A
STYLISTIC
OF
OF
STUDY
JOSEPH
THE
CONRAD'S
LANGUAGE
NOVELS
by
Farouk
Mahmoud Abdel
Mooti
r
1
Submitted
of Ph. D.,
Department
Language,
University
June, 1978
for
of
.
of
the
degree
English
Sheffield.
BEST COPY
AVAILABLE
Poor text in the original
thesis.
Some text bound close to
the spine.
Some imagesdistorted
220
ýv
SHEFFIELD
UNIVEIBRARY
RSITY
s
r
When F. R. Leavis
that
viewpoint
had
Beerbohm
(2)
style.
three
John
to
believed
Constance
is
It
bring
tions,
out
their
but
it
words,
touch
the
is
(1)
(2)
is
interplay
of
his
the
detail,
Leavis,
See p.
for
use
present
what
chapter
one is
See p. 77 supra.
14
not
types
who,
like
"so
were
such a way as to
connota-
the verbal
structure
so much of adjectives
of
In
modification.
adjectives
proposes
mainly
9
those
over-
or even1symbolic
This,
modifiers.
1962
: '177
'81. s_upra.
11960
(3)
Shand
:
..:
(Z)
Daiches 1960
(5)
can be used in
a writer's
of'other.
Conrad's
" (5)
the result
of
the
a little
adjectives
to assume that
various
involved
later,
decades
were
of
Shand
which
and rather
perhaps,
suggestive
logical
also
an investigation
mean that
in
""ironical",
use
who criticised
Conrad's
adjectives
imagery
upon
that
a. fact
there
hand,
ironical.
often
that
lush,
other
believed
true
of a writer's
äs of
On the
fastidious,
chosen,
"a little
being
Garnett,
Daiches
early
"continual
heavy
Max
forward.
Conrad's
of
three
than
a criti-
he parodies,
which
(3),
t"slov.,
More
period.
(4)
"+
adjectived.
the
was made by David
style
in
one object"
focus
had put
him
Conrad's
noted
for
Conrad's
sharper
excesses
adjectival
be responsible
for
into
Feast"
"The
qualify
early
he called
before
had also
Shand
same observation
earliest
the
to
the
of
he threw
written
MODIFIERS
what
many a critic
already
adjectives
style"
'(1)
things,
among other
to
objected
insistence",
"adjectival
OTHER
AND
ADJECTIVES
cal
VI
Chapter
to
concerned
must
however,
examine
with
of
other
necessity
does
Conrad's
here
alone
is
not
imagery
the
pecu_
.
221
liar
way Conrad
for
(1897)
up of
some 5,600
us is
the
ever,
did
not
must
tell
best
myself.
first
other
of
predilection
extent
to
in
full-length
his
in
After
first
his
Lagoon"
peculiarity
part
in
practice,
then
of
representative
stylistic
artistic
concludes
of
this
of
field.
with
with
introductory
passage in
I,
some
The second
part
from
the
and other
modi-
novels.
some four
L. L. Vol.
style
a brief
sentences
we come across
"The Lagoon":
The white
his chin on his crossed
man rested
arms and gazed at the wake of the boat.
At
the end of the straight
avenue of forests
cut
by the intense
glitter
the sun
of the river,
unclouded
appeared
low over
and dazzling,
poised
the water
that
like
shone smoothly
a band of
The forests,
metal.
sombre and dull,
stood
motionless
and silent
on each side of the broad
At the foot
stream.
towering
of big,
trees,
trunkless
nipa palms rose from the mud of the
bank, in bunches of leaves
enormous and heavy,
(1)
the
Conrad's
arising
of adjectives
had
have
consider
Conrad's
significance
manipulation
various
descriptive
is
The
certain
also,
seems to
I will
novels.
distinctive
novelist's
be examined.
on the
attention
which
This
contemporaries'
focuses
Piers
this
Conrad
4
works.
analysis
Here,
story.
short
for
will
"The
which
of
comparison
this
in
like
consciously
early
a linguistic
is
chapter
I
one I
Conrad
the
of
peculiarities
present
the
that
proves
am
confidential
stories,
my short
"I
Watson,
Miss
for*
how-
This,
To be quite
a letter
modification
marked
the
of
stylistic
adjectives
types
is,
it
telling
from
made
importance
special
adjectives.
with
"Lagoon".
Such
the
of
part
Conrad's
the
" (1)
the
replete
Conrad
like
that
you
indulged'in
is
it
of
is
It
story.
shortest
What makes it
prevent
you
glad
right
that
fact
ende.
artistic
is. Conrad's
words.
modifiers
other
and certain
adjectives
of his
the achievement
"The Lagoon"
of
his
uses
p. 202 (Letter
dated
14th
March 1897
the
222
hung unstirring
that
over the brown swirl
of
In the stillness
eddies.
of the air,
every tree,
every leaf,
every bough,
every tendri3o2
creeper
blossoms
of minute
and every petal
seemed to have
been bewitched
into
an immobility
perfect
and
(p. 18? )
final.
.
thing
to note about this
deterpassage is Conrad's
first
The
to
mination
string
of
shape,
light,
general
every
motion,
the
can
it
such,
On the
of
be used
part
are
used
the
characteristic
temporary
condition
coloured
in
the
of
of
the
his
the
adjective
(1)
the
only
modi-
adjectives
refers
to
a
refer
to
a.
adjectives
factual
the white
concrete
subjective
can
The two
to report
with
that
both
As
man.
noun,
white
whereas
of
the
Although
body.
attributes
by the narrator's
a central
of
crossed
colour,
one of
adjective
arm.
man,
man's
are adjectives
is
referent
a participial
by the narrator
are
details
In other
man.
reference-that
are not
evaluation
of the
adjectives
occupying
character
question.
The second
attributive
adjectives
sentence
slot,
in
'Quirk
contains
et al.,
a string
position,
participial
1974
two
and intense,
straight
the, predicativc
a post-modifying
(1)
are
narrator's
and predicatively.
is
body:
the physical
they
the
adjectives:
one notes-that
permanent
words,
colour,
there
reflects
White
crossed.
crossed
man's
used objectively
two
attributively
attributively,
concerning
of
addition,
nature
we get
characterises
hand,
of
those
are
In
subjective
shape.,
both
directly
fies
used
or
adjective
an appropriate
and size.
sentence,
other
other
with
opinion..
first
the
white;
sound
whose
personal
In
noun
The adjectives
modifiers.
adjectives
mood or
that
modify
clause,
:*
unclouded
poised
Ch. 5 and 13
low
of
the
co-ordinated
and dazzling,
over
the
water.
and
223
whereas
straight
intense
is
is
the
for
white
ordinated
Both
sun on that
the
follow.
The noun
jectival
phrase,
contained
type
of
and
sound
ding
four
trees
meant
to
give
modified
nouns
to
adjectives
of
posed
string
of
of
in
the
two
the
of
condition
the
to
post-
identical
is
they
turn
are
followed
the
predicative
the
the
terms
a subjective
co-ordinated
of
the
again
temporary
the
of
of
noun
of
inherent
space
and
size.
the
prece-
stream
which
and
are
qualities
of
He soon
reverts
in. the
nature
"bunches
forests
broad
reference
temporary
"sombre
impressionistic
adjectives,
the
modifierp,
mood of
"The
nature
of
and
the
in,
are
quality
adjectives
slot
concrete
reporting
ad-
adjectives
only
by two
attributive
with
two
be inherently
Here
that
sentences
non-restrictive
modification
to
two
first
supplementive
these
cannot
"
to
three
reflect
forests
the
of
the
all,
trees,
in
co-
respec-
participle
by the
That
for
resorts
the
the
contains
subject
light
and dull.
in
a factual
nothing
hand,
other
deleted
modified
and silent.
towering
have
would
same applies
-The
is
occupying
narrator
big
stream,
in
it
intense
seem quite
and dazzling,
commas indicates
adjectives,
the
might
and V-ing
abound
As opposed
mood prevails.
unmistak-
a temporary
whose
darkness
motionless
stood
something
adjectives
forests
These
has
clause.
the
After
and dull".
that
On the
to
modification,
narrator.
...
main
two
reference,
V-ed
refer
sombre
within
this
type
clause
of
concrete
Malay
occasion.
with
those
sentences,
motion
the
of
the
of
with
unclouded
string,
particular
head
space
it.
about
thatb
is
adjectives
"glitter"
a native
adjectives
Contrasted
the
for
participial
modifying
The
intense
light
of
tively.
of
it.
predicative
adjectives
of
adjective
but
man,
or
attributive
an adjective
about
extraordinary
with
the
an intensifying
subjective
ably
between
difference
The main
of
leaves
postheavy
and enormous",
two
containing
being
is
of
by a post-modifying
the
over
motion,
brown
the
while
relative
of
swirl
and brown,
unstirring
adjectives,
an adjective
eddies,
the
central
participial
brown
adjective
one of colour.
The last
prepositional
of
followed
hung unstirring
that
clause,
is
which
creeper,
phrase
"In
with
types
is
adjective
a restrictive
which
perfect
final
and
in
of
the
former
that
"intense
perfect
string
of
being
more
so
interpretation.
some subjective
we get
that
the
a
prepositional
pbstposed
nature,
of
admits
to
similar
and the
with
immobility
the
postmodification,
tendril
every
air,
"an
adjectives
genitive
postmodifying
' together
blossoms,
minute
of
the
of
stillness
co-ordinated
of
latter
Besides,
of
three
contains
passage
the
periphrastic
are
the
petal
Both
adjectives,
than
phrases:
postposed
final".
and
of
every
of
string
the
sentence
sort
glitter"
of
intensifying
of
the
second
sentence.
A close
quotation
scrutiny
and darkness,
while
or
are
like
others
tactile
senses
relating
to
novelist
give
the
impressions,
extensive
use
two
sensation.
says:
or
adjectives
most
easily
apprehended
silent
and heavy
different
a precision
that
three
still
types
is
adjectives
Describing
is
senses
degree
other
the
the
visual
to
accessible
of
is
of
to
precision
further
use
intended
obviously
th'e
those
especially
through
are
in
so far
Such alternate
a certain
of
them,
of
respectively.
More important
yoking
that
reveal
will
used
the
stressed
above
of
light
sense,
the
auditory
of
adjectives
to
help
the
narrator's
through
the
modification.
Conrad's
synaesthetic
belonging
darkness
to
of the
disparate
forests,
device
of
spheres
of
the narrator
225
trees,
the
between
fron
Darkness
oozed out
the
creepers,
the tangled
of
through
-maze
fantastic
the great
and unstirfrom behind
and
darkness
the
leaves;
mysterious
ring
and poisothe darkness
invincible;
scented
(p.
189)
forests.
nous of impenetrable
Here
five
we get
posed
of
an adjective
the
However,
leaves"
be modifiers
of
the
of
of
Conrad
the
to
equal
status
great
makes it
adjective.
fantastic
"great
and unstirring
rýeat
modifier
three
meant
the
noun
leaves,
seem to
is
-
adjectives
the
but
the
modify
am-
absence
adjec-
general
fantastic.
two
the
general
to
it
Besides,
in
the
that
belong
respectively.
can be described
as "scented"
peculiar
participial
other
scented
are made to modify
ness of the
thing
forests,
One further
the narrator
the
and
not
the
but
of
the
and poisonous",
senses
smell
to note
is
that
it
can only
sensation
to it
adjective
or snakes
darkness
itself
and
of
taste
whereas
"the
be described
attributes
fght.
than
to
peculiar
are
of
general
flowers
materialises
the
scented
by transferring
spheres
we
that
as "mysterious",
and "poisonous"
to
"darkness
the
and invincible
latter
attributes
to
The important
the
which
by according
adjectives
darkness"
of
modifiers,
beings.
we get
mysterious
adjectives
postposed
darkness
animate
(1)
that
tangled,
intensifying
an
intensifying
the
of
appear
would
comma after
With
are
a comma in
post-
unstirring
participial
is
great
of
strings
adjectives:
general
are
one - the
function
the
It
to
noun
three
while
motion,
absence
makes
biguous.
have
Of these
and impenetrable;
fantastic,
tive
adjectives
attributive
modifiers.
two
and
the
Thus
taste
roaming
which
poisonous
in
the
dark-
(1).
example of the transferred
adjective
speaks of "the black stillness
of
Here
the
occurs where
the night"
(p. 193).
also
adjective
black
from
is
transferred
the noun night
to the noun
stillness
Conrad
In
other
words,
.
the "Stillness"
solidifies
of the night
it
gives
attributes
and
peculiar
only to the noun ai_.
The
transposition
of sensfrom one sphere
to another
ations
this
it,
adjoining
and
-in
is
similar
examples,
indicative
the
in
of
Conrad's
imagery
metonymic
strain
which is,
for the-most
nature.
of a metaphorical
part,
226
its
his
to
noun
appropriate
In
it.
te.
"
same
cbnique/
--th?
follows'
aorirad
from
when he
description
the
of
the
creek
narrow
with
associated
closely
noun
another
a modi fier
transposes
narrator
says:
blackness
the
"Here and there,
glistening
near
tall
tree
twisted
the
some
root
of
of
water,
a
black
ferns,
the
tracery
of
small
showed amongst
like
dull,
an
motionless,
writhing
and
and
snake. "
arrested
(PP. 188-9)
V-ing
the
Here
the
cribe
blackness
can be visually
water
absence
of
darkness,
without
water.
black
of
spheres
both
can be only
adjective
to
accessible
of
precision
sense
dichotomy
apparent
impressions
somewhat
of
and motionless.
writhing
some four
modifiers
arrested
snake,
some tall
of
is
which
further
types
other
of
prepositional
Just
between
darkness
this
of
modification.
as the
the
of
creek.
by the
modified
of
narrator
brightness
the
of
Malay
of
This
uses
adjectives
to
the
sea under
broadness
he achieves
the
in
the
the
from
this,
two being
first
of
size,
Of
some.
one
the
the
in
genitive
ferns.
bring
out
shining
an amalgam
of
the
root,
periphrastic
small
he uses
hence
adjecttives
of
jungle,
the
water,
the
renders
the
are
of
adjective
"twisted
quantitative
the
we get
the
are
two
other
Apart
ferns",
two
the
forest
used
small
remaining
phrases:
juxtaposition
the
the
while
tree,
The colour
questionable,
attributively
colour,
of
a general
the
of
different
three
motion.
while
is
Dull
The blackness
we get
participial,
of
visually,
sense.
nature.
a subjective
darkness.
an adjective
adjectives
are
apprehended
tactile
the
is
or
adjectives
to
belong
the
presence
predicative
whereas'black
and motionless
writhing
the
and motionless
for
sensation,,
the
can be no glistening
hand,
des-
Still,
in
apprehended
other
writhing
itself.
water
there
whereas
On the
dull,
and
the
than
rather
glistening
glistening
adjective
premodifying
made to
is
river
following
the
contrast
sun and
modifiers
of
and
the
the
in
narrowness
two quotations:
227
white
The
his back upon the setting
man, turning
the empty and broad expanse of
sun, looked
along
the sea-reach.
For the last
three
miles
of its
the wandering,
hesitating
course
river,
as if
irresistibly
by the freedom of
an opea
enticed
horizon,
flows
into
the sea, flows
straight
to the east - to the east that
harbours
straight
both light
(p. 188)
and darkness.
-a"
The narrow
tortuous,
creek was like
a ditch;
fabulously
deep; filled
gloom under the
with
ýheavenn.
thin
blue
of pure and shining
of!,
strip
the
behind
Immense trees
soared up, invisible
(p. 188)
festooned
draperies
of creepers.
In
the
first
the
passage
slot
attributive
broad
periphrastic
modified
by the
phrase:
of
the
sea-reach.
that
directly
participial
tives
quality
"wandering's
hence
sense,
also
but
that
notes,
ordinator
This
of
quoted
the
Conrad
hesitating);
relative
finishing.
passages.
adjectival
its
touch
course,
to
two
first
of
the
the
the
open
both
short
One
adjectives.
the
co-
with
comma.
