Thanks Yamen ,,,,,,,,,,,,,, May God bless us to suceed with high marks.

thank you Yamen
this is the word that I have before reading this
but really thank you
May Allah bless your efforts
Hope that you Graduate with high marks soon

Yamen

God bless your efforts bro. We really need this important topic
I'll read it Yamen now thanx so much again

By the way :
information تعامل معاملة المفرد , مع أن معناها جمع (معلومات) و لكنها نعاملها معاملة المفرد لأنها غير معدودة فنقول
this information is
واذا كنا نقصد الجمع منها ( أي كم وحدة للعدد) فنقول pieces of information

thanks a lot

[englishtext]Summary and Analysis of Part One

Summary Part I:

A ship called the Nellie is cruising down the Thames‹it will rest there as it awaits a change in tide. The narrator is an unidentified guest aboard the ship. He describes at length the appearance of the Thames as an interminable waterway, and then he moves on to describing the inhabitants of the ship. The Director of Companies doubles as Captain and host. They all regard him with affection, trust and respect. The Lawyer is advanced in years and possesses many virtues. The Accountant is toying with dominoes, trying to begin a game. Between them already is the "bond of the sea." They are tolerant of one another. Then there is Marlow. He has an emaciated appearance‹sunken cheeks and a yellow complexion. The ship drops anchor, but nobody wants to begin the dominoes game. They sit and meditatively at the sun, and the narrator takes great notice of how the water changes as the sun sets. Marlow suddenly speaks, noting that "this also has been one of the dark places of the earth." He is a man who does not represent his class: he is a seaman but also a wanderer, which is disdainful and odd, since most seamen live sedentary lives aboard the ship that is their home. No one responds to the remark, and Marlow continues to talk of olden times when the Romans arrived and brought light, which even now is constantly flickering. He says those people were not colonists but conquerors, taking everything by brute force. This "taking of the earth is not a pretty thing" when examined too closely; it is the idea behind it which people find redeeming. Then, to the dismay of his bored listeners, he switches into narration of a life experience, how he decided to be a fresh water sailor and had come into contact with colonization.
After a number of voyages in the Orient and India, Marlow began to look for a ship, but he was having hard luck in finding a position. As a child, he had a passion for maps, and would lose himself in the blank spaces, which gradually turned into dark ones as they became peopled. He is especially taken with the picture of a long coiling river. Marlow thinks to get charge of the steamboats that must go up and down that river for trade. His aunt has connections in the Administration, and writes to have him appointed a steamboat skipper. The appointment comes through very quickly, as Marlow is to take the place of Fresleven, a captain who has been killed in a scuffle with the natives. He crosses the Channel to sign the contract with his employers. Their office appears to him like a white sepulchre. The reception area is dimly lit, and two women sullenly man the area. Marlow notes an unfinished map, and he is going into the yellow section, the central area that holds the river. He signs, but feels very uneasy as the women look at him meaningfully. Then there is a visit to the doctor. Marlow questions him on why he is not with the Company on its business. The doctor becomes cool and says he is no fool. Changes take place out there. He asks his patient whether there is madness in the family. With a clean bill of health and a long goodbye chat with his aunt, Marlow sets out on a French steamer, feeling like an "impostor."
Watching the coast as it slips by, our newly named skipper marvels at its enigmatic quality‹it tempts and invites the seer to come ashore, but in a grim way. The weather is fierce, for the sun beats down strongly. The ship picks up others along the way: soldiers and clerks mainly. The trade names they pass on ships and on land seem almost farcical. There is a uniformly somber atmosphere. After a month, Marlow arrives at the mouth of the big river, and takes his passage on a little steamer. Once aboard he learns that a man picked up the other day hanged himself recently. He is taken to his Company's station. He walks through pieces of "decaying machinery" and observes a stream of black people walking slowly, very thin and indifferent. One of the "reclaimed" carries a rifle at "it's middle." Marlow walks around to avoid this chain gang and finds a shade to rest. He sees more black people working, some who look like they are dying. One young man looks particularly hungry, and Marlow goes to offer him the ship biscuit in his pocket. He notices that the boy is wearing white worsted around his neck, and wonders what this is for. Marlow hastily makes his way towards the station. He meets a white man dressed elegantly and in perfect fashion. He is "amazing" and a "miracle." After learning that he is the chief accountant of the Company, Marlow respects him. The station is a muddle of activity. The new skipper waits there for ten days, living in a hut. Frequently he visits the accountant, who tells him that he will meet Mr. Kurtz, a remarkable man in charge of the trading-post in the ivory-country. The accountant is irritated that a bed station for a dying man has been set up in his office. He remarks that he begins to "hate the savages to death." He asks Marlow to tell Kurtz that everything is satisfactory.
