Mystifying Mischief

Thus far in reading Waiting for the Barbarians by J.M Coetzee, I have found the most interesting aspect to be the theme of vagueness. Coetzee establishes this theme’s importance in the opening sentences of the novel, when the Magistrate does not understand the role of the Colonel’s sunglasses. To the Magistrate, whose knowledge of such inventions has been reduced to its primitive forms, the glasses serve as a barrier between the Colonel and the world into which he has stepped. They protect the most revealing part of the Colonel’s body from being deciphered by the Magistrate. The relationship between these two white men, both somewhat foreign to the land in which they have been placed, is unconcernable to the Magistrate. He refers to the Colonel as being cryptically silent and hidden behind “dark mysterious circles.” The essence of dreams and sudo-realism also surrounds the Magistrate. I think that this is way of cooping with his situation at hand, and ironically the only time he feels real in a world where his surrounding have been obstructed and his life turned completely bizarre. His first dream that the reader is revealed to is his dream of the dead girl, whose body has been matted with bees. At first glance, the Magistrate sees a girl with pubic hair described as “liquid black and gold,” a beautiful seductive image, but upon touching the girl the bees reveal themselves. His dream is a foreshadow to his encounter with the blind girl; the girl is presented as an innocent figure in his dream, while the bees a symbol for the empire, almost suffocate her with their presence and tease her with their power as they simply sit atop her. Magistrate clearly sees the blind girl’s essence, but at the same time, struggles with the issue of her vision and past. Nevertheless, he creates an intimate relationship, which he does not have with any other human in the Empire, which is synthesized through cleansing her body and falling asleep in the act. Thus far their relationship is the purest in the novel, though it is clouded by her lack of sight. The magistrate often struggles with the foggy morals of the Colonel and deals with this through clouding his own. (373)

Symbolism in The Heart of Darkness

Impressionism

-Watt suggests that Heart of Darkness is impressionist because it asserts the "bounded and ambiguous nature of individual understanding." This understanding is inward looking and based on experience; therefore, the narrative can be described as subjective moral impressionism.

-Marlow assumes reality is private and individual and that no other man can know what they are actually seeing.

-His text is also impressionist because of his methods of approaching visual descriptions. He is concerned with individual sense to give his text meaning. This technique is one of his innovations in Heart of Darkness.

-An example Conrad's impressionism is his use of fog and its relation to the story. The narrator established that Marlow's story would not be centered on the meaning, instead, its meaning will not be fully visible and possible unnoticed like "the presence of dust particles and water vapor in a pace that normally looks dark and void.

-However, Conrad probably was not an impressionist, because his tastes in music and painting were distinctly old-fashioned, and he apparently disliked Van Gogh. Conrad thought that impressionism was strictly concerned with visual appearances.

Symbolism

- Conrad had many letter's suggesting that he shared symbolic references of knowledge and expression with French Symbolists.

-Conrad wanted to make Heart of Darkness mostly straightforward to give "a true impression," but he connected the world of the ship to the greater world.

- Though his work is straightforward in meaning, he wanted the the novella to have wider and general implications; therefore the piece itself is symbolic as a whole/

- The symbolic meaning of events has a structure, rather than being strictly illustrative

- The title brings together the meaning of the novella. It is a combination of "inorganic darkness" containing an "organic center of life and feeling." It also suggests the notion of the good heart coming to control the evil darkness, but the the symbols of heart and darkness can not necessarily be clearly assigned.

Let There be Hope

Faulkner provides closure in The Sound and Fury thorough the setting of the last section, and the last scene itself. The fact that the last section takes place on Easter Sunday, the day of Jesus’ resurrections and a symbol of rebirth, provides hope for the Compson family. While Jason is trying to find Quentin and mother is ill in bed, Dilsey takes the true structure of the family, Luster, Benjy, and herself to church. I think that they are the only connecting characters in the story keeping the Compson family, a true family, because they are the only morally sound people in the family, not causing any trouble. It is also significant that all the others have been weeded out to go to church; Faulkner is trying to show that only the faithful are left, which gives the reader hope that even though most of the family has crumbled, maybe this structure will live on as a healthy family. This notion of a movement towards stability is also exemplified in the last scene. In an effort to show off to his friends, Luster goes let around the statue in town, as apposed to right, the way in which Benjy is accustomed to seeing the world. This change disturbs Benjy greatly, because he cannot cope with any disturbance of order in his life. After being yelled out by Jason, Luster turns around and the last sentence of the book explains that everything went back to its ordered place. The barely visible motifs of hope and order, suggest that the structured part of the Compson family will come together in the future. (270)