(empty
rhythm
that
shows up in
and dull,
writhing
The two adjectives
movement
abound
as
figurative
with
black
here
of
the
as in
horizon.
light
story's
and
highly
a
adjec-
example by the
example.
harbours
one of
two
preoccupation
phrases
that
clause:
last
the latter
to
have
uses
a purely
a preoccupation.
the previous
prepositional
the
like
The
noun.
be described
in
phrases
slackness
the
Conrad
unless
the
of
and hesitating
might
of
in
replaced
languorous
earlier:
nature
to Conrad's
as in
'of
a river
prepositional
adjectives
of
here
Besides,
the
are
wandering
co-ordinates
is
wandering
Postmodifying
fying
subjective
use of balanced
a touch
referent
them.
can be attributed
and motionless
the
as ""hesitating"
and which
and broad,
his
the
they
is
which
expanse
of
Obviously,
human beings;
not
noun
genitive
adjectives
about
to
peculiar
the
the
occupying
adjectives
modify
characterise
attributive
temporary
central
empty,
further
space
two
add
phrase.
the
passages
A postmodidarkness
adds
adjectived
228
to
As opposed
cribed
as being
second
quotation
gloom
pure
and
blue
to
tive
therefore
adjectives,
his
which
the
narrator
temporarily
creepers",
his
Malay
last
of
and his
modification,
is
the
used
in
the
the
one
that
the
to
the
contains
adjunct
highly
subjecstring
nature
of
of
trees
the
phrase
the
of
illusion
or
festooned
the
of
gloom
ofthe
the
were
of
draperies
a participial
adjective
of
creepers.
postposed
adjectives
is
reflected.
objective
attributes
of
the
Diamelen.
is
the
nature
that
of
phrases
characteristic
prepositional
for
truth
temporary
"the
of
following
filled
encompassing
suggests
factual,
woman,
clause
predicative
permanent
the
which
phrase
and
the
the
of
permanent
with
preference
description
adjective
the
of
betrays
the
trust
only
and a postmodifying
Arsat
In
sea.
on account
The narrator's
in
with
contrasts
invisible
which
festooned
contrasts
invisible
modifier
postposed
- nature
Likewise,
immense
attributive
deep
adjective
could
sensations.
The use
temporary
the
modifying
adjectives
forest,
the
modify
"tortuous
prepositional
(1)
of the
sentence
postmodifying
genitive
of"heaven.
first
des-
is
creek
adjectives
participial
two periphrastic
shining
this
In
the
sea,
predicative.
one V-ed
fabulously
of
and broad"
two
we get
and
- and
"empty
a ditch".
"like
deep"9
fabulously
with
the
Of the
two
forcefully
types
various
quotations,
foregrounded:
the
of
postponed
(2)
He (Arsat)
was a man, young,
broad
powerful,
with
chest
He had nothing
and muscular
arms.
on but
his sarong.
His head was bare.
His big,
soft
eyes stared
eagerly
(p. 190)
at the white
man...
(1)
(2)
In "The thin
strip
of pure and shining
blue of the heaven"
Conrad drops the definite
before
article
that
Pure)
something
to the fact
can be attributed
that
in Polish
no such article
is used.
Postposing
is strongly
of adjectives
the
recommended
noun
when
is modified
by a string
of co-ordinated
in the
modifiers
as
from Conrad,
examples
or when the adjective
requires'complementatioa
of some sort
as in "The boy
his
to
fulfil
anxious
duty
...
229
She lay still,
as if dead; but her big eyes, wide
in the gloom staring
upwards at
open, glittered
She
the slender
rafters,
motionless
and unseeing.
fever,
unconscious.
was in a high
and evidently
her lips
Her cheeks were sunk slightly,
were partly
was the ominous
open, and on the young face there
the
contemplating
expression
and fixed
absorbed,
die.
to
the
going
unconscious
expression
of
who are
(p. 191)
The postposing
and powerful,
In
the
first
wide-open,
means of
the
a string
the
device
major
made up of
of
jectives
the
id
dictated
contemplatin,
of
in
his
above
easily
the
narrator
a subjective
subjective
perceive.
the
are
of
attributes
which
nature
mind
expression''
the
woman's
people
appositive
followed
or
quotation,
instance,
This
and
also
contains
than
the
"ominous
impression
is
two
fol-
soon
further
This
adis
'rho
sensations.
and
die.
fixed,
contemplating
fired
of, the
to
and
others.
of
by
preceded
for
absorbed
about
phrase
by ominous
association
a similar
of
the
nature.
"the
be termed
of
is
modified
phrase
might
impression
off
of
menace
could
phrase
attributively
unconscious"
a more
by what
narrator's
triggers
the
noun
In. the
appositional
of
of
so described
the
temporary
and
by Conrad
a repeated
adjectives
expression
permanent
temporary
the
under
of
senses
used
adjectives.
general
by
narrator
of
concerned.
noun
lowed
the
mainly
postposing
eyes, were
saw them,
much
postposed
the
underlines
narrator
central;
without
are
hand,
The woman's
and tactile
apprehending
they
Here
other
factor.
being
powerful,
attributively
and unstirring
Bey resS)on
two
or
used.
and unstirringý"
one grammatical
young-and
On the
which
adjectives:
than
level.
semantic
"a man young
motionless
predicatively
visual
Another
is
modifiers
death,
character
which
the
of
by more
was how the
approaching
the
dictated
modifiers
that
Here, too,
the
eyes
reasons.
the
of
because
,
big
motionless
wide-open,
her
her
either
rhythmical
nature
strings
on the
difference
for
three
place,
be-'used
could
the
been
have
seems to
of
expression"
absorb
d
and
230
The recurrence
this
story
short
of
is
the
Of
troika.
first
we get
or
in
(1)
like:
examples
tandem
in
either
running
adjectives
In such
mannerisms.
stylistic
in
phrase
appositive
adjectived
one of Conrad's
we come across
phrases
heavily
the
of some
call
"Astern
of the boat the repeated
feeble,
discordant
bird,
along
skipped
and
cry
a
(p. 188)
over the smooth water
...
plaintive
"A
saddening
murmur rose
and startling,...
"A murmur
and faint;
powerful
and gentle.,
(p. 199)
the night;
(p" 194)
in
a murmur
vast
a murmur
two
the
touched
men's
"A breath
of warm air
like
breath
loud
faces...
an uneasy
short
and
a
7199)
(p'.
sigh of the dreamy earth. "
Of the
(those
second
we have:
troika)
in
running
death-of
(p" 193)
the
11... the inspiration
wonder of
and
death near,
unavoidable
and unseen....
shore -a
11... Like a sombre and forbidding
(p.
201)
black"
deceptive,
coast
pitiless
and
the
From
tute
syntactic
they
and downtoners
discordant,
Besides,
example
the
of
tactile
breath
loud
group
shifts
death
near,
(1)
such
(cry
sense
the
first
in
and
two
of
warm air
short).
from
discordant,
group
(a breath
the
unavoidable;
or
a coast
like
amplifiers
the
faint
first
nature.
We
powerful,
vast
gentle,
and
three
examples
of
sensation
touched),
other
and
hand,
tactile
deceptive,
are
the
emphasis
senses
to
pitiless
is
the
in
murmur startling),
spheres
On the
auditory
subjective
feeble,
as
the main emphasis
while
auditory
of
use
alternate
Semantically,
modifiers.
a greatly
consti-
adjectives
underscored
postposed
of
adjectives
Conrad's
note
of
strings
general
are
also
the
of
a series
the
standpoint,
the
fourth
involved:
auditory
in
on
the
(a.
second
visual:
and black.
It is noteworthy
that
the postposition
in the
of adjectives
following
is conducive
to that
examples
feeling
of nostalgia
and sadness
which is in keeping
tone.
the narrative
with
Notice
also how postposition
helps
Conrad do
of modifiers
the post-modifying
without
he
relative
for
clause,
which
seems to have had little
predilection.
231
the
Sometimes
of
strings
postposed
appositive
phrase
contains
balanced
of
a sequence
as in:
modifiers
the
in
the
earth
enfolded
starlight
peace
...
became a shadowy country
of inhuman strife,
a
battlefield
terrible
of phantoms
and charming,
ignoble
for the
or august,
struggling
ardently
hearts.
possession
(pp. l93: 4)
of our helpless
the
Here
terrible
and charming,
his
fear
from,
man+s sense
impressions
subjective,
but
a tendency
that
to
novels
his
to
is
a. process
to
(p.
193)
we notice
into
tive
become
of
to
the
The same tendency
gray
into
and
"She
transitive
bring
(1)
out
the
darkness"
came...
verbs
the
in
rapid
like
intensive
white
of
also
peace,
starlight
the
in
water
the
full-length
verb
senses
in
(p.
of
201),
and leaving
flow,
sit,
"the
For a"detailed
discussion
1974 ; Chapter, 14
like,
"It
this
(p.
used
respectively.
cold
moody"
197),
in
and are
sound
flowed
sat
con-
by an adjec-
water,
and
juragaa.
come are
of
been
adjectives
the
and
no trace"
relationship
has
slept
touch
sight,
examples
and mute"",
predicative
land
tells
narrator
can be followed
The three
the
through
adverbials
unstirring
intransitive
it
practice
adjectival
when the
invisible,
slept
subject
found
of
M.
one so that
the
Conrad's
place
conversion
three
is
the
a chain
the
scale
of
an adverbial,
to
in
as modifiers
adjectives
that
complement
accessible
use
an intensive
instead
193)"
One notes
modifiers.
characteristic
and the
land
(p.
later.
grammatical
"The
him
around
in
the
parallel
being"
of
resulting
on a larger
reflected
of
us:
verted
use nouns
important
tendency
blurred
to
meant
darkness
inconclusive,
be discussed
A more
is
become
quite
tendency
Conrad's
the
at,
modifiers:
postposed
disturbance
and powerful
and wonder
`is:
ignoble
or
the
of
nature
august
"fleeting
man's
white
In
contradictory
seemingly
such
between
the
subject
point
Cf.
Quirk
i
(p.
where
and
204)
in-
a way as to
and
et al.,
the
232
in
adjective
that
instead
variably
of
such
the
of
say
main
"The
saying,
"the
man slept
sentences
end on. a dying
nostalgic
tone
the
of
The narrator's
types
of
episodes
Arsat's
and natural
speech
method
that
and
under
consideration.
balanced
the
use
use
of
slack
the
controlled
his
description
in
two quotations
The following
difference
of
his
between
ad-
makes the
the
with
been. one of
by Arsat's
types
various
scenery.
the
harmony
and extravagant
highlight-the
of
the
above examples
in
is
of
for
in-
examination
have
seems-to
quite
sophisticated
modification
A closer
choice,
in-the
passage
manipulation
primitive
rhythm
Conrad's
fall
he would
peacefully",
"
Conrad
of
characteristic
etc.
that
of adverbials
place
is
peaceful,
determining
utterance
ferent
it
man slept
reveal
will
reasons
in
jectives
Indeed,
question.
and
difand
of
from
descriptive
narrator:
the scent
Unseeing,
through
we spoke to one another
the
leaves,
through
through
flowers,
the
of
veil
-of
before
blades
that
our lips;
of grass
stood still
so great
was our prudence,
was the murmur
so faint
(p.
196)
longing.
great
='
of our
v:
There was silence
behind
That neck of land is
us.
the third
fire
I heard my brother
Before
narrow.
shot I saw the shelving
shore,
and I saw the water
the mouth of a broad river.
We crossed
again,
a
We ran down to the water.
I saw a
grassy
glade.
low hut above the black
mud, and a small
canoe
hauled
I heard another
(p. 200)
up.
shot behind
me.
The participial
as the
sole
realisation
supplementive
dramatic
(1)
unseeing
adjective
quality
of
adjective
of
a verbless
clause
the
of
balanced
(1).
the
first
clause.
Apart
prepositional
from
sentence
functions
As such,
it
this,
phrases,
is
we note
a
the
each
In most cases the supplementive
adjective
clause
can be
by a corresponding
replaced
adverbial.
When it
follows
the
the supplementive
subject,
adjective
clause
can be regarded
as a reduced
relative
Thus in tIArsat,
clause.
motionless
and shadowy,...
in a low voice",
was speaking
the
supplementive
clause
can be expanded into
"Arsat,
a relative
clause:
who was motionless'and
shadowy,
etc.
...
233
containing
a periphrastic-genitive
dramatic
predicative
each
of
the
of
land
is
narrow",
as low,
general
nouns
Besides,
of
ally
happens
with
appositive
"there
been
followed
in
the
dividual
of
the
is
the
can
adjective
on-the
here'is
`action'
psychological
silence
This
scenery
as usu-
in. the
in
have
use
sentences
invariably
ominous
the
objects
natural
troika.
would
that
shows
the
of
in
as
the
sentence,
forbidding"
and
difference
in
difference
a corresponding
to
in
the
is
see
in-
the
in.
Although
definitely
attributes
slow. is
the
in
in
types
that
place
see,
of
the
it
of
other
rather
than
man,
as in
parts
it
of
focuses
on any
"The
the
and
his
more
clear
the
of
fondness
speech.
attention
or
physical
Juragar
203)
where
choice
to
points
since
to
clearly
Conrad's
context,
(p.
s="
usage
both
Arsat's
strike--"
"He drove
colloquial
an adverbial
vera
to
enough
slowly.
significant
the
clear
in
in
we have
adverbiale
preferred
functioning
of
of
adjective
as adverbials
is
place
shall
adverbial
adjectives
Clear
I
form
form
adjective
for
used
similar
be used
"the
neck
used.
while
appropriate
like
entails
Of adjectives
which
which
apply
glade"
adjectived
us'",
speech.
to
"a grassy
or
heavily
are
the
is
"that
he indulge
does
behind
by something
perspective
a little
that
in
describe
tandem
Nor
that
other
qualities
made to
in
of
or
penultimate
is
narrator.
phrases
in
concrete
running
was silence
modification
"In
to
refer
modifiers
narrator's
the
inversion
narrow
grassy
in
this
condition,
some sort
predicative
attributive
phrase.
a procedure
mental
of
no attempt
noun
like,
the
used:
used
strings
agitated
and small
adjectives
with
so faint,
a modifier
the
black
modified.
of
has
Arsat
to
Malay's
the
through
enhanced
so great,
the
reflect
Although
well
further
adjectives
to
meant
is
quality
postmodifying
sat
moo
""f
234
the
where
on the
rather
is
laid
mood of
the
emphasis
Even when he uses
far
is
still
to
become
"I
heard
from
under
the
noun
hardly
collocate
keeping
in
modifying
used
101 by the
by
the
by the
are Arsat+s),
between the narrator
of which
(31/one
S by Arsat),
binations
like
narrator
and
the
as though
like
which,
figure
black
and
though
the
largely
(1)"'Conrad's-comparisons
'the 'heading:
"The
in
some of
postposed
the
used
his
the
are discussed
is
Lexis. "of Uncertainty".
non-finite
three
(14 equally
clause
synaesthetic
( 4P 3
night
divided
adjective
in
com-
by the
function
as as...
as,
in
works.
the
of
(14 of which
by Conrad
other
(171)
3 by
quasi-adjectival
such
post-
narrator,
adjective
the
of
the
string
supplementive
of
of
(302,
genitive
clause
comparatives
sparingly
types
adjectives
by the
relative
stillness
and
type
much is
Conrad's
noun phrase
transferred
one by Arsat),
preposition
the
can
Malay.
periphrastic
(24,21
and Arsat),
the
which
and 2 by Arsat),
appositive
the postmodifying
hear
62
by Arsat),
and
with
clause
adjectived
taste.
and very
follows:
narrator
a
of
This
love-lore
as
narrator
participial
the
Arsat),
story,
frequency
voice
modifies
verb
one can list
of
her
of
sense
suggestive
the
man:
The postmodifying
the
the
liable
white
sweetness.
70
by Arsat),
and
(28,26
post-modifying
quite
phrase
narrator
modifiers
object
mood of
prepositional
to
Arsat
is
the
sense
auditory
when he uses
analysis
order
but
verb
narrator
phrase
only
direct
emotional
240 are
which
the
foregoing
modification
by the
added
modification
" (p. "198).
accessible
is
of
tells
Arsat.
prepositional
nevertheless
the
with
From the
the
is
with
is
the
the
as the
voice,
apprehended
dimension
modification
her
of
which
sweetness
type
synaesthetic
of
of
concerned.
conditions.
genitive
A further
of
similar
can be only
which
action
as sophisticated
sweetness
periphrastic
character
the
being
on the
not
next
this
of
as if,
and
short
(1)
chapter
under
235
is
it
First,
posed
mentive
is
it
of
tion,
discussion
be out
not
would
he shows
positions
added
be said
to
which
his
verbs
like
intensifier
order
ional
or
(1)
the postthe
phrase,
terms
in
supple-
Third,
defini-
of
Hence
of Conrad's
adjectives
those
they
as in
call
adjec-
number
or as the
forms.
especially
these
Other
four
(1)
233
young and
position,
after
in
comparison
that
they
call
pre-
intensive
by the
premodification
adjectives
tests,
adjective
like
position
to
compared
supplementive
attributive
to
less
are
can occupy
susceptible
be presently
attributive
adjectives
accept
adverbialsp
as will
in
greater
clause
Such adjectives
1974 ":
of
place
as heads of noun phrase,
or predicative
of
modifiers.
adjectives
are
Grammar would
and are
in
novelists
are
syntactic
postposed
adjectives
other
they
of
a variety
Predicative
Still,
because
Quirk et al.,
d
are embeded
combinations.
for
preference
freely.
periphrastic
adjectives".
apart
of
use
from
of a. verbless
up to one or other
types:
other
adjectives
noun
in
adjectives
use of adjectives
very,
Second,
genitive),
characteristics
set
seem.
reasons.
classification.
him
nouns,
(where
semantic
to
central
modifying
and
tendency
The Quirk
powerful
of the
controversial
his
main realisation
clauses.
most
predilection
used.
sparing
is
uses
he uses
extravagantly
frequency.
synaesthetic
a marked
in
Next
shown.
tives
to
of
most
place.