The next day Marlow begins a 200 mile tramp into the interior. He crosses many paths, many deserted dwellings, and mysterious "niggers." His white companion becomes ill on the journey, which makes Marlow impatient but attentive. Finally they arrive at the Central Station, and Marlow must see the General Manager. The meeting is strange. The Manager has a stealthy smile. He is obeyed, but he does not inspire love or fear. He only inspires uneasiness. The trading had begun without Marlow, who was late. There were rumors that an important station was jeopardy, and that its chief, Kurtz, was ill. A shipwreck on Marlow's boat has set them back. The manager is anxious, and says it will be three months before they can make a start in the trading. Marlow begins work in the station. Whispers of "ivory" punctuate the air throughout the days. One evening a shed almost burns down. A black man is beaten for this, and Marlow overhears: "KurtzŠtake advantage of this incident." The manager's main spy, a first-class agent, befriends the new skipper and begins to question him extensively about Europe and the people he knows there. Marlow is confused about what this man hopes to learn. The agent becomes "furiously annoyed." There is a dark sketch on his wall of a woman blindfolded and carrying a lighted torch. The agent says that Kurtz painted it. Upon Marlow's inquiry as to who this man is, he says that he is a prodigy, an "emissary of pity and science." They want Europe to entrust the guidance of the cause to them. The agent talks precipitately, wanting Marlow to give Kurtz a favorable report about his disposition because he believes Marlow has more influence in Europe than he actually does.
The narrator breaks off for an instant and returns to his listeners on the ship, saying that they should be able to see more in retrospect than he could in the moment. Back in the story, he is bored by the droning of the agent. Marlow wants rivets to stop the hole and get on with the work on his ship. He clambers aboard. The ship is the one thing that truly excites him. He notes the foreman of the mechanics sitting on board. They cavort and talk happily of rivets that should arrive in three weeks. Instead of rivets, however, the receive an "invasion" of "sulky niggers" with their white expedition leader, who is the Manager's uncle. Marlow meditates for a bit on Kurtz, wondering if he will be promoted to the General Manger position and how he will set about his work when there.
Analysis:
The logical point from which to begin analyzing this story is by applying the title to the novel. "Darkness" is a problematic word with several meanings. It is initially referred to in the context of maps‹places of darkness have been colored in; therefore they have been settled by explorers and colonialists. The idea of a map is an important symbol. They are guides, records of exploration. They have dual purposes in that they unlock mysteries by laying out the geography of unknown lands and they create more mystery by inspiring curiosity about unknown lands on and off the map. The river is another important symbol. Always moving, not very predictable, the gateway to a wider world, it is an excellent metaphor for Marlow's life. Marlow says as a child he had a "passion" for maps, for the "glories of exploration." Although this description seems very positive, it sounds ominous. The tone is of one who recalls childhood notions with bitterness and regret. The reader can extrapolate these ideas simply by taking into account the first description of Marlow. The sallow skin and sunken cheeks do not portray him as healthy or happy. He has had the chance to explore, and apparently the experience has ruined him in some respect. This is Conrad's way of arranging the overall structure of the novel. The audience understands that it is to be a recollection, a tale that will account for Marlow's presently shaky, impenetrable state. The author is also presupposing knowledge of colonialism. The bitterness of Marlow's recollection demonstrates Conrad's own strong bias against colonialism, which he wants to impart to the reader. The imagery of light and dark very clearly corresponds to the tension that is arranged between civilization and savagery. The Thames River is called a "gateway to civilization" because it connects to the civilized city of London. It is important to note that the city is always described in stark contrast to its dark surroundings, which may be water or land, they are so amorphous.
