the depths of the Different Human Relationships the land" (Conrad 10). I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration. The same people who sent him specially also recommended you. "Some fifty miles below the Inner Station we came upon a hut of reeds, an inclined and melancholy pole, with the unrecognizable tatters of what had been a flag of some sort flying from it, and a neatly stacked wood- pile. The mere wealth I leave to others. Yet somehow it didn't bring any image with it-no more than if I had been told an angel or a fiend was in there. Her captain was a Swede, and knowing me for a seaman, invited me on the bridge.
The movement of the woman was stately, and the effect of the torchlight on the face was sinister. There was no joy in the brilliance of sunshine. 'My dear sir he cried, 'I write from dictation.' I demanded rivets. No one took the trouble to grunt even; and presently he said, very slow- "I was thinking of very old times, when the Romans first came here, nineteen hundred years ago-the other day.
Not a very enthralling book; but at the first glance you could see there a singleness of intention, an honest con- cern for the right way of going to work, which made these humble pages, thought out so many years ago, luminous with another than. This article is about the card.
When near the build- ings I met a white man, in such an unexpected elegance of get-up that in the first moment I took him for a sort of vision. A Case Study in Contemporary Criticism. Marlow is fascinated with the sinister effect of the torchlight upon the woman's face, and is informed that. 'Good for you!' he cried, snapped his fingers above his head, lifting one foot. Now and then a boat from the shore gave one a momentary contact with reality. They walked erect and slow, balancing small baskets full of earth on their heads, and the clink kept time with their footsteps. This was the foreman-a boiler-maker by trade-a good worker.
31 In 2015, an adaption of Orson Welles' screenplay by Jamie Lloyd and Laurence Bowen was aired on BBC Radio. 6 Joseph Conrad based Heart of Darkness on his own experiences in the Congo. "I had been dimly aware for some time of a worrying noise, and when I lifted my eyes I saw the wood-pile was gone, and the manager, aided by all the pilgrims, was shouting at me from the river-side. Oh, it was 'all right.' The 'manager him- self' was there. 'Avoid irritation more than expos- ure to the sun.