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" ... the central concern of this thesis, which is to investigate the ways in which Conrad uses a particular technique (that of the first-person narrator ) to focus our attention, to secure our involvement, and to direct our sympathies. At the same time I wish to examine the extent to which the central themes or concerns of each work derive from the interaction between the narrator and the man whose experience he confronts, from "the challenging interplay of two frames of reference, two schemes of values, two sets of attitudes" that the use of a dramatized narrator makes possible." (Introd., p. 5) / Adobe Acrobat 9.53 Paper Capture Plug-in

This dissertation examines Conrad's ambivalent attitude to the value of words in human affairs. Though his critical attitude is the main focus of the argument, his positive attitude will also be considered in some detail. In the first chapter, on The Nigger of the 'Narcissus', the critical attitude is primary. In this story language is seen in relation to silence and action, and in both cases the non- linguistic element is celebrated, while words are censured. Yet the values implied by the tale leave the writer of fiction, and the narrator who emerges at the end of the story, in an uncertain position: the world presented in the novel undermines the mode of presentation which is the novel. This paradox is to some extent resolved in the following two chapters which deal with Conrad's complex response to the culture of European imperialism. Chapter 2, on Heart of Darkness, examines the ways in which words contribute to the systematic lies that sustain the nineteenth-century civilizing mission. The story is, however, not wholly critical of language, since the value of Marlow's spoken narrative is clearly endorsed. Chapter 3 offers a more detailed account of the relationship between the story-teller and his society, and of the value of Marlow's words. In Lord Jim, Marlow's account of Jim is contrasted with the account of him given by the court of inquiry, and with the notion of the hero projected in the romantic fictions which Jim reads. Once again Marlow's use of language is affirmed, while other uses are shown to be reductive, or simply spurious. The final chapter deals with Under Western Eyes. Of the four novels selected for this thesis, Conrad's "Russian novel" offers the most explicit and sustained critique of language. The novel suggests that any simplistic identification of language with "communication" is naive, if not misleading. In the conclusion I discuss Conrad's understanding of the nature and function of his own words, as set out in the preface to The Nigger of the 'Narcissus' and A Personal Record