The vivid language of maps becomes more interesting when we consider that the word darkness still retains its traditional meaning of evil and dread. The fact that Marlow applies the concept of darkness to conquered territories once again indicates his negative view of colonialism. He clearly states that colonists are only exploiting the weakness of others. Their spreading over the world is no more noble than other types of violence and thievery. On the map, places that are blank and devoid of outside interference are apparently the most desirable. Darkness has another application‹a color of skin. Much of this chapter is spent discussing Marlow's primary encounters with and observations of the natives of the African Congo. The darkness of their skin is always mentioned. At first glance, Marlow describes them as "mostly black and naked, moving about like ants." While in the shade, "dark things" seem to stir feebly. There is absolutely no differentiation between dark animals and dark people. Even the rags worn by the native people are described as tails. The constant dehumanization of black people is almost obsessive on the author's part. He is looking to build a very closed-minded picture of the colonists. "Black shapes" crouch on the ground, "creatures" walk on all fours to get a drink from the river. They are called shadows: reflections of humans, but not substantial enough to be real. Marlow observes the piece of white string on a young man, and he is taken aback by how much the whiteness stands out against the darkness. He cannot seem to conceive of mixing black and white.
As ignorant as Marlow's perceptions may appear to our modern reading, it is crucial to realize that even before he experiences the African jungle, he exists in a class of his own, separate from everyone else. It is not accidental that he is the only person on the Thames boat who is named‹all the others are presented as titles of their occupation. He is distinct from them because he has no category that fits him. He is a man "who does not represent his class" because he crosses boundaries. His reaction to the African natives may not be sensitive by our modern standards, but he is more kindly than the other officers at the stations. The chief accountant dismisses the cries of a dying black man as annoying. Clearly he has no respect for the lives of the Africans. The offering of a biscuit to the young boy with the white string is a nice gesture with deeper meaning. It appears to be somewhat considerate, but it is also degrading. Marlow does this because he can think of nothing else to do as he looks into the boy's vacant eyes. The action is analogous to giving a dog some meat, that he might be content and retreat back into his corner. Marlow means well, but he is definitely a product of the society in which he was raised. Immediately following the encounter with the young boy, he meets the chief accountant who is perfectly attired with collar, cuffs, jacket, and all the rest. He refers to him as "amazing" and a "miracle." We observe at this moment the distinctions between savagery and civilization, at least through Marlow's narrow definitions. The diction demonstrates a type of hero worship for this man. His starched collars and cuffs are achievements of character, and Marlow respects him on this basis. Taking account the colonialism factor, however, creates bitter irony‹to the author, those who look the most civilized in this novel are actually the most savage. Indeed, the institution of colonialism is referred to as a "flabby, pretending, weak-eyed devil." Everything it touches turns sour‹the station is an administrative nightmare, and decaying machinery lies everywhere. Marlow takes this as an indication of poor work ethic, which he despises. For this reason he is drawn to the blustering accountant, who is a hard worker if nothing else. The natives are the most affected people, and Marlow in his own bumbling way tries to relate to them.
The sense of time throughout the chapter is highly controlled. Conrad purposely glides over certain events while he examines others in minute detail. He does this in order to build suspicion about the place to which Marlow has committed himself. Notice that he painstakingly describes precursor events such as the doctor's visit and all conversations that involve the unseen character Kurtz. Thus begins Marlow's consuming obsession with this man. At the moment, it is more or less inactive, and does not inspire fear. Perfectly placed leading questions such as the one about a history of family insanity have the desired effect of alerting readers to a rather fishy situation. That Marlow ignores all of these warnings creates some dramatic irony‹it will take him longer to arrive at the conclusion which the reader has already reached. One level of speech and communication in this novel exists in the fact that Marlow is telling a story. His recollections have a hazy, dreamy quality. The narrative is surely an examination of human spirit. As all stories are subjective, we have to question how trustworthy both narrative speakers are. The outside narrator only refers to what Marlow says and does‹all others are ignored. There is a definite selection of fact that occurs. Marlow's perception of the African environment, which develops into a larger theme, illustrates this idea.
As far as Kurtz is concerned, there is incomplete communication‹Marlow and the reader know him, and yet not really. He obviously painted as a sinister character. People discuss him in a hushed sense, always complimenting him. However, the fact that nobody has anything negative to say about him is suspicious, as if they are all terribly anxious to stay on his good side. The portrait in the brickmaker/first agent's room, of the blind woman holding a torch, suggests the failing of Kurtz: that he has blindly traveled into s situation and become absorbed in it, much as the woman is absorbed into the darkness of the painting (with the exception of a torch‹insufficient light). This preemptive warning is useful to keep in mind for the subsequent chapters. [/englishtext]