Conrad
Although
This,
of
rate
appositive
and the
the
of
main
the periphrastic
the
function
syntactic
further
can
that
one type
three
phrase
with
clause
adjective
five
the
is
for
at least
in
modifiers,
adjective
the
highest
the
prepositional
side
string
viewpoint
with
by side
the
modification
constituent
the postmodifying
sometimes
of
stylistic
type
the
the major
is
it
the
from
important
types
these
Of all
inflex-
its
fail
to measure
"peripheral
236
Of adjectives
those
cite
as departing
"the
doubtful
knack
of
classes,
in
extracting
the
be these
verbs,
His predicative
near,
such
these
easily
feared,
as
fond
adjectives,
postposed
it
is
house
as well
afraid
of,
whether
by-Conrad.
while
(1).
of
in
is: an
ruined
house",
other
it
is
of
had that
word-
adverbials.
comprise
as adjectives
to
attributive
where-
predication
Conrad
from
adjective
afraid
the
a ruined
was ruined"
or
For
brilliance
red
of
Again,
appropriate
nouns
'The
part
who repairs
adjectives
faint,
of,.
"he
in_"the
function
192),
fringing,
as
and ruined.
in
was departing".
adjective
such
murmuring,
(p.
one may
attributively
verbs
adjective
day-light"
which
only
from
a participial
day-light
attributive
derives
overhanging,
is
departing
function
can
Conrad
which
floating,
shining,
the
that
items
lute
requiring
and invisible
or
predicative,
alone,
still,
complementation
to.
Moat
could
of
be
(2)
0
(1)
1967
15, would attribute
Bolinger,
:5such uses of the
to what he
in "ruined
house"
participial
ruined
adjective
(p.
"relics
5).
tense"
He also
calls
of the ancient
perfect
that most of the attributive
argues
adjectives
are not based
believed
by transformaon "be-predication"
as is currently
tional
the attributive
in. "The man's
grammar,
since
shining
face"
can be said to be based on "The man has a shishining
face"
ning
and not on "The man's face is shining".
Others
like
"The daily
held to be based not on '.'The
newspaper'lave
.
is daily",
but rather
newspaper
on "The newspaper
appears
daily".
believes
He
that
also
attribution
can be based on
conjunction
to be
where a superficial
glance
would take it
based on relative-clause
transformation
(p. 14).
Bolinger,
however,
fails
to convincingly
the attriexplain
cases like
butive
main in "The main reason"
be based on any
which cannot
of the suggested
alternatives.
(2)
Robezs,
1964
90 - 2, suggests
three
:
functions:
"the
main
.
the predicative
attributive,
and the appositive'.
Still,
while
some adjectives
can be said to be attributive
only or
predicative
only,
no adjective
to be appositive
can-be
said
only, since
all
adjectives
can be postposed.
237
On the
terms
his
kind,
of
level,
semantic
nature
measurements
as well
first
we get
high,
items
like
heavy
gnawing,
(broad,
narrow),
ringing,
and denominal
old),
terms
In
or
manent
changing
those
nouns. ia
into
hand,
teristict',
while
Generally
the
and predicative
restricted
to
exceptions
the
features
semantic
those
adjectives.
others
one or
are
other
to this
of
a more
position,
rule.
the
they
can
divide
adother
"charac-
nature
(2).
adjectives
occupy
permanent
though
Besides,
feature
Quirk
On the
266).
"occasion"
while
or casual
a permanent
that
adjectives
slots
of
an un-
modify,
that
where
(p.
called
are
they
noting
ý
per-
to
refer
an accidental
worth
( oun
age
as either
nature
nouns
and non-inherent
those
speaking,
occasional
(2)
such
calls
is
sound
(1)
can be regarded
of
glistening),
(scented),
$ wooded).
a permanent
It
(bright,
smell
highlight
nature
question.
inherent
Bolinger
of
(crossed),
shape
motionless),
(Mala
characteristic
acknowledge
jectives
(1)
stable
small),
light
adjectives
Those
of a temporary
Grammar
those
nature,
to the general
In. addition
(poisonous),
adjectives
Of the
we come across
second
blue),
like
objective
reference).
(unstirring,
motion
temporary.
or
the
butive
of
(big,
size
to
subject
(red,
colour
taste
murmuring),
the
of
and ugly.
of
dull),
those
abstract
and bam;
those
darkness-(sombre,
with
pleasant
we get
adjectives,
of
as those
kind,
As regards
sensation.
(including
in
can be viewed
adjectives
of
sphere
and
can be general
adjectives
space
Conrad's
both
the
than
nature
there
attributive
attri-
might
be
adjec-
a0t
I have here stretched
the rules
laid
down by the Quirk
Grammar's(
who divide
into
those of colour,
adjectives
size,
age,
shape
and denominal
like
British,
adjectives
Obviously,
and wooden.
works of fiction
admit
of further
in this
classifications
particular
respect.
Bolinger,
: '3 - 5, cites
"1967"
the example
"The only navigable
river"
as a case of the adjective
expressing
characteristic
a
quality,
to "The river
as opposed
navigable"
where navigable
is an occasion
adjective
referring
to temporary
of
qualities
the river
on a particular
occasion.
238
tives
more
are
like
which,
there
is
is
man young
and powerful",
necessarily
mean that
the
of
permanent
are
it
a more
is
context,
sound,
be apprehended
touch,
same time.
only
such
only
experienced
used
by
Conrad
or
in
the
the
does not
first
or
postpositives
the
final
analysis,
or
We have the
Most
tactually
Those
situational
of
or
by the
of
smell
five
the
the
of
spheres
senses of
can
adjectives
by both
senses
at
sense
auditory
can be
and taste
senses.
linguistic
following
terms
in
be viewed
respective
One can now tabulate
"The
(1)
loud.
by the
as this
man",
the
of
the
In
Some can be apprehended
as whispering,
so far
and powerful"
than
and smell.
visually
in
preference
belong.
they
a temporary
adjectives
individual
can also
taste
either
young
nature
least.
at
of
rule
examples.
of
adjectives
to which
of sensation
man is
two
predicatives
yoa. ng and powerful
attributive
other
some cases
Conrad's
the
"The
be a matter
to
appears
sight,
the
of
predicatives
"The
concerned.
fast
and
the
usually
are
no hard
classification
example
than
permanence
modifiers,
postpositive
Still,
nature.
to
susceptible
five
features
sentences
the
of
in
adjectives.
like
something
this:
A-
Conrad's
sentences:
1.
To the warnings
of the
of disbelief.
pretence
2.
The white
3.
hear
they
could
....
and distinct
on the
4.
Arsat,
motionless
and shado
dreamy tone..
(P-'194)
(1)
man moved his
they
righteous
(p. 190)
outstretched
the voices
calm water.
,...
of
oppose
legs
an offensive
(p.
little.
a
the boatmen
(p. 193)
was speaking
ringing
is
192)
fitful
a. low and
1967 :3-4,
Bolinger,
is faced with
the same semantic
dilemma where he tries
to-distinguish
between
the
characteristic
in "The stolen
adjective
stolen
jewels"
and the post"The jewels
rposed_adjectivein
"action
stolen"
which he calls
Bolinger's
adjective".
analysis
that
shows
postposition
while
the,
underline
temporary
can
,.,
it
quality
the
of
used,
modifier-.
be taken
cannot
for a sure indication
the
that
is
always
such
239
the
Over
lagoon
a mist
function
Syntactic
Adjective
I
righteous
had
""(p.
Kind
head of noun phrase
visual
permanent
"
white
n
to
colour
general
outstretched
temporary
n
it
auditory
(objective)
fitful
di s ti nc t)
general
predicative
calm
(subjective)
attributive
)
).
motionless.
shadowy
low. and
dream/
201)
Semantic
classification
Nature
I Sphere
,1
attributive
offensive
crept,.
features
Linguistic
B-
and low
drifting
)
)
supplementive
clause
adj.
sound.
lt
tactile
motion
general
tactile
visual
11
(subjective)
sound
general
attributive
permanent
l auditory
temporary
i1
(visual
It
(subjective)
)
drifting
postpositive
The chart
a major
of a more permanent
that
nature
clear
of
the word as, on the
the attributive
legs
could
faintt
in
the
feature
sense
(indistinct,
the
at
of
feeble)
semantic
white
one moment
of"giddv'can
are
to be
it
connotations
it
which
above example
the
said
or postpositives,
in
context
in
outstretched
be: outstretched
Again' ; `ýfaint
whereas,
situational
to. a permanent
refer
predicatives
linguistic
overall
adjectives
attributive
than
their
of
connotations
semantic
much depends on the inherent
is
to
the
that
in. determining
role
though
for
characteristics,
al
size
indicates
clearly
play
adjectives
g
is
cannot
maws
and crossed
legs,
at
Thus,
used.
be said
since
another.
be used
only
predicatively,
can be used
both
attributively
his
240
(the
and predicatively
there
Further,
shadowy
tive
measurements
to the kind,
11
related
of
use
investigation
of
present
field?
particular
the
of
account
chapters
of
him
'
Conrad's
sporadically
distributed
his
story,
shortest
stylistic
ation,
choose at random five
give
(1)
The Quirk
a rough
of the modifiers
the
used
effects
artistic
to
two
closely
"The
Lagoon"
repre-
all,
the
to
what
in
is
extent
which
are,
after
how far
does
his
contemporary
these
or
three
be misleading,
his
of
advantage
that
descriptive
of
Grammar divide
in
novelists
or
the
closing
simple
the best
reason
which
"The Lagoon",
After
this
a numerical
opening
compressing
some 17 pages.
conclusion
adjectival
passages
while
concern
main
Conrad's
for
descriptive
works,
modification.
by giving
questions
two
in
abound in
count
relating
rise
would
the
issues
where
gives
within
I have come to
then
(1)9
of
Lagoon"
has this
mannerisms
the peculiarities
"The
used
modifiers
suggested
of
To answer
some novels
the
types
from
modifiers
measure-
can only
which
of sensation
Second,
distinguish
practice
no such
objec-
various
novels
study?
to
subject
requiring
of
adjectives
the
of
First,
Conrad's
items
relief
fiction
of
of
whether
description,
understanding
the
was faint).
inadequacies,
and sphere
questions.
the
that
works
the
for
through
sentative
ones
of linguistic
in
nature
essential
This
as to
are meant to put into
as used
achieved
opinion
as general
inevitable
such
classifications
modifiers
murmur
as subjective
the limitations
reflect
of
be regarded
or
Despite
ments.
are
to
are
the
murmur,
differences
are
like
faint
are
being
Conrad's
careful
solution
consideris
to
from Conrad's novela,
ýand
four
in/contemporary"wcks.
passages
modifiers
adjectives
on the
semantic
level
into
inherent,
non-inherent;
dynamic;
stative,
nonand
gradable,
(pp. 265
gradable"
7).
This
dynamic
classification
into
and stative,
gradable
and non-gradable'i
is of little
significance in works of fiction.
The same observation
applies-to
Ross's
of
classification
adjectives
into
transitives
and intransitives,
and inaaianimates
241
It
hoped
is
Lagoon"
that
will
between
the
comparison
a fairly
the
the
four
accurate
contrast
of
short
of
the
works
of
of
of
of
passages
the
full-length
frequency
Conrad's
assessment
chosen
and the
story
rate
the
good idea
us a pretty
give
rity
and in
the
of
fabled
of
simila-
novels,,
modifiers
contemporaries
his
degree
and "The
will
singularity
in
while
Lagoon"*
"The
help
in
us make
this
field.
Here first
are the passages
from Conrad's
novels:
She came, of course.
To her he was something
He was bigger,
new, unknown and strange.
stronger
than any man she had seen before,
and altogether
different
from all
those she knew.
He was of the
With a-vivid
victorious
race.
of the
remembrance
to her
he appeared
great
catastrophe
of her life
the fascination
with
of a great
all
and dangerous
thing;
of a terror
made
vanquished;
surmounted,
of.
a plaything
He had all
the attractiveness
of the vague and the
unknown;
of the unforseen
of
and of the sudden,
dangerous,
a being
strong,
alive,
and human,
(0.1.
to be enslaved.
ready
P. 75)
He was attracted
by Giselle,
her
gaze
candid
with
throat,
fond
and white
of excitepliable,
silent,
her
indolence;
Linda,
ment under
quiet
whereas
her intense,
face,
with
passionately
energetic,
pale
fire
touched
all
and words,
gloom
with
and scorn,
daughter
true
a chip of the old block,
of the austere
but with
Teresa's
inspired
him
republican,
voice,
the poor
Moreover,
with
a deep-seated
mistrust.
for Gian'Battista..
her love
girl
could
not conceal
He could
see it would be violent,
exacting,
sus(fl.
like
her
524)
-uncompromising
picious,
soul.
p.
With her back to the door,
she was doing her hair
One of them gleamed
with her bare arms uplifted.
the other
detached
its
pearly
white
form
perfect
in. black
the unshuttered,
against
uncurtained
She was there,
square
window-hole.
her
fingers
busy with
her dark
hair,
utterly
unconscious,
exposed
tempting,
and defenceless
(V.
and
p.
288)
The. night
following
from tho eastward
the retreat
of the setting
sun advanced
the
slowly,
swallowing
land and the sea; the land broken,
tormented
and
the sea smooth and inviting
abrupt,
with its
easy
polish
of continuous
to wanderings
surface
facile
and endless.
SHEFFIELD
UNIVERSIT
LIBRARY
The calm was absolute,
a dead, flat
the stillcalm,
ness, of a dead sea and of a dead
(Re p. 5)
atmosphere.
242
lonely,
feel
Perhaps it was that
me
which made
disguised,
I
nor
nor
neither
masked,
was
since
way in harmony withAe
nor in any other
yelling,
bedlam element
of life.
I was as young as before.
beautifully
unthinking.
still
8)
(A. G. p. 7tive.
at the above quotations
look
A close
can be easily
Aý
Outcast
'as
phrases,
in
the
abounds
in
postpositives,
unforseem,
rich
in
hand,
the
from
quotation
tive
noun
quite
outlived
the
could
the
dilectioa
for
might
ratio
but
this
tic
effects
ing
in
be as
is
the novelist
description
of
like
the last
out
exotic
ac is,
surroundings
modification
The Secret
heavily
adjectived
place
all
his
Outcast
apposi-
another;
cumulative
artis-
a novel
abound-
be expected,
where
the
The
works.
than
Thus,
Eyea can hardly
pre-
of adverbiala,
rather
on the
favours
Conrad's
in
to achieve,
say,
of
that
resort,
It
style.
early
remains
one novel
Under Western
modifiers
the
in
of
practice
especially
in
Arrow
quotations
above
types
period,
of modifiers
is
the
functioning
decrease
in
the
adjectival
of
On.
and apposi-
postpositives
in
also
examples,
preceding
various
fact
and adjectives
dependent,
of
the
adjectives,
or
and the
stage
the
manipulation
Victory
notorious
middle
Eyes,
Western
increase
dialogue
full
the
of
adjective
items
of
ratio
postpositive
his
in
rich
Conrad's
the
novels
noun phrases
shows up in
is
experimental
that
and Under
Agent,
that
so-called
in
dwindles
adjectived
is
clauses.
two
phrases.
noun
of
Nostromo
from
as the
The underscored
plain
be argued
from
quotations
The Rescue
phrases.
make it
tive
while
as heavily
not
are
the
as heads
supplementive
from
prepositional
postmodifying
The quotation
and
Lagoon"
"The
The example
novels.
functioning
sudden).
postpositives,
other
Gold
the
in
-
Conrad 's
that
reveal
will
full-length
as adjectives
well
young
recep-
beenipinpointed
found
(the
the
have
which
mannerisms
stylistic
Inconceivably
infinitely
-
use
to
Conrad'
of
various
243
types
Arrow
of
modification.
of
Gold
the
To determine
temporary
the
(17
various
pages)
the
and
of
"The
the
a background
for
in
"singularity"
fasci-
following
in
Conrad's
in
James's
modification
17 pages
rough
"The
his
con-
count
of
Lagoon"
Ford's
Pupil"t,
"The
and Galsworthy's
Lessways
Hilda
Bennett's
to
regard
I have made the
first
The Good Soldier,
has
in
be as rich
jungle.
Conrad's
types
to
The
like
a novel
expect
background
which
Malay
novelists,
can one
Marseilles
Victory
of
world
nating
its
with
as is
modifiers
Nor
(1)
Juryman".