Conrad's firmly held ideal of an ordered and stable society appears to conflict with his undeniable assault on traditional values and the revelation in his works of the inadequacy of those simple virtues which he extolled in later years. The inescapability of human solidarity does not always appear to be inherent in the moral and metaphysical isolation which besets the individual separated from his fellows. Those critics who see as most significant human isolation and the power of the irrational and their result in negation and despair are those who emphasize the force of doubt and skepticism in Conrad's works. Those who seek affirmation emphasize the ideals of duty and fidelity and their function in supporting human solidarity and a stable society. Primary in Conrad's, thought, however, was his recognition of the power of sympathy with and compassion for the suffering of other individuals. This compassion is most strikingly manifested in the relationship which I have called the sympathetic bond. It reveals both the force of individual isolation and the profound inevitability of human solidarity, man's need for order and the value of dissension, his loneliness in an indifferent universe and the liberating bondage of his commitment to the human society. When the sympathetic bond takes effect, one character enters a state in which he feels, recreated in himself, the experience and suffering of another and the effects and implications of that other's experience. Through his response to the experience and suffering of the other finite individual, he feels the claims of his own humanity acting upon him in a way which leads him out of himself into a general commitment to the claims stemming from his moral ties with all other men and to a trust in life. The sympathetic bond is felt when all other ties and values have been destroyed or revealed as ultimately meaningless unless they share in the motive force of sympathy and compassion which must invest all social organization. With an understanding of this relationship and of the need for "sympathetic imagination," we can see that any human institution must be inadequate, meaningful only as long as it takes account of the reasons for its existence, and we can see from another perspective why all virtues and ideals and all traditional values must he suspect. The frequency of identification in Conrad's works is a reflection of his personality and creative temperament. Considered in terms of technique, the sympathetic bond is an extension of the form of identification which has been called "recognition," the process of seeing oneself and the evil within embodied in the other self. But it tends to be self-forgetful in contrast to the egoism and heightened self-awareness implicit in the latter relationship. However, the process of recognition can prepare the character who experiences it for the development of the sympathetic bond. This is the case in "The Secret Sharer," "Heart of Darkness" and "The End of the Tether." In the latter two stories and in "Karain," the sufferings of the central characters instruct and inform with sympathy the younger men who feel a bond with them. The sympathetic bond brings about a selfless compassion which extends beyond a concern for the individual sufferer to a general compassion for all mankind. We feel the strength of the individual's necessary commitment to the moral community in these works; the effect of the moribund state of society on that moral community is the most persistent impression conveyed by The Secret Agent. Sympathetic identification is destructive to those who experience it unless it results in an enlarging of their sympathies, and general compassion requires an outlet in social organization. Conrad suggests in The Secret Agent that the social order can be regenerated only if the sympathy and compassion of its individual members are made to work within it. The claims of human solidarity are unavoidable, however, in spite of the moribund state of society. When they are recognized, they are felt more intensely and more urgently because of this state. Their modus operandi becomes not increased knowledge, but pure power. Those individuals most affected by the disintegration of social order are described, symbolically, as experiencing the impact of an explosion, the shock of which stuns and casts a spell over them. The energy thus released is the energy of life and compassion which had previously invested society, and it is represented by imagery of explosions and the sun. At the end of The Secret Agent, we are left with a choice between the Professor, who embodies wisdom without compassion, and Ossipon, whose moral sense has been awakened by the sympathetic bond which he feels with the dead Winnie. Ossipon is destroyed by his recognition of the moral bonds which he has too long denied. In The Rover. Conrad was able to affirm his hope in the triumph of the normal and the healthy. The sympathetic bond acts to reclaim the central characters for life. Peyrol's sacrifice re-establishes a stable society; and his renunciation makes possible a return to the normal for Real and Arlette. His affirmation and trust in life is fulfilled in them; for in them is released the "sense of triumphant life." / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to study the effect of self-identification upon the characterization of major figures in four novels of George Gissing. Gissing's use of his own experiences and ideas in the presentation of Osmond Waymark in The Unclassed, Richard Mutimer in Demos, Edwin Reardon in New Grub Street, and Godwin Peak in Born in Exile reveals that they are to a marked degree expressive of his own convictions. With the exception of Mutimer, all represent fictional counterparts of Gissing himself. The projection of autobiographical detail in Gissing's work could be a source either of strength or of weakness. His ability to express his own sympathies through the characters in his novels could result either in a weakly disguised expression of his own starved ambitions or in a forcefully developed self-analysis. The conclusion follows that as Gissing himself matured and gathered a firmer apprehension of his own abilities and failings he was better able to give dramatic reality to the elements of his own temperament and experience which he consciously or unconsciously transferred to his characters. A survey of Gissing's early life shows that several of the themes which pervade his novels are reconstructions of aspects of his own life story. Gissing served as the prime example for his portrayal of intelligent and sensitive young men who were too poor to remain aloof from the materialistic Victorian society. His refusal to compromise caused him to become resentful towards his society, and this fact is mirrored in the failures of the main characters to achieve a satisfactory relationship with their environment. Gissing's craving for womanly affection and companionship is clearly indicated in the extremes of attitude which the various characters maintain towards women. The early novels, Workers in the Dawn and The Unclassed, are unsuccessful because the main characters do not achieve an independent reality within the structure of the novels in which they appear. The reason for this failure is that Gissing's identification with Golding and Waymark was uncritical and prevented him from examining the characters as entities apart from himself. Demos is considered because Richard Mutimer illustrates the converse of the judgment that Gissing could only respond favorably towards those characters with whom he identified. Gissing's lack of sympathy for Mutimer prevented him from being entirely fair in his characterization. A change is to be noted in the handling of the major figures in New Grub Street and Born in Exile. Edwin Reardon and Godwin Peak, although they obviously represent aspects of Gissing himself, achieve a fictional identity as something apart from the person of the author. Gissing had come to look upon himself and his career with sufficient detachment to enable him to present his fictional counterparts fairly and objectively. The elements of self-pity and apology were refined out of the uncritical idealism of the young author, and, as he acquired a patient and realistic vision of life, self-identification became a source of strength in characterization. The present study will evaluate the results of Gissing's self-identification upon characterization in the novels discussed and attempt to trace the trends in development suggested in the course of such a study. / Arts, Faculty of / English, Department of / Graduate

Joseph Conrad regarded life as the pursuit of a dream which gives man a sense of purpose in life. The individual's attempt, through action and communication, to make this dream real to himself and to his fellow men constitutes the quest for identity in Conrad's works. Chapter I explores various aspects of the quest. Because life is a "destructive element", the individual must struggle to justify his existence and make his dream come true. To be successful in this struggle, man needs self-knowledge. This, in turn, requires a commitment to the community. The quest is, therefore, ethical rather than metaphysical. Chapter II is a study of the egoistic dream. The sense of superiority over the rest of mankind causes Jim, Heyst, and Kurtz to dissociate themselves from their fellow men. Consequently, they lack a clear sense of their moral responsibility and of the destructive tendencies in their own nature. Rather than help these individuals to find meaning in life, the egoistic dream becomes the cause of their failure. Chapter 111 concentrates upon the "saving illusion", a sense of self involving a moral commitment to the community. Through involvement, the individual becomes concerned with fulfilling his moral obligation, rather than vindicating an ideal of himself. Therefore, he seeks the self-knowledge which will enable him to guard against defeat. Obedience to the claims of love and conscience in Under Western Eyes, the sense of duty towards the ship in "The Secret Sharer", and the sense of solidarity in “The Nigger of the Narcissus” enable the protagonists in these stories to fulfil their obligation to the community. Finally, Chapter IV deals with Conrad's artistic endeavour as his quest for identity. Conrad's aim was to communicate his truth to the reader. The achievement of his artistic goal required self-knowledge which he, like his characters, acquired in the struggle of life. The hard realities of life become the "terms of his appeal". Conrad's vision of life evokes in his readers the sense of solidarity which testifies to the success of his quest for identity. / Arts, Faculty of / English, Department of / Graduate

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