Trading Company' marvels at the incompetence of Kayerts and Carlier, who had been . matters of space, place, and mapping in relation to social and cultural studies. .. The language used in 'An Outpost of Progress' helps to underscore the. Key words: Joseph Conrad, nation, empire, ideology, power relations, post colonialism . relations. The colonizers, Kayerts and Carlier, have access to pro- however, it seems that Makola's education deceives them and helps the suppos-. When he dies of a fever his replacement is Kayerts, with Carlier as assistant. However, the Gobila and his villagers cut off relations (and supplies) with the station. .. which helps the reader through a very long sentence.
Through them the failure of colonialism is depicted. In other words, Kayerts and Carlier became vulnerable.
Their faculties are fixed and deficient because limitations are placed upon them by their own society. Under these circumstances, Vidoushi 3 they are unable to cope with the diversities of the wilderness, hence becoming the very outcast of progress, destined for failure.
Therefore, it can be said that they are left to the mercy of their new surroundings, unprepared for this new freedom. This appears to be in sharp contrast to what Kayerts and Carlier are. Consequently, they have to be confined within the rules of the society. Hence, they ended up becoming heavily dependent on Makola. Their dependency on Makola, shows a reversal of order. Makola, a civilised nigger, betrays his own people, as he adopts the kind of behaviour expected on behalf of the colonisers.
His ability to manipulate and negotiate between different cultures of Africa and Europe demarks him as having an upper hand on them. This is an aspect of his hybridised identity. Hence, by so doing he establishes his superiority over them. He becomes the rhetoric of colonial rule in a way. He does so at the expense of the Africans.
But actually Conrad has a very ambivalent stand; he just presented the reality as he perceived it to be. According to Achebe, Conrad dehumanises the Africans and portrays the setting or place as a foil to what England is not; as a place for deterioration of the European mind caused by solitude and sickness.
An Outpost of Progress
Vidoushi 5 The story ends with the death of both white men, foreboding the doom of the progress or rather the imminent failure of any further process of colonialism. Such details contribute to the reason why Africa in a moral sense defeats the two Europeans in the story. The exchange is therefore unfair, and the Africans are being cheated. The mosquito nets would be important, because the two men are close to the equator, and therefore a long way away from their European homeland.
Moreover, the previous chief of the trading post has died of fever.
The two men do not know how to look after themselves. For this place is the grave of the first station chief. Africa has already killed off one representative of Europe when the story opens — and it will claim two more before it ends.
I found there a different moral attitude.
- Conrad’s Picture of Irony in “An Outpost of Progress”
I seemed able to capture new reactions, new suggestions, and even new rhythms for my paragraphs. It is certainly true that from the late years of the nineteenth century onwards, Conrad developed his very idiosyncratic prose style — one which many people find difficult to follow.
His sentences become longer and longer; he uses a rich and sometimes abstract vocabulary; he is much given to quasi-philosophic intrusions into his own narrative; and in some of his novels he uses multiple narrators and a radically fractured chronology of events.
What follow are a series of notes on his style, based on a further passage from An Outpost of Progress. The two men watched the steamer round the bend, then, ascending arm in arm the slope of the bank, returned to the station. They had been in this vast and dark country only a very short time, and as yet always in the midst of other white men, under the eye and guidance of their superiors.
And now, dull as they were to the subtle influences of surroundings, they felt themselves very much alone, when suddenly left unassisted to face the wilderness; a wilderness rendered more strange, more incomprehensible by the mysterious glimpses of the vigorous life it contained.
They were two perfectly insignificant and incapable individuals, whose existence is only rendered possible through the high organisation of civilised crowds. Few men realise that their life, the very essence of their character, their capabilities and audacities, are only the expression of their belief in the safety of their surroundings. The courage, the composure, the confidence; the emotions and principles; every great and every insignificant thought belongs not to the individual but to the crowd: But the contact with pure unmitigated savagery, with primitive nature and primitive man, brings sudden and profound trouble to the heart.
Sentence length Some of the sentences here particularly the last are quite long. This is because he is expressing complex ideas or generating a charged atmosphere.
Conrad’s Picture of Irony in “An Outpost of Progress”
These are what some people find difficult to follow. But they are not all long: That is, Conrad tells us what his characters do, what they think, and how they feel.
He is in charge of the entire story, and he also provides an account of the inner lives of his characters. The statements which follow — right up to the end of the paragraph — are generalised observations about life and human behaviour.
An Outpost of Progress - a tutorial and study guide
These opinions are not attributed to the characters who are fairly stupid people anyway but are offered as if they were universal truths to which any sane person would agree.
Conrad here is slipping into an unacknowledged or disguised form of first person narrative. And because he is the author, in complete charge of the text, he can make his evidence in the events of the story fit the assertions he is offering.
Such is the magic of imaginative literature. But it is worth noting these shifts in narrative mode — particularly in the case of Conrad, because in many of his longer stories and his novels he manipulates the delivery of narratives in an even more complex fashion — and sometimes gets himself into trouble: What makes these difficult to grasp at first is that he is switching from the very specific and concrete description of the two men and the trading station to an abstract and very general consideration of their condition.