Types. of modification
Work
total
123456789
examined
"The
Lagoon"
302
"The
Pupil"
203 - 26
The
Soldier
Hilda
Lessways
"The
Juryman"
28
171
14
24
565
3-5
14
245
18-6--1
234
80
---
271
54
If
175
34
87-9
22
IF
---
318
10
2--
345
10
243
--
3of-phrase;
postposed
string
postmodifying
adjectives;
54phrase;
postof modifiers;
post-modifying
participial
6phrase;
relative
modifying
post-modifying
clause;
appositive
(in
8transferred
7supplementive
clause;
adjective
adjective
9in place
combinations);
synaesthetic
adjectives
of adverbials.
2-
From the
of
modifiers
simply
which
of
(1)
chart
the
we know
used
means
James,
by any
that
He is
group.
1963;
that
Ford,
Conrad
of
the
Conrad
uses
four
is
the
somewhat
unique
1962;
Bennett,
double
almost
contemporary
most
in
the
novelists,
descriptive
his
1913;
use
number
of
novelist
the
Qaloworthy,
post1918.
244
".
modifying
in
his
use
of
the
phrase,
appositive
transferred
modifiers
postposed
less-so
adjective,
in. place
and adjectives
of
adverbials.
On the
the
assume
be in
ries
the
to
seems to
in.
the
majority
strides
in
stylist
eon has
for
tence",
positional
his
the
phrase,
transferred
modifiers,
It
modification.
pictorial
for
also
ndvelist
has
of
at
Constance
things,
among other
judgement
of
his
of
appositive
phrase,,
and almost
every
that
shown,
is,
is,
this
is
aims
compari-
distinctive
insis-
"adjectival
post-modifying
the
post-posed
other.
is
proand
type
possible
Conrad
a.
the
of
most
group.
Garnett
"ironical"
descriptive
14)
p.
the
that
stepped
aesthetic
practice
use
the
"Almayer
all,
Conrad's
o
What
of
that
postposition
modifiers
the
serving
called
excessive
the
of
fact
to
(A. F.
"
uneasy.
descriptive
F. R. Leavis
what
but
Conrad's
as in
important
Most
The
where
postposition
aimed
Conrad.
that
proved
only
device
to
contempora-
be ascribed
superimposed
cases
His
especially
and mind
of
legitimate
perfectly
the
long
or
kind.
might
English,
safely
contemporaries
modifiers.
practice
enforced
with
than
postpositive
on his
be rather
homewards
Still,
French
and his
rather
in, this
one can
comparison
Conrad
degree
one of
overindulged
of
foregoing
between
no strangers
influence
not
the
of
difference
main
were
Conrad
of
basis
S.
said
about
might
practice
Conrad's
as well
adjectives
be taken
as a whole.
being,
fitting
a
as
However,
ono
should
245
in
bear
of
types
the
this
of
this
in
tion
that
mind
was part
and parcel
his
In
frank
the
and
however,
a very
strong
shooting,
say:
"He saw a steel
the
ment
full
that
the
with
an image
the
writer
the
suggestive
seems
statement
simile
principle
of
usually
criticism
or metonymy.
of
Ford, 1964a
similarity
the
what
_`72
of
between
this
the--
first,
happened;
and
in
the
more
one item
state-
man had
to
the
something
the
terms
simile
in
the
exploits
Conrad
images
or
the
would
language,
to
metaphor
two
it
put
impression
method
interest
between
contiguity
33
Both
merely
by replacing
first
examines
A writer
actually
happened
qualities
special
In
leav-
of
purpose
an impressionist
The second
been
experiences,
might
him. "
the
symbolic
his
mind.
while
of
us what
highlights
and
to, have
onymy. underlines
(lj
that
The impressio-
characters
at
own obser-
"
specific
reader's
The imhis
of
reports
him",
impres-
defines
fruits
the
his
directed
shows
those
the
which
(1).
alone.
with
on the
particular-occasion.
Literary
phor,
them
a gun at
verbal,
render-
at
word,
with
Ford
us "the
one of
ring
a mere
second,
on that
observation
of
"He saw a man aim
gives
his
impression
way:
writer
give
a man who merely
ing
the
but
renders
Conrads.
of
written
personality"
is
one that
reporting
of
of
rather
the
aimed
images
Fiction"
fruits
but
the
of
scenic
in
expression
not
serving
teemed.
mind
does nothing
pressionist
and
conten-
peculiarity
that
most
which
my main
to
addition
medium
"Impressionism
essay
as "the
sionism
nist,
tableaux
Indeed,
technique
the
to
many uses
stylistic
an artistic
impressionistic
novelist's
vation
this
through
portraits,
in
that,
prove
of
the
one of
can be put,
purposes,
detail,
vivid
character
to
is
part
ironic
in
only
modification
novelist's
ing
is
novelist.
of
are
meta-
based
items,
while.
and
another.
on
metIn
246
i
both
purely
linguistic
terms,
as the
literary
equivalents
between
existing
parallels
the
Conrad's
images
between
metaphor
In
As already
of-Conrad's
thing
that
tenor
the
of
of
of
individual
characters,
characters
in
surroundings.
Further,
one
the
between
a distinction
and that
and
his
of
should
some
verbal
to
With
image
used.
A character's
provenance
affect
Almayer
sees
that
his
of
Willems
in
the
her
keeping
with
images,
on the
and man,
for
sympathy
for,
(1)
world
moments of
purely
derived
mainly
him in
terms,
hand,
Conrad
usually
or indignation
; Yelton
emotional
moral
of
of
surging
from
in
Conrad's
between
human actions.
hope,,
sees
quite
project
the
likely
different
background.
1967
perspec-
mood is
is
that
images
structure
something
interaction
draws
narrator's
totally
which
natural
Conrad
Aissa
certain
,
that
moments
signi-
from
The half-savage
images
evokes
at,
or
his
the
reflect
verbal
images
a. group
structural
the
of
between
changing
a light
and social
character
other
Cf. ' Dowden,
or
the
the
structure
representing
dramatic
In
despair.
sensuous
1970
things.
around
verbal
of
some-
so much with
distinguish
in
a corresponding
the
not
also
Conrad,
entail
be an exhaustive
the
structure
change
to
on.
attempted
; seep in. mind
tives
way he sees
relationships
dependent
with
images
images
characters.
already
concerned
as
has
to
meant
have
Iam
of
scenic
heavily
are
not
portraits;
a situation
tableaux;
ficance,
I
image.
the
is
image
the
behind
paradigmatic
and another.
metonymy.
Others
Here
metonymy
one item
on the
this
out
(1).
sort
vehicle
than
imagery.
concept
or
rather
whereas
be
they
be viewed
can
relationship
structures,
based
words,
simile
paradigmatic
or
other
pointed
study
and
relationship
largely
and simile
of
items
syntagmatic
items.
the
of
certain
are
metaphor
scenic
nature
nature's
247
titles
The very
fondness
novelist's
Thus,
Twist,
Oliver
is
the
in
used
An Outcast
Gold
of
known as Willems,
said
by one critic
(our
man or
is
in
used
Lord
both
The Secret
that
this
then
last
Under
Western
is
It
postmodifying
to
as "the
ship,
edly
or
of
or
nostro-unmo
noun
is
It
in
used
noting
worth
Razumov,
entitled
it
premodifierý
is
adjective
Eyes.
is
Nostromo
(sic)
the
sym-
respectively
who are
manner,
about
it
and gave
of Conrad to attach
_but
title
the
-the
Hudig
as "the
modifiers
enforces
son
In
Baron",
poet".
their
unmistakable
:
146.
is
the
the
described
or the
clever,
invaluable,
Swedish
of. the
ironically
thus
the
a thousandtt.
is
Willems
as the head of an appo-
Nostromo
while
the
as "the
Palmer,
1965
'not Latin.
°-
He is
successful,
& Co. ",
man in
identified
functioning
of
some sort
characters.
principal
phrase.
smart,
described
(1)
the"Narcissus"
of
Latin
be originally
each of his
incorruptible,
the
the
Western
thoughts
genitive
Even the title
from
of
Folly
characteristic
main
concerned,
by an adjective
sitive
clerk
the
attributive
characteristic
modified
tial
to
most
Almayer's
The Nigger
a like
the
modify
Eyes,.
also
"the
In
Copperfield,
would
in
types.
its..
of
The postmodifying
and Dona Rita.
second
always
Willems,
to
characters
was
to almost
modifier
refer
and Under
novel
had
Conrad
to
while
Agent
"David
used
Islands,
(1)
Jim,
novels
novel.
be derived
servant).
other
Conrad
etc.,
the
of
the
Wait
to
one .or
s-genitive
of
the
of
qualities
his
entitle
of the
are suggestive
in
Nickleby,
theme
main
and The Arrow
bolic
would
The premodifying
to
novels
modification
Nicholas
titles.
refers
for
a Dickens
while
his
of Conrad's
while
Nostro-uomo,
referred
illust
us,
Heyst
Captain
The recurrent
ironic
confiden-
continually
same way,
his
wor-
is
repeat-
Anthony-is
use
of
such
implications.
however,
as
is
Italian,
a
248
is
Irony
tive
Heyst
insistence
pal
characters
the
former's
The Secret
to
of-leave
And in
apostle".
is
reader
sense
of
his
constantly
"king
or
by the
the
of
technique
and R'h
Outcast
point
of
of
view
characters
opening
the
concerned
pages
to,
dreaming
if
the
first
as. "the
ex-
as the"ticketOutcast
and naive
vanity
continual
novelist's
repetition.
"Rajah
phrase
appositive
the
reader
is
narrator
as well.
Almayer's
novel
him
makes
Almayer,
the
omniscient
watch
one "of
those
In
dominant
both
Almayer's.
things-not
shown
omniscient
the
is
two novels.
as helpless
to
anarchists
Tom Lingardºs
postmodifying
not
as witnesses
tragedy.
the
of
The
I44
and
Folly
but
from
those
despairing
see his
partners
drifting
of
the
the
similarity
brutal
interest
which
current
in
the
he perceives
and his
fate
of
the
mood in
between
own struggle
the
surroundings
in,
overwhelming
his
us,
trees".
the
the
natural
tells
narrator
from
only
tree
the
against
his
neglected
The tree,
swung slowly
round,
amid the hiss
and foam of the
water,
and soon getting
free
of the obstruction
began to move down stream
again,
rolling
slowly
over,
raising
upwards
denuded branch,
a long,
like
in mute appeal
a hand lifted
to heaven against
the
brutal
rivers
and unnecessary
(A. F. p.
violence.
Almayer's
at
postmodifying
to
method of description
in
Folly
the
of
described
Almayer's
the
fun
poke
self-styled
often
of
princi-
seas".
The impressionistic
artistic
both
through
name followed
Laut",
is
to
referred
always
reminded
self-importance
use
the
some of
Michaelis
while
his
self-complacency.
Conrad's
is
de Barraal"".
to
determination
to
refers..
great
some sort
latter's
behind
Ossipon
as "the
of
novelist's
describe
Agent.
student",
De Barral
and the
use of attribu-
as when Conrad
a modifier
the
is
phrases
medical
to
on attaching
intention
the repetitive
and great
or
romanticism
appositive
the
Heyst"
betrays
same ironic
of
enchanted
as "enchanted
This
of
like
adjectives
through
achieved
also
is
motivated
tree's
struggle
his
merciless'
4)_
by
against
249
The images
misfortune.
that
follow
this
stress
feeling
therness
between
man and nature.
Almayer
sees
tionship
between
the
upwards
a long,
in
appeal
this
also
covert
and unnecessary
the
"between
tionship
between
similarity
Almayer's
close
the
be these
is
to
quick
ýý-- two mastiffs
life-long
man's
than
more
page
above
all
of
rose
p.
In
is
with
gold
novel,
the
musical
the
both
the
through
the
fingers
contrast
to
of
reflect
overt
rela-
makes the
the
various
and Lingard,
the
two men and
8).
p.
in
the
the
underline
(A. F.
silver
the
The
way he uses
magic
word
on the
like
ýI...,
while
pieces
streaming
the
attentive
and visual
senses
participate
pieces',
musically
of
"broad
silver
Chinaman"
henchmen.
highly
on modifiers
Hudig
sentences
Hudig's
portrayal
to
between
reflected
fingers
of
to
him
bone
of-broad
the
modi-
hand
animate
postmodify
auditory
Almayer's
narrator's
is
as in
chink
yellow
image
dependent
to
as well
the
omniscient
heavily
obsession
clause
the
between
similarity
a marrowy
the
the
between
over
where
apprehending
flowing
the
6)
the
brutal
"the
chosen
covert,
fighting
through.
ceaselessly
or
haggling
detect
one relative
first
(A. F.
the
He
brutal
river's
while
enables
overt
heaven".
unequivocal.
quite
imagination
prolific
Remembering
Almayer
in
man and nature
and
branch"
The attributive
distress,
tree
to
carefully
are
his
inanimate
relationships,
parties.
in
denuded
be termed
own fate".
rela-
a symbolic
"the
might
and unnecessary
saw things
way Almayer
his
of
mute
between
and what
violence
brutal
mute,
lifted
relationship
violence"
and unnecessary
fiers
"raising
"hand
swimmer's
and a spent
sees
tree
toge-
of
subjective
of
with
Almayer's
concrete
sense
impressions,
daughter,
reference.
She was tall
for a half-caste,
the correct
with
profile
of the father,
modified
and
strengthened
by the squareness
of the face inherited
from her
maternal
the
ancestors-.
Sulu pirates.
00 0
Nina,
250
in white,
She stood there
flexible,
all
straight,
her low but broad
graceful,
unconscious
of herself,
forehead
crowned with a shining
mass of long black
(A. F. pp. 16 - 7)
hair,
etc.
the
Here
which
brought
are
inherited
thened...,
the
latter
broad,
is
further
three
the
used
indicative
However,
Maroola
Malay's
postmodifying
of
his
in
the
of
medium
power"
(p.
55).
to
visually
the
description
stress
is
laid
On first
height
with
Attributives
the
lover.
woman's
In
of
on the
Nina.
a breadth
of
shoulder
first
and
factual
meeting
impressions
of
aspect
him,
otherwise
their
sense
"saw
the
suggesting
great
also
of
an erect
young
lithe
great
add sensuous
description
Nina
modifiers
intentions.
objective
sensuous
lithe
con-
The physical
meeting
like
low
phrases
and the
fairly
Nina's
part,
crowned
black.
experienced,
narrator's
first
attributives
participial
long
The
"
the
prepositional
shining,
is
turn
and streng-
in
co-ordinated
of
is
in
etc.
predicatives
by some two
woman are
figure
future
the
"modified
ancestors,
of
two
made up of
tall
which
phrase,
maternal
types
predicative
clauses:
a string
with
character.
dimensions
her
attributives:
of
are
relative
woman,
different
of
the
sentence
followed
contours
interplay
the
of
attributes
prepositional
from
together
is
taining
Dain
the
first
contains
sentence
second
which
the
by two reduced
succeeded
physical
through
by a postmodifying
followed
but
on the
out
In
modification.
while
is
insistence
of
her
that,
sees
The squareness
jaw,
the full
of lower
red lips,
the mobile
nostrils,
and the proud carriage
of
the head gave the impression
halfof a being
savage,
untamed,
perhaps
cruel,
and corrected
the softness
of the almost
feminine
eye, that
general
characteristic
(A. F. p. 55)
of-the
race.
While
attributives
to some further
like
half-savage,
like
lower,
fulled,
sensuous, characteristics
untamed,
perhaps
cruel
and mobile
of
draw attention
the man, postpositives
highlight
the
temporary
251
of the man's nature.
side
the
The woman's
her
man complements
factual
The same preoccupation
is
characters
impressions
to
be found
of Aissa
rendering
the
with
the
Malay
of
1Villems's
where
following
of
traits.
physical
aspect
sensuous
shown us in
are
his
of
`.Pt"4 Outcast,
in
judgement
subjective
sense
manner:
The next moment he was passing
her close,
walking
like
He heard her
rigidly,
a man in a trance.
breathing
the touch of a look
rapid
and he felt
darted
It touched
at him from half-open
eyes.
his brain
It seemed to
together.
and his heart
him to be. something
like
loud and stirring
a shout,
68
(pp.
9)
inspiration.
like
silent
penetrating
and
an
Here,
however,
Both
the tactile
Conrads
and visual
the
of
combination
look".
