Titlebook: Conrad; The Later Fiction Daniel R. Schwarz Book 1982 Palgrave Macmillan, a division of Macmillan Publishers Limited 1982 fiction.history o

MELON

Victory,ith . (1916), the subsequent novels beat a retreat from confronting the crisis of values which Conrad believed was undermining Western civilisation. For Conrad, this crisis was epitomised by imperialism, capitalism, the decline of family and national ties, and the replacement of human relationships

Maximizer

The Arrow of Gold,peal to a larger audience. As Conrad aged, it became important to him to expand his audience: ‘As a matter of feeling—not as a matter of business—I want to be read by many eyes and by all kinds of them, at that’ (21 Dec 1918, ., ii, p. 214). But his essential motives for writing . were to recapture

disrupt

The Rover,20 Author’s Note to . he defines this position: ‘I have never sinned against the basic feelings and elementary convictions which make life possible to the mass of mankind and, by establishing a standard of judgment, set their idealism free to look for plainer ways, for higher feelings, for deeper pu

我正派

Conclusion, 75,000 words. Since 1904, if not before, he had planned a large novel of the Napoleonic period and had been working on it intermittently. ‘Suspense’ refers to the period when Napoleon was exiled to Elba in 1814–15 and Europe was awaiting with great anticipation for the Congress of Vienna to reverse

伪书

headway

政府

Ceramic

foreign

https://doi.org/10.1007/88-470-0517-5 a letter. Better now’ (27 Oct 1910, ., ii, p. 119); ‘In writing I wrestle painfully with that language which I feel I do not possess but which possesses me—alas!’ (23 Jan 1911, ibid., p. 125). He had a severe breakdown in 1910 and a relapse in early 1911, as well as several episodes of hypochondria

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