Question

how did Kurtz and the pilgrims act differently in Belgium , The Congo, and On the steamer

Answer 1

is there any answers

Answer 2

there you go Kaitlin :)

setting (time) • Latter part of the nineteenth century, probably sometime between 1876 and 1892

setting (place) • Opens on the Thames River outside London, where Marlow is telling the story that makes up Heart of Darkness. Events of the story take place in Brussels, at the Company’s offices, and in the Congo, then a Belgian territory.

protagonist • Marlow

major conflict • Both Marlow and Kurtz confront a conflict between their images of themselves as “civilized” Europeans and the temptation to abandon morality completely once they leave the context of European society.

rising action • The brutality Marlow witnesses in the Company’s employees, the rumors he hears that Kurtz is a remarkable and humane man, and the numerous examples of Europeans breaking down mentally or physically in the environment of Africa.

climax • Marlow’s discovery, upon reaching the Inner Station, that Kurtz has completely abandoned European morals and norms of behaviour

falling action • Marlow’s acceptance of responsibility for Kurtz’s legacy, Marlow’s encounters with Company officials and Kurtz’s family and friends, Marlow’s visit to Kurtz’s Intended

http://www.sparknotes.com/lit/heart/fact...

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Motifs

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.

Observation and Eavesdropping

Marlow gains a great deal of information by watching the world around him and by overhearing others’ conversations, as when he listens from the deck of the wrecked steamer to the manager of the Central Station and his uncle discussing Kurtz and the Russian trader. This phenomenon speaks to the impossibility of direct communication between individuals: information must come as the result of chance observation and astute interpretation. Words themselves fail to capture meaning adequately, and thus they must be taken in the context of their utterance. Another good example of this is Marlow’s conversation with the brickmaker, during which Marlow is able to figure out a good deal more than simply what the man has to say.

Interiors and Exteriors

Comparisons between interiors and exteriors pervade Heart of Darkness. As the narrator states at the beginning of the text, Marlow is more interested in surfaces, in the surrounding aura of a thing rather than in any hidden nugget of meaning deep within the thing itself. This inverts the usual hierarchy of meaning: normally one seeks the deep message or hidden truth. The priority placed on observation demonstrates that penetrating to the interior of an idea or a person is impossible in this world. Thus, Marlow is confronted with a series of exteriors and surfaces—the river’s banks, the forest walls around the station, Kurtz’s broad forehead—that he must interpret. These exteriors are all the material he is given, and they provide him with perhaps a more profound source of knowledge than any falsely constructed interior “kernel.”

Darkness

Darkness is important enough conceptually to be part of the book’s title. However, it is difficult to discern exactly what it might mean, given that absolutely everything in the book is cloaked in darkness. Africa, England, and Brussels are all described as gloomy and somehow dark, even if the sun is shining brightly. Darkness thus seems to operate metaphorically and existentially rather than specifically. Darkness is the inability to see: this may sound simple, but as a description of the human condition it has profound implications. Failing to see another human being means failing to understand that individual and failing to establish any sort of sympathetic communion with him or her.