A third
last
auditory
sense,
the
is
replaced
on the
that
respectively
stirrin,,
intellectual
to
similar
look
can be experienced
by the
as is
the
silent
of
the
a shout,
at
another
the
"in
of
soft
blossoms
where
modify
the
the
structures
folds
touch
and
lation
of
smell
would
premodifying
as postposed
is
at
smell
of
into
not
adjectives
the
in
level
and tactile
the
notes
is
the
left
one time
at
life
and
smell
thing
to
soft
heal
soft
to
accessible
this
up
scent
Jl
note
of
wrapped
the-faint
with
without
description
him
touch
like
a
postpositives
decaying
folds
like
paradigmatic
of
be realised
adjectives
added
look
in
which
The important
air
is
of
an inspiration.
heavy
air
"touch
of
the
work
love
acrid
air.
the
like
of
adjectives
of
is
folds
in
One also
used;
new-found
the
attributive
materialising
mentation.
his
and with
it
vision
and odorous
image
as well
in
use
play.
strange
auditory
and penetrating.
nature
delight
from
obvious
The same synaesthetic
Willems's
and
of-phrase
the
by "something"
and
in. this
are involved
the
into
brought
dimensioa,
where
'loud
is
vision
senses
touch
noun
sentence
senses
synaesthetic
(p.
74)s
and odoroms
is
our
that
the
senses
obvious
, acrid,
decaying
followed
by its
of
manipuleaves,
compl8-
252
Conrad
Although
like
tars
in
'1
of
in
Outcast,
in
from
sensuous
shifts
shown
are
and Dain
Nina
the
the
these
rendered
as
his
last
portrayal
to
of
the
sensuous
Folly,
Almayer's
other
from
vision
the
the
the
charac-
and Willems
characters
stress
fact
that
impressionistic
we
viewpoint
for
Babalatchi,
of
of
aspect
and Aissa
despite
exotic,
characters
Almayer's
speaker.
on the
capitalises
instance,
is
follows:
This delay
time to notice
gave Almayer
and greatly
The
get-up.
wonder at Babalatchi's
official
of Sambir was clad in a costume befitstatesman
ting
his high rank.
A loudly
sarong
checkered
his waist
encircled
many folds
and from its
that
hilt
saw
peeped out the silver
of the kriss
the light
festivals
officonly on great
or during
ial
Over the left
receptions.
and acý, ross
shoulder
the otherwise
breast
unclad
of the aged diplomabrass
belt
bearing
tist
leather
glistened
a
a patent
the arms of Netherlands
plate
with
under the inscrihead was
"Sultan
Babalatchi's
ption,
of Sambir".
by a red turban,
covered
ends falling
whose fringed
over the left
cheek and shoulder
gave to his aged
face a ludicrous
recklessness.
expression
of joyous
(A. F. P. 93)
In
such
us this
a fact
is
which
to
one
Thus,
glistened
which
Sometimes
Conrad
of
memorable
tableaux.
ing
between
Babalatchi,
meeting
of
sphere
in
of
through
addition
the careful
accessible
manages
to
Of these
Abdulla,
to the
use modifiers
one may cite
Willema
that
and Aissa.
of
like
loudly,
the
chec-
and verbs
sense of
for
visual,
choice
to attributives
like
The
the
only,
sensation
give
Sambir.
of
statesman
we get adverbials
are all
to
combine
modification
one-eyed
stressed
brass, ` red,
silver,
of that
the
of
further
word-classes.
keyed,
like
image
belong
used
types
various
colourful
modifiers
other
a passage,
sight.
construction
important
In
the
meetcourse
Willemn,
his hands over the fire,
stretched
looked
round,
and called
out "Aissa!
11
She must have been near,
for she appeared
at
the light
once within
of the fire.
The upper part
of her body was wrapped up is the thick
folds
of a.
head covering
which was pulled
down over her brow,
and
thrown
one end of it
over from shoulder
to shoulder
253
" "hid the lower
Only her
part
of her face.
like
eyes were visible
- sombre and gleaming
"
night.
a starry
looking
Willems,
muffled
at this
strange,
figure,
felt
exasperated,
amazed and helpless.
(0.1.
pp. 127 - 8)
tableau
This
in
paramour,
and the
representing
Willems,
the
of
presence
trader,
Arab
The woman's
muffled
her
white
in
and the
the
that
the
convinces
them.
separate
scene
the
lover
takes
a turn
is
tableau
there
is
eyes
which
image
is
figures
his
during
the
Rajah's
their
the
distinctive
the
black
there
is
to
the
face
tete
hooded
the
that
image
the
man with
and Abdulla
that
a
teto
the
In
with
of
the
first
the
with
dark
of
the
wrapped
postpositive
night
the
with
its
"similarity's
there
hand,
are
Babalatchi
robes.
Lakamba and Babalatchi
representing
meetings
native
white
place,
like
verbs
outstretched
his
memo-
glistening
In the background
his
that
of
and some three
of
wish,
this
after
structure
figure
veil
woman and her
exploitation
two images.
is
that
Malay
use
on her
put
convictions
say
the
gap between
outspoken
deep-seated
phrases
through
Willems's
parts.
through
about
to
decision
to
ble
unbridg
The verbal
two
tableau
one of
the
worse.
of the white
A similar
significance.
great
Aissa's
prepositional
one-eyed
structural
between
the
of
between
relationship
with
for
realised
stars
of
no exaggeration
brought
- Then
adjectives.
those
is
Malay
Babalatchi,
for
man of
his
of
statesman,
contrary
relationship
ME, postmodifying
shining
white
made up of
the
is
figure
muffled
one-eyed
stands
Abdulla,
It
rable
is
It
man.
of
presence
the
Abdulla,
figure
the
in.
the
audience
chamber
house.
They were both puzzled and frightened
by the unexpected turn the events had taken.
The Rajah,
sitting
crossleg;; ed on his chair,
looked fixedly
Babalatchi
at the floor;
was squatting
by
close
in an attitude
of deep dejection.
"And where did you say he is hiding
now? ",
breaking
asked Lakamba,
the silence
at last
full
of gloomy forebodings
in which they both
had been-lost
for a long while,
(A. F. p. 127)
of
254
The image
I
the
in
of
above
dicative
and his
tableau
is
Other
tional
of
phrase
markable
between
are
Conrad's
by side
side
those
images
scenic
between man and the various
ised
by the
fication.
Depicting
and Nina,
the
is
one of
of
preposi'full
the
one of
re-
the
connection
close
Such scenes
are character.
types
possible
all
love
numerous
and tab-
portraits
reflect
almost
the
was
detail.
vivid
elements.
density
relative
verb
pre-
The class-relationship
individual
which
the
of
adjective
to
touch
out
use
postposed
novel.
those
with
the
postmodifying
finishing
brought
as reproduced
progressive
the
and
first
is
the
the
as
such
add the
Babalatchi,
as much of
as of
dejection
two Malays
Running
leaux
deep
of
scenes
the
result
modifiers,
forebodings"
gloomy
the
henchman,
crosslegged
adjective
sqatting.
of
Lakamba
modi-
of
between
scenes
Dais.
tells
narrator
us:
apparently
----}
there
Standing
from'the
alone
as if
separated
the heavens,
the very water under
world;
earth;
him swallowed
u in the thick
of the morveil
fog, he breathed
ning
out the name of Nina. before
him into
the limitless
space,
sure of being
heard,
instinctively
of the
sure of the nearness
delightful
creature;
certain
of being
aware of
his near presence
as he was aware of hers.
omniscient
*;;
the
low
hiding
the boat with
river
mist
er
its
freight
life
of young passionate
and allforgetful
happiness,
the stars
paled,
and a.
tint
silvery-grey
crept
over the sky from the
There was not a breath
eastward.
of wind,
not
leaf,
of stirring
a rustle
not a splash
of
leaping
fish
to disturb
the serene
repose
of all
living
things
on the banks of the great
river.
(A. F. pp. 68
9)
-
The passage
various
of
the
lute
elements
uniqueness
world
embodies
that
around
makes
him
is
interaction
close
of nature.
calm and stillness
the rhythmic
the
him
In
feel
the
first
to,
in
of wind,
leaves
like:
the
and
second
and fish.
"sure
Dain and the
the man's
part,
superior
paralleled
movement of phrases
between
sense
forgetful
by the
part
One notes
of being,
sure
of,
abso-
also
of the
255
not
of,
a rustle
as that
well
paling
of
Folly,
Although
like
people
his
each
in
nature,
this
conclusion
novel
faculties
by
the
at
full
its
in
swing
he was sent
.
officers
of the
foregrounded
narrator
the
the
like
passages
at once to
mercantile
is
.
a
lieutenant
French
Jim's
of
side
of
chapters
opening
who shows
re
and Nina
Dain
romantic
the
in
blending
Outcast.
the
and
diagnose
I'sil-
and nature
in "(&''
Stein
as
adjective
between
scenes
and Aissa
own w.a`y, to
omniscient
colour
human beings
love
that
on the
effectiveness
the
fog,
with
sky
between
Bri. erly,
is
the
the
of
participle
morning
and
those
image
V-ed
silvery
and Willems
manage,
the
all
lovely
the
covering
a breath
not
postmodifying
phrase-of
for
relationship
feature
in'Almayer's
depends
the
is
the
of
stars
attributive
one-to-one
distinctive
use
of,
a splash
there
prepositional
which
denominal
the
This
the
of
tint"
very-grey
of
the
through
up and the
swallowed
"not'
and
Further,
of".
realised
water
being",
of
certain
nearness,
imaginative
us Jim's
following:
for
a "training-ship
marine'?.
He could see the big ships
the broaddeparting,
beamed ferries
constantly
on the move, the little
boats
floating
far below his feet,
the hazy
with
splendour
of the sea in the distance,
and the hope
life
in the world
of a stirring
of adventure,
deck in the babel
on the lower
of two hundred
he would forget
himself,
live
voices
and beforehand
in his mind the sea-life
literature.
He
of light
from sinking
saw himself
saving
people
ships,
cutting
through
away masts in. a hurricane,
swimming
a
surf
with a line;
bareor as a lonely
castaway,
footed
and half-naked,
walking
on uncovered
reefs
in search
to stave
of shellfish
off
starvation*
(L. J.
a
Unlike
Almayer
through
realised
shown
or Willems
us at
exploits
at
their
whose imaginative
respective
work
through
this
sea
on board
the
are
linguistically
the
first
part,
training
with
6)
5-
natures
Jim's
speech,
meticulous
through
realised
together
pp.
imagination
recording
a combination
of
his
The resulting
ship.
V-ing
are mainly
postmodifying
of
non-finite
is
imagined
images
phrases
in
subordinate
256
phrases
and some few attributives
phrases
in
the
when the
on Jim, the
the
than
i
"was
his.
in
nature
enigmatic
On the
visual
Patna
his
hand,
three
sailor
at
and
the
of
bulk
are described
it
the
to
witness
both
omniscient
narra-
inscrutable
at
a. cloud,
(p.
romantic"
that
clear
speech
like
bear
excessively
slow
(p. JIB).
start
to
who,
of
is
Lagoon"
modifiers
tractable
makes
"in
"The
Still,
away under
Marlow
seen as "a monstrous
other
young
listeners.
impressions"
sailors
Jim.
and
"passes
in
Jim
contrastive
on seemingly
attested
steady
that
knowledge
a. thorough
with
of
unforgiven,
other
for
interpret
the
alike,
forgotten,
heart,
already
and enslav-
declares
He further
been
description
of
and Marlow
tor
10).
go back,
not
could
novels.
earlier
disenchanting,
enticing,
tractable,
enslaving;
and
enticing
the
Jim
sea,
judge-
pass
subjectivity
the
in
The same insistence
has
which
to
(p.
steady,
10).
at
more
sea"
at
(p.
duties"
resorted
is
life
a certain
practice
once
nothing
gentlemanly,
adjectives
of
is
there
"because
adjectival
us that
of
smack
to
ventures
narrator
used
Conrad's
tells
The narrator
omniscient
modifiers
of
reminiscent
adjective
second.
However,
ment
or supplementive
he is
416).
trying
the instantaneous
is
One such
impression.
the
novel.
The skipper
with
large
purple
that
of
cheeks",
the
while
to
effect
the
of
Patna
the
as follows:
There was a sallow-faced,
mean little
chap with
his arm in a sling,
in a
and a long individual
blue
flannel
coat,
as dry as a chip and no stouter
than a broomstick,
drooping
with
grey moustaches,
who looked
about him with
an air
of jauntyimbecility.
The third
was an upstanding,
broad-shouldered youth,
with his hands in his pockets...
(L. J.
Although
Marlow
the
is
chap
nature,
can be quite
premodified
together
with
by a. string
the
in
versatile
postmodifying
of
p. 40)
his
use
attributives
prepositional
of
modifiers
of
-
an objective
phrases
while
257
the
individual
second
utives,
is
and comparative
tone in
lyrical
phrases
factual
between Marlow's
through
modified
a combination
there
-
descriptions
is
of
attrib-
difference
a striking
and the omniscient
narrator's
like:
passages
for the Red Sea under a
She held on straight
serene
sky, under a sky scorching
and unclouded,
in a fulgor
that killed
enveloped
of sunshine
thought,
the heart,
oppressed
all
withered
all
impulses
And under the
of strength
and energy.
sinister
splendour
of that
sky the sea, blue and
profound,
remained
withstill,
without
a stir,
out a ripple,
without
staga wrinkle-viscous,
(L. J. pp. 15 - 6)
dead.
nant,
The, temporary
through
relief
the
and visual
with
the
go'r
of
senses
is
stress
laid
in
in
technique
The Rescue
the major
novels
like
that
The Arrow
in
narrator
of
nature
the
In
illicit
relationship
and sensuous
those
love
and Lena.
novels
is
scenes
It
not
could
group
the
visual
Under
Jim's
Giselle,
affair
Conrad
between
Nina
be'argued
to the
and Dain,
that
the
artistic
Victory
Lord
Eyes
Western
of
with
with
fails
love
design
sensuous
the
Malay
or
bring
of
Archipe-
Nostromo's
out
the
to
peculiar
and Aissa,
theme
rela-
omniscient
man and nature
Willems
the
the
Jewel
to
and
Jim,
is
that
of
deal
which
the descriptive
Agent,
style
the
things.
Outcast,
group
the
of
interaction
'11
particular
of
aspect
between
second
novels
of
with
as central
feeling-that
The Secret
characteristic
of
the
Folly,
like
of
description
close
one gets
Nostromo,
novels
first
lago.
his
Gold,
on that
on. the
a ful-
in
enveloped
sky
differences
novels
combine
the
of
as
tactile
the
both
adjectives
phrase
image
Almayer's
of
the
in
of
evocation
as not
one of
and
absence
The postposed
passages
such
adjectives
where
and profound
the
such
postposed
into
thrown
is
recorded
participle
produce
as often
Indeed,
Chance,
V-ed
to
of
involved.
are
Still,
occasion.
use
blue
postmodifying
sunshine
impression
excessive
and unclouded,
scorching
tive
the
of
nature
in
those
those
or
Heyst
last
novels
as
"'r
in
is
it
the
novels
the
applied
to
be true
of the love
to
accurate
nation
for
exotic
setting
the
In
his
loss
the
tragic
the
final
to
the
"fly"
that
the
omniscient
Nostromo,
or
it
that
in
his
the
It
felt
narrator
and
itself
reflected
the
of
design.
be
can
can hardly
be more
would
fasci-
a certain
enchantment
way he recorded
with
the
his
impres-
Thus,
Jewel
Warris.
to
take
to
her
with
and that
where
to
the
for
touch
by saying
touch
Dain's
privileged
that
against
no one could
can
him
life
of
that
sea
of
any more,
with
his
or
evil,
To all
is
thus
own.
Doramin's
to
promises
him.
there
surrender
of
murder
past
detail
(Jim's)
to his
his
highlight
in
describes
cold-blooded
Jim
make up for
that
nature
Marlow
and Jim prior
reminds
retorts
pay
Jim
Brown's
up arms
nothing
Lord
Jewel
Gentleman
after
him
in
of
aspects
to
tries
Conrad
group
second
on those
scene between
decision
te11r
Jim
this
while
The Arrow of Gold.
jungles,
Malay
Still,
group.
Lord
theme in
characteristically
him
in
by concentrating
Dain
exhorts
theme
novels
Doramin
son,
first
_.
it.
of
sions
love
say
the
of
258
At
at
her,
least
this
no escape
Jim
for
emphasizing
this,
his
Marlow
reader,
herself
She flung
upon his breast
and clasped
him round the neck.
but I shall
"'Ahl
hold thee thus,
"She cried....
'Thou art mine! '
She sobbed on his shoulder.
The sky over
Patusan
immense,
was blood-red,
like
steaming
An enormous sun nestled
an open vein.
crimson
amongst the tree-tops,
below
and the forest
had a black
face.
and. forbidding
"Tamb'Itam
tells
me that
on that
evening
the aspect
of the heavens was angry and frightful.