yours Y.H.M

شكرا يامن
تم التثبيت
و الله يعطيك العافية

اي والله يا يامن الله يعطيك العافية و يجزيك الخيير

[englishtext]Summary and Analysis of Part Two


Summary Part II

While lying on the deck of his steamboat one evening, Marlow overhears a conversation between the Manager and his uncle, leader of the Expedition group that has arrived. Snatches of talk indicate that the two are conferring about Kurtz. The Manager says he was "forced to send him there." They say his influence is frightful, and that he is alone, having sent away all his assistants. The word "ivory" is also overheard. The two men are wondering how all this ivory has arrived, and why Kurtz did not return to the main station as he should have. Marlow believes this fact allows him to see Kurtz for the first time. The Manager and his uncle say that either Kurtz or his assistant must be hanged as an example, so that they can get rid of unfair competition. Realizing that Marlow is nearby, they stop talking.

In the next few days, the Expedition goes into the wilderness and loses all their donkeys. As they arrive at the bank below Kurtz's station, Marlow is excited at the prospect of meeting him soon. To Marlow, travelling up the river is like going to the beginning of the world. He sees no joy in the sunshine, however. The past comes back to haunt him on this river. There is a stillness that does not resemble peace. It is alive and watching Marlow. He is concerned about scraping the bottom of his steamship on the river floor‹this is disgraceful for seamen. Twenty "cannibals" are his crew. The Manager and some pilgrims are also onboard. Sailing by stations, they hear the word "ivory" resonating. The trees are massive and make you feel very small. The earth appears "unearthly." The men are monstrous but not inhuman. This scares Marlow greatly. He believes the mind of man is capable of anything. They creep on towards Kurtz. The ship comes across a deserted dwelling. Marlow finds a well-kept book about seamanship. It has notes in a language he cannot understand. Back on the boat, he pushes ahead.

Eight miles from Kurtz's station, the Manager decides they will stay put for the evening. No sounds are heard. The sun rises, and "complaining clamor" with "savage discord" fills the air. Everyone fears an attack. One of the black crew members says that the attackers should be handed over to them and eaten. Marlow wonders why he and the other whites have not been eaten. The Manager insincerely worries that something might have happened to Kurtz. Marlow does not believe there will be an attack‹the jungle and fog seem impenetrable. No one believes him. Some men go and investigate the shore. A pattering sound is audible: flying arrows! The helmsman on the ship panics and does not steer properly. The crew is firing rifles into the bushes. A black man is shot and lays at Marlow's feet. He tries to talk and dies before he can get any words out. Marlow supposes that Kurtz has perished in this attack. He is exceedingly upset: talking to the mythical man has become a major point of interest. In a fit of distress Marlow throws his shoes overboard. He tells the listeners on the Thames ship that the privilege of talking to Kurtz was waiting for him. Marlow relates that Kurtz mentioned a girl, and how his shanty was busting with ivory. Kurtz has taken position of "devil of the land." Originally he was well-educated, but he has become entirely native in Africa, participating in rituals and rites. Kurtz is anything but common. Back in the battle, the helmsman is killed. Marlow throws the body overboard. After a simple funeral, the steamer continues moving. Miraculously they spy Kurtz's station, which they had assumed to be lost. They see the figure of a man who resembles a harlequin. This man says that Kurtz is present, and assures them that they need not fear the natives, who are simple people. He speaks with Marlow, introducing himself as a Russian. The book Marlow holds is actually his, and he is grateful to have it returned. The Russian says the ship was attacked because the natives do not want Kurtz to leave with the crew‹he has broadened everybody's mind.


