The Art of Joseph Conrad: A Critical Symposium

By R. W. Stallman | Go to book overview
reached, Miss Clemens and I, working entirely separately, both noticed the importance of Brooke and Wallace as sources of Conrad's material.
245.
Richard Curle, "Joseph Conrad: Ten Years Later"," Virginia Quarterly Review, X ( 1934), 431.
246.
Page viii.
247.
Page xi.
248.
Joseph Conrad as I Knew Him, p. 118.
249.
Set of Six, pp. viii-ix. Also Life and Letters, II, 299. See also Conrad' s preface to Youth and Gaspar Ruiz, pp. 167-168.
250.
Set of Six, p. x. Also J. DeLancey Ferguson, "The Plot of Conrad's The Duel"," Modern Language Notes, L ( 1935), 385-390.
251.
Life and Letters, II, 13, 41, 240, and Conrad Memorial Library, p. 327.
252.
Letters to the Colvins ( New York: The Anderson Galleries, 1928), p. 31.
253.
No. 1,258 ( February 25, 1926), 142. Also Miriam Hatheway Wood, "A Source of Conrad's Suspense"," Modern Language Notes, L ( 1935), 390- 394.
254.
Conrad Memorial Library, p. 340.
255.
London Times Literary Supplement, no. 1,128 ( August 30, 1923), 570.

VERNON YOUNG


Lingard's Folly: The Lost Subject

*

THREE NOVELS by Joseph Conrad--Almayer's Folly ( 1895), An Outcast of the Islands ( 1896) and The Rescue ( 1920)--comprise what might have been a purposeful trilogy, a tragedy in three acts, centered in the character of Tom Lingard, of misplaced good intentions. Written in reverse chronological order, they record first the consequences and later the inceptions of Tom Lingard's benevolent despotism. The unity of purpose in this novel-in-reverse is more potential than real, yet Albert Guerard, Jr., accepts the trilogy as an essay in moral continuity and finds "the full measure of Conrad's skepticism" reflected in the career of Tom Lingard, "the central figure of his work."1 Here is a case of the anxious synthesizer completing the author's design for him; to discover in the separate novels consistent mutations of Lingard's tragic flaw is a compliment unjustified by the insecurity of the original conception. The interest of the three novels lies in their collective clue to Conrad's shifts of intenon, to his uncertain psychological orientation and to his aesthetic polarities. The two Almayer novels were the first he wrote; The Rescue, one of the last. They reveal, studied together, the initiation of a novelist and his anticlimax, the promise and the loss, the beginning of mastery and the collapse of it.

Sequentially, then, in terms of Lingard's folly as subject--which at least

____________________
*
From The Kenyon Review, XV (Autumn 1953), 522-539.

-96-

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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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