I may well
believe
it,
for I know that
on that
very day a cyclone
passed within
sixty
miles
though
of the coast,
there
was hardly
more
than a languid
in the place.
stir
of air
(p. 1.13)
Marlow's
emotional
sympathy
for
him
change that'caxae
involvement
is
reflected
over
the'sky
with
in
the
Jim's
fate
and his
way he evokes
and forests
unmasked
the
of Patusan
sinister
following
Jim's
259
suicidal
forbidding
the
Marlow's
tricted
types:
two
the
why the
looks
heavens
"angry
and
with
the
Contrasted
gestive
Marlow
describes
deep
preceding
of
a moment
to
attachment
colour
of
adjectives
The rest
black
store
res-
are
the
of
the
to
'wear,
end is
adjec-
white
mans.
and the
aspect
of
frightful".
Jewel
following
serenity
during
appears
is
which
passage
the
modifiers,
and symbolic
with
witness
forests
The very
bloody
the
and black.
red
is
This
Thus,
as a reluctant
show up nature
tragedy.
his
hero.
black,
enormous,
frightful.
and
keeping
through
effected
mainly
immense,
angry
in
is
romantic
to
tives
like
adjectives
is
created
blood-red,
and predicatives
of
choice
like
adjectives
attributive
for
The image
decision.
in
passage
which
sug-
which
declares
Jim
disadvantage:
an obvious
at
in
rich
did not tell
"He (Jim)
me what it was he said
don't
I
his
he
last
suppose
voice.
recovered
when at
he could be very eloquent.
The world
was still,
that
those
breathed
them,
the night
nights
one of
on
tenderness,
for
the
and
of
sheltering
seem created
from
freed
if
there
as
are moments when our souls,
dark envelope,
their
sensiglow with
an exquisite
than
lucid
that
bility
more
makes certain
silences
(p. 304)
speeches.
Apart
from the
night,
Marlow
from him just
types
like
tells
us nothing
on his
impact
its
natural
that
Folly
The omniscient
with
concrete
tion
of the
south
of
levels
is
cut
is
The whole
for
the various
teem with
usually
and
takes
thing
poor in
relatively
Jewel
in
novels
An Outcast.
American
takes
over
in
Nos
Republic
as "a
vision
wild
of
chaos
ravines"
of dark
omo, where modi-
used for
are abundantly
by vertical
seen as a "clear-cut
about
is
love
Jim's
such passages
reference
described
about
which
narrator
fiers
Azuera
or
else
surroundings.
one sentence,
of modification
Almayer's
of
stillness
of the
tenderness
the
and
the world
the descrip-
Costaguana.
of
(p.
sharp
4),
The peninsula
rocks
while
peaks rearing
and stony
the Cordillera
steep
their/slopes
260
on a lofty
pedestal
shore"
(p.
aspect
of
the
6).
forest
of
The narrator's
his
shows
of
much talked
the
horseman
off
his
to
greet
hat
"a
the
party
the
narrator
tiny
use
helps
it
for
cance,
be the
would
with
his
not
here
the
main
fateful
sake
first
the
is
Nostromo
to
on the
Golfo
adding
a. colourful
very
the
silver
the"unaprepetisignifi-
without
that
thing
he is
entrusted.
The adjectives
touch
in
the
This
.
not
125)
All
and "the
Placido.
as symbols
(p.
describe
before
long
takes
denominal
man with
the
with
us as "A
He then,
de Cargadores
silver
vision
real
to
on, the
of
downfall
serve
impressions,
trousers"
125)
his
of
of
they
Capataz;
(p.
Capataz
associate
cause
the
seam of
sensation.
and company).
used
also
adjective
mission
the
for
which
and
and tassels"
Gould
emphasis
is
his
124).
cord
(Mrs.
saddle"
denominal
(p.
of
sphere
introduced
a silver
special
famous
one
He is
mare"
down the
" the
the
of
us our
carriage
silver
and
style,
proachable
for
with
lays
on headstall
tive
the
buttons
"silver
plates
of
in
adjective
attributive
of
paints
visual
republic,
aspect
Nostromo.
sombrero
fictitious
visual
on a silver-grey
grey
the
the
with
to
narrator
about
mounted
time
the
way the
the
up in
is
the
of
edge
relegated
on the
The same insistence
very
concern
of
can be only
used
modifiers
main
impressions
distant
the
from
rising
to
overall
the
are
portrait
design
of
the
novel.
On the
other
hand,
Conrad as a noun in
cases
the
tells
Martin
be'trusted
word
connection
two adjectives
to two of its
the
inherent
with
shining
when the dying
Nostromo
value
tells
is
constantly
On the
is
for
Mrs.
Great
Gould:
'e (p,
In
such
are used to refer
Isabel
an incorruptible
ever ....
by
used
the San Tome mine.
and incorruptible
qualities,
Decoud: ""And silver
to keep its
silver
that
metal
300).
"Senora,
Nostromo
This
shall
is
I tell
can
why
you
261
the
where
(p.
we-are
dealing
as with
one of
560),
fication
makes
his
tives
that
is
in
turned
ironical
more
in
Nostromo,
of
Worth
of
the
great
to
the
help
Nostromo
side
of his
sat
down in
face
but
his
man is
setting
to the
treasure
turmoils
of the
deterioration
tives
used.
the
and took
with
Captain
the
person
that
true
same
descrip-
fitting
for
a temptation.
state
on one of his
it,
It
wars.
that
simply
corruption
;
that
formerly
in
down the
the way he
546)
On the
seems to be nothing
clause
certain
circumstances.
when we know that
surreptitious
nocturnal
for
own use during
his
is, when we get
we appreciate
Conrad
by intimating
The
after.
going
(p.
sculls".
-however,
a way as
Fidanza,
deliberate
under
such
he is
book,
adjective
a man's
in
of-the
up his
out
man's
the
much of
effect
unbending
same about
is
perceives
her
tragic
thirds
the
It
adjectives
also
be the
to
of
be argued
could
to
the
of
theory
whole
be manipulated
he had appropriated
moral
of
two
"calm,
of
civil
use
transferred
the
was too
opens
the supplementive
feel
at
shown
can
novel
dinghy
the description
the
the
of
may be that
It
illumination,
up the
first
schooner
of it.
We do not
Sion
the
the
of
the
adjec-
resist.
build
of
fun
applies
adjectives
novelist
chapter
closing
the
own,
silver
It
that
metal
to
the
example.
has
experience
Capataz
with
otherwise.
of
Conrad
same two
case
and rightly
precious
On their
which
moment
Gould,
that
tion
last
which
adjectives,
poking
than
his
Mrs.
is
in
human incorruptibility,
become
above
here
for
interpret
modi-
misplaced
the
associated
the
cynical,
of
Gould. with
one way to
than
more
a case
adjectives,
Mrs.
as not
adjective
Nostromo,
so much with
transferred
as often
are
transferred
not
"
Incorruptible!
Shining.
alone....
describe
protagonist
There
mine.
To you
is?
treasure
Conrad's
wants
to
that
the
visits
the
a hint
of the man's
choice
of
enhance
he has
the
the
adjec-
impres-
become
a
262
for
who no longer
rogue,
confirmed
he is
does.
now
incorruptible
deception
of
who taught
masters
him the art
in
and a. consummate rogue
that
himself
Conrad
for
his
the
hand,
she
minder
to
that
fact
because
This
the
us that
not
hear
546)
the
denominal
reader
the
man himself
of
theory
novelist
knows
of his
readers.
his
showing
careful
end the novelist
the
his
in
choice
of
was angry
clanking
of
adjective
man's
his
It
was quite
conscious
tableaux,
There
Giselle
with
his
fetters,
silver
as a. further
serves
guilt.
helps
On the other
him.
Nostromo
"the
the
hastfor
admiration
adjectives
in S"re
tells
become
outwitted
the majority
side
could
(p.
fetters"
has
incorruptible
now and again,
hero.
tragic
when Conrad
because
help,
cannot
picturesque
justify
important
has won to his
Nostromo
of being
he
that
all
people
He has, even
guilt,
practice.
is
Such a procedure
the
his
about
in
man of
fraud.
and
qualms
any
and deliberate
unbending
"calm,
The one-time
a master
feels
the
underscores
also
the
of
re-
his
of
reason
fall.
The novel
is
in
rich
Nostromo,
Decoud and Hirsch,
of silver
against
is
also
that
the
background
of
the
spiritual
There
the
novel,
Gould,
the
as well
two
army
Of Mrs.
of
depicting
barracks
the
with
troops
father
one representing
Nostromo
before
other
depicting
Nostromo
Gould and Kostromo
that
jew,
one representing'
the lighterful
in
the Golfo
Placido.
his
with
Corbelän
(Barrios's
tableaux
that
as
of
Barrios
controversial
just
photographer
the Esmeralda.
sombre background
tableau
needs
those
further
the
is
bottle
the
There
closing
on his
death
Nostromo
with
breathes
the narrator
his
to
ministering
soldiers).
in
against
chapter
bed with
the
Marxist
use
It was thus thatjcj0aked
and majestically
hooded
over her.. evening
costume,
this
(Mrs.
woman
Gould),
full
of'endurance
and compassion,
stood by the
of
Mrs.
last.
tells
are
"
263
Capataa
the
bed
the
on
splendid
which
side of
lay stretched
de Cargadores
on
out motionless
The whiteness
his back.
of sheets
and pillows
bronzed
his
to
relief
gave a sombre energetic
a
hands,
dark,
to the
face,
so good on
nervous
lying
trigger,
on
a
upon a bridle
and
(p.
558)
tiller,
idle
coverlet.
upon a white
open and
adjectives.
kind
on the
of
dexterity
helpless
state
is
to
refusal
from
far
a" high
near
his
hands"
impending
the
of
V-ed
inquiry"
head
teristics
the hero's
has
been
and whereas
been
his
through
testifying
but
enigmatic,
life
have
to
the
his
has
proved
most
for
to
they
his
experience
been
a short
very
has
one,
sufferings
of
grip
the
use
one postmodiTo the
phrases.
treasure
and Dr.
enigmatic
like
enigmatic
in
existence
been
varied
the
sufferings
as those
of, his
Mong-
and profound
sum up some of
be as atrocious
atrocious
with
adjectives
in. that
life,
of
glance
Here attributive
and profound
the
the
through
effected
prepositional
"a
up and his
in
Nostromo
together
on
perched
knees
his
man is
regarding
is
reply
are suggestive
of
the
adjectives,
queries
only
563).
of
photographer
capitalists,
of
dying
and the
some three
urgent
(p.
that
a controversy
the
of
bed with
the
of
562)
and
Nostromo's
gham,
hater
the
postposed
photographer's
rise
tableau
that
is
The image
clause
"betrayed",
he dies.
date.
(p.
death.
a series
fying
to
given
and
two
the
between
to
man's
idle
his
with
that
the
while
man,
contrasted
declaring
bloodthirsty,
stool
in
"by
dying
is
bedding
the
of
The dialogue
whom" has
controversial
frail,
"small,
of
with
Nostromo
settled
Equally
chin
death
say
is
bed.
on. his
ends
characters
of
trigger
and
bridle
with
the
variation
contrapuntal
The whiteness
face
bronze
the
this
also
used.
modifier
with
contrasted
His
One notes
and pre-
attributive
phrases,
prepositional
of V-ed
of the interplay
result
cumulative
clauses,
postmodifying
dicative
the
is
Here the tableau
the characthis
world
and profound;
he has
short
last
shudders
moments
in
264
this
of
world
just
a cloud
away under
both
Although
individual
as Jim
Malay
with
beings
that
Conrad
in
does
for
Marlow.
puts
exploit
Samburan
this
Nostromo
of
those
disparate
devouring
dark
the
of
style
take
Lena.
and
of
like
phrase:
euphoric
"moved,
infinite
lighting
in
isolation,
other
nature's
(the
early
the
refuge
and
lingering,
the
the great
hand,
Lena'a
sympathy
with
fragrance
faint)
and the English
of a slumber
death
is
the
girl's
tragic
adjec-
participial
parallels
Lena who
the
without
followed
colour
general
V-ed
dewy
its
of
of
sun,
great
retreat,
swift
breathing
185)
(hot
tactile
The description
stillness,
the repose
the
post-modifying
a moment longer....
(p.
sea.
'adjectives
comprise
mood of the Swede Heyst
silent
On the
(swift,
serene,
sunrise,
olfactory
used
motion
for
captured
(cloudy
visual
here:
involved
and the
or
angry
of the uncovered
are
The modifiers
cloudy),
tives
the
the
blaze),
soul).
(dark,
blaze
sensation
glare),
intense
glow,
of
of
spheres
way:
and the intense
spheres
human
with
The bulk of the central
cut
of the island
ridge
the bungalow
from sunrises,
whether
off
dwellers
The
or
glorious
or cloudy,
serene.
angry
the
fortherein
debarred
from
early
reading
were
in
them
tune of the nevLborn day.
It
upon
sprang
the
its
fulness
great
of
retreat
with
a swift
looked
shadow when the sun, clearing
the ridge,
like
down, hot and dry,
glare
with
a devouring
the eye of an enemy. $Lt"Heyst, cmae the Number One
teehis
locality,
it
of
while
was comparatively
the
prolongation
ming with mankind,
appreciated
half
lingering
the subdued,
of early
coolness,
thelight,
the faint
night,
ghost
of departed
for a.
fragrance
dewy, dark soul captured
of its
between
the great
glow of the sky
moment longer
Three
the
of
evocation
interaction
lush
passes
images
close
Heyst
where
his
in
the
of
reminiscent
a manner
it
and
to
manages
is
it
fascination
Describing
narrator
reader
and portraits,
its
jungle
novels.
the
in
The
Rescue
abound
and
Victory
characters
sensation
For
contradictions.
calmnessl
the
dreams. " (p.
by a tableau
end in
190)
high-
a manner
265
highly
the
of
reminiscent
earlier
from
passage
Lord
Jim.
Over Samburan the thunder
had ceased to
forms
growl
of material
and the world
at last,
no more under the emerging
shuddered
stars.
The spirit
of the girl
which was passing
away
to her triumph
from under them clung
convinced
of her victory
of the reality
among the
Prominent
like
material,
tableau
appealing
tragic
in
AIL
is
io
the
other
hand,
combine
a nature
of
of
the
to
homage
the
of
one of
sense impressions
once
late
B1uir
the
where
senses
that
"in
speaks
his
"in
two
in
Conrad's
silkiest
of
taste
28)
On the
together.
voice
sound
and
Gold
(p.
flavoured
curiously
.
of
fore-
also
tone"
brought
are
senses
is
The Arrow
In
period.
replied
and auditory
30),
modifiers
and nouns
verbs
with
paying
are
heroines.
have
tactile
(p.
his"
These
406)
like
phrases
and post-modifying
novels
to
said
where
of
the
tableau
this
of
of the various
The interplay
grounded
elements
victory.
that
creating
most
emerging
her
of
reality
verbal
(p.
death.
over
are
com-
biped.
telling
A more
modifiers
effect
notions
abstract
is
example
that
Conrad's
fusion.
curious
technique
of
objects
of concrete
his
making
and
as in:
In the fullness
life
her face preserved
of its
The words seemed to
of immobility...
a sort
form themselves,
fieryfpathetic,
in the-air,
her lips.
design
Their
outside
was hardly
disturbed;
a design
of sweetness,
gravity,
and
force
born from the inspiration
as if
of some
for I had never
to come
artist;
seen anything
in nature
before
(p. 85)
up to it
or since.
Although
the images
form and born
remains
modifying
such
in
that
it
is
of-phrases
most
are
as of the various
descriptions
the
created
striking
modifiers
like
wherein
way.
the result
types
such
design
the
as
of
abstract
as much of verbs
of modification,
fier,
sweetness.
notion
the
athetic,
that
of
like
fact
and postlife
give
word
is
to
concreted
266
following
imagistic
It
>
is
imagery
largely
of
cases
of
the
the
is
it
one
the
that
sentence
novelist's
been
is
identified
with
of The Arrow
combination
of
my impressions,
(of
the
forms
not
only
with
my sensations.
should
heavily
that
Conrad's
modifiers
was mainly
recording
the
his
Conrad,
he is
should
was more of
while
of his
experience
nature
88)
of
the
That
modifiers
on
use
he
life,
critically
his
recording
that
an eventful
the
remind
always
of
readers
impressions.
that
"You may thick /Z am subtilizing
life",
depend
achieve
fact
who is
M. George,
merely
the
of
experiences
that
readers,
Dona Rita)
" (p.
number
excessive
due to
" and on page 66 he tells
the
modi-
constituents
help
and
image
of
a great
and other
required
earlier
of Gold that
notes
in
that
remember
types,
other
ends.
young
of actual
to make those
and
of Conrad's
structure
the
modifiers
the
coincidence
the
giving
without
pass
over-
is
as elsewhere
verbal
adjectives
produces
On page 13 he tells
pression
by now that-the
suggested
no mere
, Here,
an opportunity
also
was an impressionist
and it
lets
should
and other
adjectives
tableau.
played
the
in
by modifiers
power of evocation.
aesthetic
has
It
the
made of
still,
fication.
role
prolific
be clear
should
the
never
narrator
to his
rein
of
pattern
the
Conrad,
full
the
howled in the sunshine,
shaking
mistral
furiously.
bare bushes quite
-And everyhard,
hard,
the
bright
was
air
was
and
feet
the
hard,
light
our
ground
under
was
(p. 65)
hard.
can be no doubting
There
in
of abstractions
concretion
sentence:
The
the
thing
the
was
all
this
is
there
Again,
in
colour
later
"the
that
"are
but
intensity
with
quite
the
of
in
his
keeping
im-
than of
whose events
recording
is
visual
a picture
on he declares
facts
this
us that
he had
concerned
of
impressions
with
Conrad's
267
belief
that
"I
epithets.
