bidden, a situation which was naturally perpetuated during the period of insane witch-hunting that followed. Strangely enough, during this same period ( 1945-1955) theaters performed some of his father's plays, emphasizing their attacks on the nobility and toning down those against the Czarist regime.
When Conrad was "defrosted" in 1955 and Polish publishers began preparing new editions of his works, a careful observer might have seen in this a sign that the "thaw" in Poland was a serious affair. Thus, by a strange detour, his father's wishes in giving him the name of Konrad were finally fulfilled. The son who did not want to assume a burden that had crushed his father had nevertheless become the defender of freedom against the blights of autocracy. ( 1957)
THE INEFFECTIVE, melodramatic conclusions to some of the later novels suggest misunderstanding of material as well as willingness to pander to a popular audience. We can see from Conrad's failure to dramatize the relationship between lovers that his creative imagination is not cooperating with the intended theme that "pairing off is the fate of mankind." Thus we are faced with the question of whether or not a second meaning lies beneath the surface of the later works. Is there an implicit pattern different from the imposed pattern of Conrad's conscious intention? If so, how does this inner meaning relate to the early Conrad's attitude toward love?
One way to approach the problem is through the character of the villain. Although we cannot, as Mr. Hewitt says, take him seriously as a character,1 we may find him a useful key to the real meaning of the love stories. The villain is interesting because he represents something new and unusual in Conrad. The early Conrad, we recall, is concerned primarily with normal human beings. But the villain of the later period is a grotesque, both in the literary sense of being a caricature, and in the psychological sense of exhibiting abnormal attitudes toward love.____________________