By Yael Levin (auth.)
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Extra resources for Tracing the Aesthetic Principle in Conrad’s Novels
Example text
This is true, moreover, not only of the narrator of Lord Jim but also of that of “Youth,” Heart of Darkness, s and Chance. Developed and changed to fit the needs of his creator, Marlow may be seen as a figure for that very evolution. As such, his method of storytelling offers the reader a system of self-reflexive strategies from which Conrad’s aesthetic principles may be extrapolated. Before turning to Lord Jim, it is therefore important to take stock of the considerable modifications made to Marlow in the course of Conrad’s writing career, modifications that reflect the development of his artistic vision.
It is precisely because the preexisting methods of artistic depiction can no longer arrest the readers and elicit their desire that Conrad must innovate, enchant, and jolt us out of our habitual and habituated processes of reading and experiencing. For us to see better we must see otherwise. As it is beyond the capacity of this work to proffer an analysis of the complete Conrad canon, I have limited my selection to the five texts mentioned above. My reading of these novels, however, finds intertextual support in other Conrad novels and short stories that will be referenced throughout the course of this study.
Because [Jim] complicated matters by being so simple” (LJ, J 94). It is the method, then—the war of the words—that is enchanting, frustrating, and ultimately rewarding. It is not the “simple” object but its representation that will determine the success of the story. To return to the preface, the emphatic repetition of such words as “attempt,” “appeal,” “aspire,” and so on necessarily foregrounds the artistic process and produces a slippage whereby the object is overshadowed by its representation.