"
(1)'
whereas
facts
longer
Besides,
wonder
it
can be directly
be shown.
can only
an inalienable
possess
at
Conrad's
this
"adjectival
is
the
to
seems reasonable
use
mind,
the
all
my
that
impressions
or
reader
insistence.
of
assume
'sensations
recounted,
Bearing
to
right
will
no
"
r
/
(1)
LL,
Vol.
II,
p. 73.
(Letter
dated Monday,
to Arthur
Symons. )
August,
1908
268
Chapter
express
finest
to
believed
Wells
that
adding
the
Return"
of
leaving
things
art
were
was acclaimed
who had apparently
ment
in
of
as well
as for
of language
this
his
accompanied
chosen
to
clever
adjectival
his
then,
the
of
"The
for
the"Narcissus;
of
by the
novelist
his
of
Conrad's
of
was
insistence".
half
great
excesses
of
critics
art",
achieve-
things,
among other
manipulation
half
and
de force
Since
commended,
'
An Outcast
The Nigger
the
tandems,
"adjectival
tour
unsaid.
great
by Conrad's
novel,
year".
which
"Karain"
Lagoon",
"learn
novel
this
(1).
be
to
the
for
works,
earlier
resources
suggestive
(2).
that-the
short
third
been
down the
On a careful
clusion
has
the
Conrad's
call
to
the
sentences
learn
as an artistic
things
The Nigger
the way he plays
"The
to
started
leaving
to
Outcast
'An
"miltitudinous
attacked
Conrads
of
but
to
critics
noveL,
his
over
THOUGH
AS
published
unwritten"
scathingly
was later
first
been
task
still
like
stories
the
AND
second
has
unities",
"has
F. R. Leavis
art
to
novelist
The publication
the
'not
IF
he considered
that
the
which
however,
one hand,
Conrad
be
by short
followed
what
he took
other,
AS
Conrad's
fiction
of
piece
was one of
about
On the
Islands.
On the
art,
views
ambivalent
the
"the
UNCERTAINTY : LIKE,
H. G. Wells
in-1896
Back
of
OF
LEXIS
THE
VII'
novel,
perusal
in
reduction
the
to
as opposed
by a striking
classify
'1896
The Nigger,
of
under
(1)"
Wells,
(2)
'92,
Guerard,
195$
:
"first
major symbolist
:
rise
the
number
those
in
term:
I
of
the
have
of
the
number
"the
come to
the
modifiers
used
earlier
works,
of
lexis
of
the
items
uncertainty".
509 - 10
describes
experimentii.
the
Nigger
as Conrad's
couin
was
I
have
269
These
are
or
verbials
conjunctives
novels
before
sening
his
use
of
as it
the
through
him
of
that
capture
The
first
description
in
All
(1)
modi-
impression
for
essential
conveyed
to
there
is
in
help
the
perception
some sort
discourse.
through
wants
of
to
convey
items,
right
N. N. 'pp.
to
create`
ix
his
practice
feeling
adjective
device
to
the
himself,
that
or. word,
is
the
or
bound
writer
that
an atmosphere
or
or
fact
as Conrad
in
the
is
con-
help
will
of
a view
with
more
items
of
aims at adding
descriptions
The
near
items
two
effected
readers.
overindulges
this
the
thus
novels.
device.
lexical
between
analogy
to
vividness
when a writer
with
of
my
an assessment
stylistic
these
of
all
different
James,
is
part
this
The relationship
degree
and Henry
of
results
by Conrad's
novels
The second
some or
the
in
used
uncertainty
of
by the
feature
Ford
a linguistic
mainly
lexis
followed
some four
Bennett,
use
the
is
this
of
is
chapter
of
This
ends achieved
establishing
such
present
uniqueness.
writers
certain
this
meaning
and other
"an
uncertainty
items
various
feature
his
the artistic
the
the
Forster,
establish
reader
of
followed
his
render
see
and
les-
be compensated
should
adjectives
suggestiveness's
of
the
this
of
temporaries,
of
"magic
investigation
A count
that
would
feel
lexis
The Nigger.
statistical
writer
hear,
the
part
of
by Conrad
the
that
in
(1).
reality
to
this
If
that
the
in
me that
novels
that
expressive.
reader
senses",
the
and ad-
these
of
convinced
in
it
as though,
A count
has
feature
is
can make the
fie'rs
to
seen
a stylistic
as suggestive
as like.
on modifiers
has
as if,
as,
The Nigger
dependence
Conrad
as...
such
and after
The Nigger,
by the
like
subordinators
long
either
he deliberately
of'uncertainty,
a
impressions
however,
remains,
does,
run
to
unable
the
in
the
leave
to
resorts
mystery
use
the
hit
to
or
on
270
In
mystification.
time
fj. rst
The
in
The Nigger
to
his
black,
(p.
3).
the
the
tween
moving
is
parison
however,
who are
this
contradiction
of the moving
it
is
hand,
cut
out
disappointing
it
be argued
Conrad's
of
that
It
is
metaphor
or
analogy.
the
of
the"Narcissus'seem
trivial
their
narrator,
the
(1)
(2)
personal
hence
his
distinctness
The linguistic
Grammar, the
problems
description
or
the
heroic
to
syntactic
one.
The narrator
the
makes the
con-
Indeed,
of
them
the
in this
analysis
chapter
0'E_D' and Fowler
! L92&
is
..
of
figures
characteristic
based
-"
voyage
with
admiration
as shadowy
one
the mixed
using
much preoccupied
of
compari-
On the
start
command the
is
impression
standpoint.
to
qualities
It
relief".
advisedly
be too
the moving
of
metaphors.
at
the
Semanti-
that
semantic
that
be-
is
and well-defined
tin"
Conrad is
sense
The com-
and indistinct
mixed
true
the
items.
with
concrete
the
in
impressions
out
sheet
from
example
crew
of
tin"
underlines
two
black,
blurred
sheet
On the
the
crew,
a moment.
tin.
sheet
like
his
and the
of
a precise
"very
the
cut
of
arts.
not
conveying
between
could
is
for
The analogy
adjective
as being
a signal
out
between
comparison
in
to".
the
is
the
of
silhouettes,
somewhat,
predicatively
figures
comparison
the. TTfigures
is
similar
use
the
cut
used
the
one of
men appeared
out
I'Narcissus""
ship
himself
figures
or
source
described
crew
son
its
interested
obviously
of
of
men and
obvious
moving
(2)
thb
crew of
who is
like
appearance
or
cally,
good
function
a quasi-adjectival
the
of
like
narrator's
professed
in
narrator,
relief,
original;
the
level,
tours
the
The adjective
the
uses
"silhouettes
without
of"having
is
like
Here
us that
very
Conrad
holds
alternative
second
when he introduces
is
readers.
tells
the
(1)
Conrad.
for
my opinion,
the
lacking
of
real
on. The Quirk
`ý
henceforth"
reference
tö like
as an adjective
implicitly
means
that
it is equivalent
in meaning
to
the
transitive
'similar
to# or 'resembling
adjective
in this
respect'.
271
sailors.
On the
especially
when it
runs
crew
relinquish
the
scenes,
a way that
in
storm
concrete
half
the
of
the
subject
visual
the
from
like
is
narrator's
a cannibal
6).
tive
cut
the
face
is
in
of
are
distress,
famous
storm
up to
that
at
the
latent
by the
conveyed
out
analogy
In
in
while
second
tin".
sheet
Both
to
susceptible
to
analogies
the
those
literature
of
dication
the
the
of
narrator's
the
is
the
of
less
dark
sense
than
local
with
(1).
those
of
with
the
materials
means
of
an adjecin
_
Semanti-
the
used
can be taken
in
is
one
in
the
the
of
both
tattooed
such
previous
as an in-
aspect
analogy
are
and
satin
frequently
chiefs
satin's
equivalent
to"
skin
the
of
where
is
like
chief"
and down-to-earth
Africa,
is
as an adjective
however,
The source
like
both
white
This,
"tattooed
"gleamed
comparisons
period.
things,
similarly,
associating
Old
experience.
an adverbial
original
overdone
connected
visual
is
or
unsophisticated
or
east
it
analogy
experience.
whiteness
again
or
cliches
used
comparisons
skin
a cannibal
manner
one
of
white
is
like
are
The last
example.
being
the
"after
the
cally,
like
second
through
among other
his
while
instance
the
spheres
as being,
"tattooed
introduced
are
varied
chief",
this
In
meaning
cases
and
Here
as satin.
apprehending
both
of
parts
analogy.
Young Belfast
(1)
and
hint
which
figures
characters
presented
adverbial.
"in
the
narrator's
character
of
during
indolence
the
and predicate
Singleton
the
weather
their
is
"Narcissus"
sense.
drawn
of
foul
"like
The different
(p.
into
their
analogy:
the
once
justifies
of
aspect
hand,
other
the
is
crimson, of his
described
face,
Any subsequent-mention
it is used
mean that
the manner of'.
after
as having
comical
eyes that
"danced"
while,
as a mask the mouth yawned
oitlike
as an adverbial
in the sense of "similarly
will
as'
simply
or$
272
black,
mask is
and the
mouth
of
strange
with
admits
as in
adverbial
or
emphasis
both
the
fact
is
relationship
the
is
the
of
the
comical
between
the
east.
apprehending
rator
himself
Belfast
at
him
an adverbial.
sense;
the
original
a pointer
perience.
Belfast's
quality
much the
(1)
like
tells
fellow
his
to the wide
The east
is
is
result
the
divine
experience
means
is
the nar-
(p.
that
his
the
to
susceptible
source
inssired.
inspiration
their
between
of
respective
as of
as
auditory
the
narrator's
of
spheres
Is
note
shrieks
exwhile
analogy,
We also
A dervish's
rushed
comparison
the narrator's
kingdom.
while
functions
like
cases
8),
adversary
commonplace or lifeless
drawn from the'animal
of
analogy
only
dervish"
The contrast
gap between
of the adjective
colour
Belfast,
one.
both
In
visual.
and Belfast's
this
sailors
analogy
the
the
of
easily
as puts
the
the
still
an inspired
(p.
first
to
second
analogy
follow
"shrieked
The
is
can
on. his
drawing
sight
The
than
The source
ante-
analogy.
of images
a mad bull"
"like
of
the
adverbial
rather
apparently
effected
Two sequences
us,
is
The sense
the
and black
the
comicality.
of
comical
items.
of
which
their
a:52L mask.
here
the
of
qualification
comical
whereas
two
use
suppression
relationship
narrator
(1)
tells
mask,
on the
the
arts;
clause
that
image
degree
common, i. e.
two modifiers
noun
the
or
the
adverbial
a. certain
gives
in
despite
the
a complex
attribute
mask have
clear
the
with
the
subordinate
that
emphasis
is
quite
the
as in
remains
the
and the
mouth
collocate
to
through
one thing,
For
the
between
analogy
we get
as a mask"
absoluteness
The meaning
cedent
"comical
the
time
however,
discussion.
further
of
8),
this
realised
Here,
as.
comparison
(p.
grimaces"
the ironic
are not
uncontrolled
The narrator's-method
his experiences
of relating
to
immediate-neighbourhood
testifies
to the strength
of
in Conrad's
metonymic
strain
imagery.,,
The technique
*
to Marlow's
in
both
Lord Jim and Chance.
similar,
-
so
hallucinations.
his
the
is
273
the
Of
of
racket
explosive
limp
motionless,
the
adjective
the
Finn
shouts
like
without
backbone
a
ability
to
the
out
breathes
Belfast
nature.
They
there
is
in
Donkin,
convey
good
the
the
of
a bird"
ial
like.
narrator
9),
known all
10),
Still,
he
and the
Russian
that
note
cut
of
out
the
arms
is
that
the
where
Frith,
degradations,
tattooed
the
the
describe
with
as if
the
furies.
all
he had been cuffed,
'kicked,
rolled
had been scratched,
spat
upon. pelted
in
broken
through
in
wings
adverbterms:
concrete
white
eyelat
es"
he had
He looked
the mud; he looked
with
One
man.
of prey.
the
him
', ""he looked
-sind
comes to
the
of
like
stand
would
way he can
best
effected
fellow
cannibals,
quality
as a bird
and drooped
to
like
which
villainy
is
a sympath-
When it
as to
analogy
of
rock-like
tin"
regard
with
been
episode.
a little
akimbo,
narrator
have
of Donkin
peaked
.
comparison.
and revolting
"were
this
overexhausted
of
a loss
seems at
man has
the
sheet
storm
in
that
a man with-
deaf,
muffled
a comm6a-
he was like
Finn
may be indolent,
a man
that
up by the
when he offers
follows
the
into
conjured
images
(p.,
say
for
a deaf
like
as
Conrad 's
To say
man.
looked
to
new life
meanness
sheer
with
but
during
stead
shoulders
"He stood
it;
"figures
the recurrent
Donkia's
(p.
the
in
implicit
them
always
far-fetched
But
be taken
the
of
between
comparison
testifies
otherwise
Linn
the
analogies
Singleton,
but
would
description
a backbone
etic
of
what
about
the
man without
created
(p. 9).
a backbone"
to
image
hilarity
all
So far
to
-
remained
the
original
nothing
a deaf
(he)
imagine
a banal,
of
laughter,
the
"in
seem to be - one can hardly
revitalise
midst
and rolling
that
this
far-fetched
a
backbone.
man without
might
not
observes
establishes
and the deaf
if
narrator
like
and dull,
the comparison
place,
the
Finn,
Russian
unmentionable
as if
as if
filth"
he
(p. 9).
274
as if
The subordinator
tions
which
nauseous
this
aim
Like
ainty
tions
be apprehended
the various
descriptive
that
follow
tend
to
device
for
items
these
items
acquire
the
already
attested
figure
dimensions
with
of the man, the
is
laid
on such
of
on those
by the
They
works.
illustra-
scale
that
mannerism
a stylistic
sail
the
In
a large
setting
of
exploitation
comparison.
to
sight.
of uncert-
The foregoing
respect
of
sense
lexis
the novelist's
of
and
although
Conrad's
passages.
purposes
supposi-
shabby
that
of the
throughout
instances-of
scattered
man's
description
can
which
introduce
implies
The stress
abound in
stylistic
the
of
right.
distributed
are
that
a literal
unevenly
this
to
man,
modifiers,
are
usually
for
practically
the
of
an image
to
case
The subordinator
be taken
is
statement
this
in
used
creating
at
appearance.
cannot
aspects
is
the
different
examples
they
. similar
types
of
the
nar-
modification.
On the
eve of
rator's
description
Richard
Curle
masters
of
once
ship's
the
of
said
atmosphere
to perceive.
England,
reminds
Conrad
"one
about
-
for
Bombay harbour
that
For atmosphere
an essence' vitally
on the
the
affecting
town side,
thing
is
the
being
so hard
not
spirit
simply
to
us of
of
define
the
what
great
and so easy
a background,
of a work"
(1).
high
Rows
lights
of
other
stood away in straight
...
lines
drawn u on parade
as if
between
towering
buildings;
but on the other
side of the harbour
sombre hills
black
archedttheir
spines,
on which,
here and there,
the point
of a star
resembled
a
fallen
from the sky.
spark
Far off,
Byculla
lamps at the dock gates
way, the electric
shone
on the end of lofty'
standards
with
blina
glow
ding and frigid
like
captive
ghosts
of some evil
Scattered
moons.
over the dark polish
all
of
the roadstead",
the ships
floated
at anchor
in
perfect
stillness
under-the
feeble
gleam of
ý1ý... Cur1e,
1914
$9...
; .
,. -
it
is
Thus
275
looming
their
bulky,
first
the
In
like
verbial
and third
sentences
establish
two
perception.
the
between
ghosts
of
some evil
sages
that
betrays
is
lamps
the
Bombay harbour
the"Narcissus''(1).
as if
to
on their
ing
ferent
spheres
board
the
"Narcissus".
