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• W73664110 abstract "DYING, like any other important rite of passage, has its conventions. So scholars of dying talk about Good death, writes Allan Kellehear, reproduces the social order, sometimes even strengthening it, while bad death challenges the order of life (2007: 104). A death is judged or bad according to how well it satisfies the conventions of the culture and the period. The dying subject should be a certain place with certain people and should undergo a given series of experiences and achieve a given frame of mind. The problem is that periods - and, indeed, cultures - overlap a most untidy way and conventions from earlier periods manifest themselves, like artefacts a disturbed archaeological site. Karl S. Guthke writes of simultaneous presence of a number of possible attitudes any era; immense variety of the ways of dying, he argues, cannot be pigeonholed into neat historical phases (1992: 156, 189-90). We can therefore assume that a late nineteenth-century reader would respond simultaneously to more than one set of conventions. For analytical convenience, this essay first takes up conventions of dying as though they were not simultaneous and then brings them back to together to show simultaneity of the non-simultaneous (Guthke 1992: 47).By the last quarter of the nineteenth century, death was becoming an increasingly secular affair. There was less emphasis upon the consolations of religion accounts of deathbed scenes, and freedom from pain was becoming the first desideratum. Observers of death now tended to welcome an unconscious passing, and by 1899, it was becoming increasingly common to keep the knowledge of forthcoming death from the dying subject Qalland 1996: 52-53; Aries 1974: 86). In reply to Kurtz's declaration that he is waiting for death, Marlow makes a conventional denial: Oh, nonsense! (149). That Kurtz is indeed close to death is clear, for although there is a candle within a foot of his eyes, he says he is lying the (149): dimming of the sight had long been thought to precede death (Guthke 1992: 83, 119). Allowing for the singular circumstances, nothing much the narrative of Kurtz's death would have surprised a reader at the close of the nineteenth century. However, while there had been a move away from the crowded deathbed scenes of earlier the century, even now he should have died with someone by his side. Marlow had left him alone, the dark, shortly before his death. The manager's African servant passes some sort of judgement when he announces, in a tone of scathing contempt, 'Mistah Kurtz - he dead' (150). Kurtz is a worthless man, and his death is no great loss, he seems to imply. But since the manager is a scoundrel and his servant described as insolent, the judgement is questionable. At all events, while Kurtz's death can hardly be judged a good one, we need not see it as a serious challenge to the social order of its time.There remain, however, the ghostly outlines of an early nineteenthcentury death script that it more signally failed to fulfil. Until about 1870, attitudes to death were dominated by the evangelical ideal. A death required that the dying subject be at home and lucid enough to take farewell of each family member, to complete essential temporal and spiritual business, to be contrite and resigned to God's will; contrast to the later part of the century, pain was almost welcome as an opportunity for a display of Christian fortitude Qalland 1996: 26). Kurtz's last days can be read as a version of this script, albeit one dark and challenging. Not at home, he has been recovered by his fellow white men and is returning whence he came. He is with his own kind, if not with his kin. That he fails to be reconciled with and take formal leave of this temporary family is a mark of a bad death. He does, however, attempt to clarify his temporal and spiritual legacy: My Intended, my station, my career, my ideas - these were the subjects for the occasional utterances of elevated (147), elevated ideas and sentiments that are already nullified by his own actions and the notorious postscript to the Report for the International Society for the Suppression of Savage Customs. …" @default.
• W73664110 created "2016-06-24" @default.
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• W73664110 date "2010-04-01" @default.
• W73664110 modified "2023-09-23" @default.
• W73664110 title "Mister Kurtz's Good Death" @default.
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