to Africa, rescuing Kurtz etc.
As to Marlow's authority, it really depends on how you approach the novella. I personally see it as Marlow recounting the story to his fellow shipmates. The presence of the secondary narrator only serves to remind me that Marlow is not = to Conrad.

2. What does the frame narrator say distinguishes Marlow from other sailors? How is this distinction significant with respect to the adventure that Marlow recounts?

Ans: I'm not sure I want to answer that question. Sorry!

3. What does Marlow say about the Roman imperial project? How does the Roman project compare to the Belgian (and British) motivations for seeking an empire?

Ans: Marlow compares the Roman with the imperialists. The black savages with the uncivilized Brits during the Roman era. Uncivilized Britain was as dark as uncivilized africa. Read up the quote "But darkness was here yesterday......Imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate."

Marlow reminds his audience that civilised Britain for the ancient civilised Romans was once as savage and dark as central Africa is to his contemporaries. The river Thames (much like the river Congo) previously led into savager, into a heart of darkness (i.e. England).

This going back in time is stressed at various points in the narrative by words like "primeval" and reference to dinosaur like creatures - as well as explicit statements to this effect. This is done to emphasize Conradian philosophy - i.e. Civilisation is just a sham, a fantastic intrusion. But one day the wilderness will claim us all back.

I suggest you ask your friend to read up on Schopenhaur and Emmanuel Kant's theory on noumenal vs phenomenal.

4. Keep track of references to maps. What significance lies in Marlow's references to maps? How, for example, do they represent the novella's frequent opposition between light and "darkness"?

The maps are significant to portray the irony in the novel. The blank spaces on the maps - white standing for unexplored regions - turn out to be full of darkness, both local and what is discovered including Kurtz.

Nowhere in the novel does Conrad explicitly disclose any specific location although readers have assumed the novel is set in Brussels ("Whited sepulchre") and for the most of it in Central Africa. This is Conrad's way of emphasizing that the wilderness is an universal entity and that even the most ideal (Kurtz) of men can wilt under it.

5. Marlow describes a map image of the Congo River in Africa as being like a snake. What snake-like qualities does this reference transfer to the River, and how does the transference set us up for the rest of the novel's events?

I am not sure how to answer this but my guess would be snakes are associated with darkness, evil and other blackish imagery. I am really not sure. Sorry!

6. Marlow meets a pair of women weaving -- to what Classical myths does this scene appeal, and why would such an appeal be significant in the context of the story as a whole?

The reference here is to tricoteuse. The term is used to refer to the old women who used to sit around the guillotine, splashed in blood, knitting during the Reign of Terror in France in the 18th century. Decisions on executions had to be made in public so these women were paid to be in attendance and give their opinion. It is significant to the context because these women are in Brussels (The whited sepulchre. At that time Brussels was supposed to be at the height of imperialism and civilisation. And yet you'd notice Marlow's description of the city is ironic or symbolic of death. These women can also be associated with hell or the underworld - like some kind of guardians. The men that were recruited mostly never made it back. It creates an ominous feeling - like these sailors were signing themselves up for death.
I am sorry if I don't sound clear. Feel free to ask me again.

7. Describe the exchange between Marlow and his idealistic Aunt. How well does Marlow's self-description as a realist hold up over the course of the story? Explain.

I am not sure I want to answer this. I'll have to think about it first. Sorry!

8. Soon Marlow sets out for Africa on a French steamship, and gets his first look at native Africans along the shore. What qualities does he observe in them, and what seems to be his attitude about those qualities?

Marlow doesn't romanticise the savages but he admires them for their resilience. Like on the steamers, the blacks outnumbered the whites. They were hungry and yet they did not eat them. But that's for later. Marlow sees the blacks as mostly innocent creatures who are in their right place. They are not marred by any feeble pretence that we like to call civilisation. Their innocence can be compared to that of say a lion or a crocodile. They are wild and savage but somehow naturally innocent. They do appear somewhat devilish, like in that scene where they were dances around the fire (in Part 3 I think).

Compare this to Marlow's treatment of the Whites whom he regards as faithless pilgrims and imbeciles. He calls them papier-mache mephistopheles and thinks that their capacity for evil is limited to mindlessly looting, rampaging and other petty things like that. Notice however that he considers Kurtz in a completely different league. Kurtz was smarter than the pilgrims. Thus his capacity for evil is far greater as it is revealed later.

9. When Marlow reaches the Company's Outer Station, and offers us some observations about it. What does he say about the reigning "Devil" in this Outer Station? How does this "Devil" differ from others with whom he has made acquaintance?

Not going to answer. Sorry!

10. What fundamental contrast or contradiction among the Outer Station inhabitants begins to appear right away, as soon as Marlow comes across dying workers and the smartly dressed Company Accountant?

Not going to answer. Sorry!

