The Art of Joseph Conrad: A Critical Symposium

By R. W. Stallman | Go to book overview
December 8, 1919, and January 24, 1920 ( Gordan, p. 218); The Rescue ap­ peared in book form a few months later.
2.
See Wiley, pp. 173-187.
3.
There are two sides to every question, including that of revision. Our bias has been that most revisions in "The Rescuer" are changes for the worse. Walter F. Wright holds a different view in " Conrad The Rescue from Serial to Book," Research Studies of the State College of Washington 13:208 ( 1945). He has studied the changes that the later Conrad made when he prepared the serialized version of The Rescue for book publication. Mr. Wright apparently did not look at "The Rescuer," so his discussion of revisions does not take into account the question of which prose in the serial belongs to 1896, which to 1919. In any case, Mr. Wright sees the changes in Travers and in all the characters as an improvement in the "emotional tone." For Mr. Wright, as for most students of revisions, every alteration is admirable. This is not necessarily a safe assumption; other writers, as well as Conrad--Pope and Wordsworth, for example--have been compulsive revisers, constantly tampering with manuscript, first edition, and collected edition, sometimes to revise brilliantly, sometimes to weaken a satisfactory passage. [Editor's note: Relating to the above matter, Moser adds, p. 220: "Vernon Young, although he has apparently not looked at "The Rescuer" manuscript, believes that Conrad does a good job of matching the old and new prose in The Rescue. Mr. Young, moreover, clearly disapproves of both the early and the late, preferring some middle prose; he writes of The Rescue: 'The prose is a piece with the unchecked illusionism of approach; it recovers the will to the mysterious which Conrad, between 1911 and 1917, had brought under control.' Mr. Young goes on to quote two passages from The Rescue to demonstrate Conrad's recovery of the 'will to the mysterious.' He grants, however, that the new 'illusionism' shown in his quotes is somewhat inferior to the old: 'In these, and many other passages . . . the symbolic chiaroscure which Conrad had used so deliberately in The Nigger of the "Naricissus" has become a formula which confuses thought and observation alike.' The two examples Mr. Young gives do seem to be a startling 1919 recovery of the style of the nineties, but unfortunately they were written in the nineties. Both quotations come from pt. III of "The Rescuer" and hence, on the basis of the available evidence, must have been written no later than a year after the publication of The Nigger of the 'Narcissus.' (See Young, pp. 537-538.)" See pp. 96-108 for the text of Young's essay.]
4.
See Leavis, pp. 201-209.

THOMAS MOSER


On The Rover and Suspense

*

LIKE The Arrow of Gold, The Rover focuses briefly on several possible centers of interest but settles on none. In the first pages of the novel, Conrad draws our attention frequently to Peyrol's clumsiness and we shortly discover the cause: a money-belt full of gold. We then learn how Peyrol had got such loot, and we see him carefully hide it at the bottom

____________________
*
From Thomas Moser Joseph Conrad: Achievement and Decline ( Harvard University Press, 1957), pp. 198-203.

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The Art of Joseph Conrad: A Critical Symposium
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgements vi
  • Table of Contents vii
  • Introduction ix
  • Part One 1
  • The Art of Conrad 5
  • Notes 13
  • Notes 13
  • Notes 19
  • Notes 35
  • Notes 45
  • Part Two 59
  • Notes 87
  • Notes 96
  • The Nigger of the "Narcissus" 121
  • On Lord Jim(an Excerpt) 140
  • On Lord Jim 142
  • Notes 154
  • Marlow's Descent into Hell 162
  • Conrad's Underworld 171
  • Three Notes On "Heart of Darkness" 179
  • Notes 186
  • On "Typhoon" and the Shadow Line 190
  • On Nostromo 191
  • Notes 198
  • Conrad's the Secret Agent 209
  • Notes 227
  • Notes 234
  • Adam, Axel, and "Il Conde" 253
  • Notes 254
  • Notes 275
  • Notes 275
  • The Secret Sharer 289
  • Joseph Conrad: Chance 296
  • Notes 304
  • The Hollow Men: Victory 313
  • The Knight: Man in Eden: the Arrow of Gold 317
  • On the Rescue 323
  • On the Rover and Suspense 330
  • Notes 331
  • Appendix I 337
  • Appendix II 345
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