Analysis:
It is important to see that even in this chaotic jungle, there exists a twisted sense of morality. As the Manager and his uncle discuss Kurtz, they are willing to do anything that will get him or his assistant the Russian hanged, that the trading field might be leveled to their advantage, since "anything can be done in this country." They both still retain a sense of law, but the most base components of their personalities control all their intentions; therefore the civilized law of the European continent is discarded for a more vigilante existence. The revealing of such predatory nature points to the theme of instilled savagery. Modern novels such as Lord of the Flies borrow much from Conrad's piece. There is an integral connection between mind, body and nature. Again, however, the lines between civilized and savage are blurred. These two men propose a very savage solution to a seemingly civilized problem of economic competition. The Congo has a metamorphic effect on the Europeans. Marlow observes the evil uncle "extend his short flipper of an arm for a gesture. . .that seemed to beckon with a dishonouring flourish before the sunlit face of the land a treacherous appeal to the lurking death, to the hidden evil, to the profound darkness of its heart." There is one of the few instances in which a white man is animalized. The land is a living entity, one which has the potential to create evil. The proprieties observed by the Manager are all completely fake‹Marlows takes this as an illustration of his hollowness. Conrad is making a general commentary on human nature. One of Marlow's more personally distressing thoughts is the realization that the "monstrous" tendencies of the black "cannibals" are not inhuman tendencies‹the white men possess them in a different form. The African land behaves as an equalizer: in this setting, all that matters is wit and determination. It appears that living here allows nature to perform a trick on the inhabitants of the land. While travelling Marlow becomes somewhat delusional‹river travel brings back the past, enlarges and distorts it until it becomes an uncontrollable paranoia that he is being watched. The telling of the tale takes on the tone of an epic quest that is larger than life. There is pregnant silence and a failing of the senses. Marlow appears to be traveling deeply into his own mind. His fanatic interest in the proper working of things is evident when he states that scraping a ship on the river bottom is "sinful." The religious language demonstrates a mounting kind of panic. This paranoia in turn diminishes his sense of reality, leaving him searching for a sense of truth and stability. This in part helps to explain his obsession with Kurtz. Behind the myth of this mysterious figure must lie a real, substantial person. He is the most logical entity on which Marlow can fixate. Being lost in this manner, however, does not seem to be so terrible.

The inferiority of the natives is a thread that runs throughout the story. About the fireman on his ship, Marlow remarks "he was there below me. . .to look at him was as edifying as seeing a dog in a parody of breeches." The physical position of the body corresponds to a mental and social state. The author creates a sense of what might be termed inherent inferiority of the blacks‹in all possible aspects they are subservient to the white man, and even seeing them wear pants amounts to no more than a warped joke. The one time that a native actually speaks is when the ship approaches the brush, right before the attack, and all he has to say is that any prisoners should be given to the crew as a meal. More than anything the comment is laughable. An attack is about to occur, and this man is concerned about eating? It is Conrad's underhanded means of demonstrating the simplicity of the natives. The narrator cannot understand why the white men were not eaten. He cannot credit the blacks with any intelligence beyond instinct. During the battle, one native is shot, with Marlow and the Manager watching: "I declare it looked as though he would presently put to us some question in an understandable language, but he died without uttering a sound." There is never any comprehension of blacks. They are always evaluated and silenced before they can speak. Marlow does feel a real kinship to his "savage" crew, which places him above all other whites. However, he has also has shortcomings‹his appreciation of the helmsman after he has died seems more appropriate to a machine than a person.

The figure of Kurtz grows more enigmatic this chapter, and we return to the theme of voices and communication. Communication fails when Marlow cannot decipher the book and when the note has an incomplete warning. Marlow's obsession with Kurtz has reached its height. Talking to this has become the entire reason for Marlow's passage through this jungle. The fact that authoritative, unpleasant figures such as the Manager dislike Kurtz make the reader more receptive to liking him. Notice that Marlow and Kurtz are the only two characters in the entire story who are named. Everyone else is titled, detached and therefore dehumanized. This is an effective means of drawing a relationship between the two characters before they even meet. As soon as Marlow believes that Kurtz is dead, his presence begins to dominate him more vividly‹Marlow hears his voice, sees him in action. Kurtz is even stronger than death. The reason Kurtz affects Marlow so deeply is that he has turned his back on his roots and essentially become native. This demonstrates that there is much more to Marlow's personality than what appears. He is not the average European. The reader understands that we will receive the most accurate portrait of Marlow through his interactions with Kurtz. [/englishtext]

yours Y.H.M