11. What is the first description we hear of Kurtz? For what quality or activity is he praised? How does the praise bring up the novella's frequent oppositions between light or whiteness and darkness?

I can offer you some detailed commentary on this from my A Levels notes. Let me know if you'd like it.

12. When Marlow reaches the Central Station, how does he describe nature's effects on the Station and its inhabitants? What power does the wilderness have over the Station, and what appears to motivate its occupants?

I can incorporate this answer into a commentary if you'd like.

13. What view of Kurtz does the Brickmaker (a favorite of the Manager) take? Why does he appear to resent Kurtz?

I don't know. Sorry!

14. Marlow says that he detests lies. Does this implied (and elsewhere stated) preference for truth hold constant in the novella? Does Marlow seem to understand his own character, or is he at times confused about his interests and beliefs? Explain.

No. Marlow ends up telling a lie to preserve the Intended's blind faith in Kurtz. Once again I can offer a commentary.

15. How do the Manager and his nephew reveal their resentment of Kurtz in spite of that agent's obvious success as an ivory collector? What effect does their resentment have upon Marlow, who has overheard their conversation?

Not going to answer. Sorry!

16. How does Marlow describe the Congo River and its environs? How does he describe his interaction with the River? What illusion does the River promote? What insight does it provide, at least so far as Marlow is concerned?

Going down the Congo river is like going back in time into the heart of an impenetrable darkness. The further he travels down that river, the darker the story gets. E.g. From the outpost to Kurtz. Notice the change in severity.

17. What does Marlow imply is the basis for his ability to respond to the African natives he observes? To what extent does he here invoke the distinction often made between nature and culture, primitive and civilized? Does he accept that distinction?

I can offer it in a commentary.

18. Marlow discovers a hut with some firewood and a book. Why does this book impress him?

He thinks of Kurtz as an idealist.

19. Marlow says that he came to an important realization as he neared Kurtz's Station. What is the realization, and to what extent does it influence or explain his behavior in the rest of the story?

Not sure. Sorry.

20. What commentary does Marlow offer on the issue of "restraint"? What accounts for the restraint shown by the natives, and what accounts for the restraint shown by the Manager?

Not sure. Sorry.

21. Marlow speaks of Kurtz as "a voice." Soon thereafter, how does Marlow's manner of relating his story change? What seems to be the reason for his fascination with Kurtz' voice?

Kurtz was an eloquent person who had a way with words. It impressed Marlow. You must read how Marlow's perception of Kurtz is slowly built up from the start of the novella till the climax - ie. when he meets Kurtz.

22. How does Marlow describe the partially completed report that Kurtz penned before lapsing into his fatal illness? What effect does that report have on Marlow?

Exterminate all the brutes! Marlow realizes the depth of Kurtz's degradation.

23. Marlow meets a Russian devotee of Kurtz. What view of Kurtz does the Russian set forth? How does he differ from Kurtz?

The harlequin is an innocent creature. He is probably the only white figure who is not presented as inherently corrupt or evil. He is rather naive - to the point that his scope of evil or darkness is paltry compared to Kurtz's.

24. Marlow sees the "symbolic" skulls lining Kurtz's hut? What reflections do those skulls lead Marlow to make regarding the nature of Kurtz' downfall in the wilderness?

Great minds have greater capacity of evil. I can offer you my notes on Kurtz.

25. The travelers meet Kurtz' mistress. Does her presence affect their (or your) understanding of Kurtz? If so, how?

No. His mistress (the black woman) is the embodiement of wilderness. She is an impressive force in the novel. Compare her to the Intended. How are they different?

26. After making some less than condemnatory remarks about Kurtz, Marlow is pegged as a "fellow traveler" of Kurtz. How does Marlow react when he finally closes in upon and then encounters Kurtz?

Not going to answer. Sorry!

27. What does Kurtz say in his final illness? What, if anything, does Marlow learn from Kurtz? How does he interpret Kurtz's phrase "the horror, the horror"?

A moment of realization. Or perhaps Kurtz sees mankind for who it really is - corrupt, dark and savage. The final statement remains ambiguous.

28. Kurtz finally passes away, and, at the text's conclusion, Marlow decides to visit Kurtz's "Intended," or fiancee. Why does Marlow lie to her about Kurtz's last words? Does his lie reflect any insight he has gained from his trip up the Congo and to "the Heart of Darkness"? Explain.

Marlow lies to preserve her blind faith in Kurtz. He viewed her as an innocent creature who would be shattered if she knew the truth. Relate to Marlow's earlier comment about how women should be out of it. Marlow's only insight is that man is inherently evil. Notice how the darkness at the begining on the Thames is just physical literal darkness but at the end of the novel it turns into an universal moral darkness.


Also, ask your friend to Google Heart of Darkness for some interesting interpretations and things like that. Hope this nugget of information helps.

Cheers.