This,
however,
insatiable
for
mania
In
narrative.
general
criptive
to
the
tableau
from
narrator
is
not
the
commentary
the
particular
only
his
bodies
place
occasion
and occult
following
in
the
images
what
of
like
of
ghosts)
fond
ofs
forth
the
impreson
observation
on which
Conrad
the
and
spectral
Conrad's
through
shows
moves
a contrapuntal
from
technique:
For an enlightening
comment on Conrad,
narrative
tencies
in the Nigger,
see Guerard,
195$
92
:
the
des-
A-multitude
of stars-coming
the clear
out into
the emptiness
night
peopled
of the sky,
They
glittered,
as if
alive
above the sea; they
(1)
as
dif-
on three
meditations
quotation,
looks
is
based
are
military,
of
images
captive
and Chance
Jim
still
monumental
(the
analogies
the
experience:
by the
received
Lord
on
men embark-
of
world
the
of
stands
ship
and the
intuition
of
the
it
for
and bustle
between
on parade
The three
lively
This
artistic.
the
of
the
pas-
such
atmosphere
hustle
of
of
captive
narratorg,
quiet
alternation
spiritual
Harlow
be shown later.
will
This
the
around
microcosm
troops
of
the
that
something
sion
(the
and those
structures)
is
home.,
voyage
perception
sensuous
the
Everything
that
': "the
beauty
sheer
this
with
phenomena
recondite
behind
creates
contrasts
homage to
pay
the
tone
that
which
board
is
authorial
imagination
Conrad's
It
moon".
and ad-
an analogy
intuition-.
spiritual
15)
sensuous
effects
those
and one of
of
to
susceptible
like
(p.
as if
subordinator
sentence,
domain
proper
the
analogies
second
electric
the
are
which
the
In
opaque
and
structures
repose.
up,
and monumental
an everlasting
riding-lights,
like
strange
by men to
abandoned
inconsis115.
-
276
the running
more
sides;
ship on all
surrounded
than the eyes of a staring
intense
crowd,
and
of men.
as the souls
as inscrutable
had begun,
The passage
a fragand the ship,
from the earth,
ment detached
went on lonely
like
a small
planet.
and swift
...
The days raced
quick
In
the
general
emphasis
element
more ....
than
rator's
capacity
for
like
the
evoke
images
of
sense
the
concrete
This
from
the
moralising
particular,
from
the
broad
application
of
Conrad
and Ford.
making
function,
element
more...
heavily
laden
that
highten
tenets
than
with
to
to
the
note
that,
subordinate
the
intense,
-
modifiers
the suspense
apart
and mystery
a clever
by both
image-
their
the
containing
adverbial
staring,
surrounding
the
visualised
is
view
from
to
general
highly
the
to
only
as practised
clauses
correlative
the
close
of impressionism
two
and
from
nar-
adverbials
susceptible
shift
abstract
vision
We also
the
nature
constant
particular,
the
The two
comp-
on the
based
are
intuition.
a more
sight.
that
an earth
and the
as if
the
third
of
as a microcosm
up analogies
spiritual
of
ship,
the
29 - 30)
on the
focused
in
while
The subordinator
call
(pp.
is
attention
itself
ship
by seamen.
solely
peopled
on the
put
and
a lighthouse,...
of
surrounding
atmosphere
is
flashes
fourth-sentences
and
second
after
the
like
brilliant
one another,
as are
as...
inscrutable
the
comp-
-
ship's
voyage.
With
the
the breeze
setting
in,
the
crew are on the alert,
ship,
to
heavier
swung
a
the
puff; and suddenly
...
between
of the chain
the windlass
slack
cable
and the hawsl-pipe
clinked,
forward
slipping
an inch).
and rose gently
the deck with
off
a
startling
suggestion
as of unsuspected
life
that
had been lurking
in the iron.
stealthily
In the hawse-pipe
the grinding
links
sent
through
the, ship a sound like
low
a
groan of
.
a man sighing
under a burden.
The strain
carne on the windlass,
the chain
taunted
like
*vibrated...
a string,
(p. 26)
while
277
this
In
quotation
of
preposition
the
between
gies
ship
on the
human groans
of
sake
that
and
emanating
mystery
the
life,
suspected
groans
the
ship
which
Once out
at
of
context
ship
the
sea,
the
like
life
foredoomed,
a ship
that
that
ultimately
of
making
is
captain
a burden,
crew
suspense
in
port
safety.
within
mainly
seen
are
and chains
grind
feeling
un-
of
the
links
of
sense
under
that
whose
for
chain
The suggestion
is
and
the
of
man sighing
the
sentence
we note
the
ship's
respect-
between
third
sound
also,
enhances
the
with
contrasts
analo-
unsuspected
of
in
The mystification
vibrate.
two
analogy
in. the
comparisons.
by sailing
disaster
courting
the
that
indicate
seems to
low
and
Here,
the
the
between
string.
from
the
abandoned
a comparison
a musical
of
is
lice
following
The
in
analogy.
unsuspected
and adverbial
one hand,
other,
drawing
her.
the
of
the
relief
Ad-
sense.
reference
and the
ship
implicit
on the
sound
the
adjectival
The personification
and its
into
putting
inside
through
effected
are
ively.
the
be lurking
the
restricts
of
activity
sudden
seemed
to
on the auditory
laid
sentence
a view
with
to
is
stress
first
the
as of
verbial
that
the
images:
mortuary
At night,
Allistoun)
many times he (Captain
rose out of the darkness
of the companion,
such as a phantom above a grave,
and stood
the stars,
his nightwatchful
and mute under
fluttering
like
shirt
a flag...
When he spoke...
his restless
grey
eyes
(p. 30)
the loom of ice.
and cold,. like
still
Here a new element
detects
a similarity
This
a grave.
which
brought
the
analogy
the
about
for
when. -,.the
sense 'of
Captain's
introduced
Captain
is; effected
of
eyes
the
stylistic
combination
to
described
which
be the
of
the
was appaThe grave
variety.
and mystificatioa
are
phantom guarding
combination
is, meant
suspense
where the narrator
and the
through
as)a
reasons,
Captain-watcher-'Over
The resultant
tened
between
such and the adverbial
adjective
rently
is
of_comparison
"Narcissus'".
is
as being
further
cold
heigh and
278
like
lifeless
death
approaching
source
the
spectre-like
Captain
like
the
seas,
the
one hand
cast
on the
in
like
the
by
the
like
to
a weak rattle"
which
that
the
crew,
consumptive
rattle
and that
fatal
cough.
tical
nature
correlative
can be well
subordinator
the indefiniteness,
(1)
is
We also
the
case
as__as:
-and-sheer
of
a
by the
This
if
not
of
related
two
in Kit)
tossed
on. the
auditory
like
The
between
the
was none other
than
mystifying
Wait's
ellip-
the
with
as startling
everything
weak
whose
it
fact
Wait's
of
an adjective
"Something
mystery
are
like
aware
we replace
the narrator's
that
is
door.
analogy
is
is
by "something
which
like
spell
spell
cough
wind
on
represented
other
forecastle
by the
perceived
note
mighty
were
something
last
psychology"
resounded
heralded
included,
underlined
this
his
The same insistence
presence
narrator
of
Wait's
'sit
and to
24).
indefinite
In
weak rattle".
18),
came through
is
nature
in
objective
comparisons
sense.
explosives
wide
Wait.
through
reader
auditory
(p.
when Wait's
occurs
James
nigger
the
(p.
a vault's
a hurricane"
the
ailing
for.
odds
and on. the
appea-
the
main
tremendous
of
"excitement,
"collective
those
of
verbiage"
way through
the
that
adventure
longed
they
to
nature,
home to
adverbial
explosions
sense
by
crew
6)
its
the
of
study
against
apprehended
through
(p.
attention
by a relentless
brought
gradually
mainly
proposed
the
found
carving
his
turns
men fighting
of
group
Singleton.
confidently
ship
his
Old
the
"elegant
have
images
while
from
the
suggest
the
experience,
in
Lytton
to
seems
Two of
be derived
to
and mystery"
narrator
narrative:
seems
like
word
maritime
Bulwer
sailors
the
With
every
disaster.
narrator's
forgetfulness
cement,
him
the
of writers
whose pages
Everything,
inevitable
or
in
their
tales
(1)
ice.
as a.
stress
about
the
on
nigger.
It is worth mentioning
that
whereas-the
metaphorical
origin
of
these images is implicit
in-the
similarity
between
relationship
änd"-predicate'
the ýsubject'ý
of `each. comparisoa,
the metonymic
.
is highlighted
strain
by the contiguity
in space between
the
shirt
and the"°flagt'(both
oa`the'
hand
same
ship),
on'theýone
and
the Captain's
eyes and the loom of ice (ship
the
on
sea)
and
a)
other.
279
later
A few lines
and the
through
various
spotlighted
are
appearance
James Wait
crew's
to his
reaction
analogies:
head protruding,
Then James Wait's
between
the two
suspended
as if
the
door-post
on
of
each
side
a
became visible,
hands that
grasped
face.
though
the setting
dipped
sun
sharply,
-as
....
before
fleeing
mist
emanated
our nigger;
a black
influence;
from him, a. subtle
a someand dismal
thing
floated
out and settled
cold and gloomy that
(34)
the
like
faces
veil.
on all
a mourning
this
In
of
sequence
images
three
analogies
easily
are
are both, suggestive
has
acquired
in
the
doorposts
and his
the
crucified
image
were
from
their
by the
out
against
head
their
a conjecture
fact
that
The second
treatment.
as though
westward
course
as if
Needless
to
say
that
The last
of
the
three
has
the
the
preceding
merit
sun,
It
be argued
could
and gloomy
the
possibility
with
the
but
it
that
mortality,
image
associating
the
of
Jimmy's
use
Jimmy's
him
veil
modifiers
impact
with
the
on'ita
chaser,
Wait.
impending
end.
like,
adverbial
between
relationship
does Jimmy's
of
special
subordinator
black
through
close
a sad
mutiny
sun hurrying
foreshadows
the
for
the
its
effected
casts
to
through
drive
appearance
on the
such
on the
image
later
is
in
demand
the
of
be absolved
rising
outdistance
enhancing
the
of
us of
nigger
theorising
mere
Jimmy's
the
or
need, to
thought
image
Not only
reference
of
of
analogies,
also
of
not
clutching
reminds
fear
effected
to
eager
images.
away the
support
lovely
further
of
crew
Wait
as though
their
nigger
hands
two
is
is
analogy
a very
paints
the
the
quality
his
the
through
It
of
also
They
sense.
effected
between,
in
The
concurrently.
With
crew's
but
in
visual
crew.
such
officers
the
Christ.
the
of
run
symbolic
dangling
Jesus
of
the
the
of
eyes
two
The first
forth
hearts,
That
sin.
borne
the
a symbol
in
blackness
by
apprehended
bodies
subordinator
only
last
and symbolic.
as if
not
the
face
of
as dismal,
crew
of
the
crew.
cold
precludes
Christ
280
crucified.
the
towards
of
the
nigger
is
use
the
here
is
remember
from
consistent.
little
possessive
is
described
morale
of
the
between
but
in
the
its
talked
'bur
sympathy
the
effect
the
with
narfor
nigger",
identified
rather
with
consciousnesses.
crew's
talking
way of
of
in
our
attitude
Coleridge's
compared
symbolic
Wait
Like
significance
and
crew.
crew's
Besides,
depersonalised,
terms
the
albatross.
not
in
that
vacillate
pronoun
irritating
James Wait's
health
they
their
of
of
mythical
something
to
Mariner"
hatred
modifiers
rator's
far
"Ancient
and sheer
the
of
is
nigger
the
seamen of
for,
one has
Still,
his
about
disconcerting
failing
on the
effect
death:
of
had ever been
as. if no one else in the world
intimate
with
such a companion....
He would talk
of that
coming death as though
it had been already
there,
as if it had been
the deck outside,
walking
as if it
would
come in to sleep in the only empty
presently
bunk, as if
it had sat by his side at every
(p. 3
meal.
introduced
The suppositions
though
constitute'a
fine
sentences
death,
In
both
of
spiritual
Jimmy's
This
Marlow
especially
impact
ster
of
tor
wavers
the
derogatory
between
describes
and
as
the
thou
overt
peraonification
the
underscored
on the
runs" into
storm
use
of
off
as by means
the
of
side
the
of the
Cape,
The sini-
way the
"companion"
impersonal
the
at
narrators,
of Gold.
in
as
could
intuition
in
the
it
nigger's
sophisticated
Arrow
Conrad.
seen
that
spiritual
is
crew'sreactio
:
Conrad's
in
phenomenon
first
by the
sit
words
insistence
When the 'ship
or
and M. George of the
Jimmy's
is
suggestion
of man's
of
recondite
It
and as
image
developed
most
the
bunks,
empty
typical
is
the
follows
solidification
of death
idea
in
sleep
the
personified.
Then
as if
subordinators
of
is
which
is
companion.
meals.
example
intuition,
decks,
walk
by the
the
narraand
its
pronoun
narrator
subordinators
as
281
the weather
They watched
and the ship as men
of fortune.
onshore
watch the momentous chances
left
Captain
the deck, as though
Allistoun
never
he had been part
fittings.
of the ship's
kept his gaze riveted
He (the steward)
upon her
toil
the unselfish
of
man watches
as a loving
thread
of
woman upon the slender
a delicate
is hung the whole meaning and
whose existence
joy of the world.
her qualities
We admired
(p.
50)
though
had
they
been
our
own.
as
aloud...
Here
we get
the
relationship
image
the
that
fact
as of
this,
from
the
the
the
asis
On the
is
brought
shaken
and
in
in
race
other
hand,
through
furiously,
like
through
a fist",
in
the
adjectival
and the
murky
visual"and
and third
-a
like
turmoil:
the
in
high-
that
of
their
newly
danger.
felt
The emph-
like
the
in
weather
the
ship)
tossed
"(the
hand.
of
-lunatic"
came brutal
"the"wind
round
"like.
a shower
of
(p.
pearls's
are brought
apprehended
by the
into
storm
(p.
a
on her'..,
analogies*-are
ship
who admire
streamed
senses
grave-like
crew,
'hail
tactile
the
with
and
to
attempt
adverbial
in
Apart
the
threatening
ship's
toy
analogy
of things.
aspect
the
the
"Narcissus".
over
Captain
the
despite
concerned
a reflection
of
second
by suppositions
both
it
the
relief.
the
of
watching
replaced
of
in
are
crew
-
weather
so much of
it
set
all
the
original,
not
and
seeing
out
of
is
the
is
subordinators
Captain
on the visual
laid
that
qualities
solidarity
is
the
lover
the
- after
fortune
of
result
Captain
comparisons
solidity
of
the
the
the
of
sterling
ship's
sense
that
image
earlier
light
is
the
modification
of
quality
The spectral
of
of
we note
rock-like
to
steward
first
men watching
chances
theme,
main
as against
the
of
comparing
the
originality
types
the
nature
watching
the
comparing
Still,
crew.
the
to
related
all
and
in
striking
people
shore
ship
tautological,
even
nothing
is
with
analogies,
between
commonplace,
there
of
a sequence
about,
53),
the
like
blow
and gleaming
53).
play.
' Both
the
The first
sense of sight,
while
282
that
touch
of
the
notes
relentless
both
the
in
disappointing,
the
cation
of
"hail"
could
or
that
euphoria
of
so much so that
description
of
the
?'like
the
last
storm
the
crew's
of
up swiftly
as if
it
than
the
first
than
in
sensuous
analogies
are
in
the
and spiritual
There
of
is
of
the
also
the
thrill
of
also
drums
fusion
a stillness
54).
On the
"soared
more
syntactic
like
adverbial
the
in
with
comthe
comp-element
more...
interplay
subtle
of
&bich results
ghosts
creation
the
the
adverbial
as if
in
the
the
as against
the
appalling
spheres
of
and
two
was
at other
"with
of
ghosts
there
ship
while
second,
raging
reckless
and the
ever",
and
drifts
the
Besides,
intuition
lengthy
inveterate
and in
like
...
the
the
The ship
and air.
and the
shattered
the
as
narrator's
and its
subordinator
third,
perception
images
the
the
on end to
ship
through
the
One notes
images
Q.
in
fourth.
while
moments
commands
for
earth
the
a fist",
is
collo-
in
drums"
realised
in
of
a tempest"*
vibrating,
third,
subjunctive
abstract
stillness.
the
unfitting
only
and in.
in
like
the
creation"
motion".
adjectival
visualised
easily
more
wildest
as of
suppressed
and
the
example,
bination.
still
analogy
is
water
out
the
second
circumstances
the
innumerable
of
to leave
remained
appalling
level,
"as
lunatic
pages
a shattered
dancing
noun
adverse
-elements
of
"swung
seamen
tremor
times
of
against
case.
between
elements
suits
loud
that
two
of
"blow
he devotes
struggle
vestige
decapitated
It
the
with
admiration,
adversaries,
the
under
pearls".
battle
the
because
can be the
such
The
the
fight
the
storm.
with
be seen
shower
The ship's
I
brutal
The participial
ship's
and water;
least,
at
modifier
"a
resembling
wind
and the
part
the
One also
second.
analogies.
glorifies
sea
hardly
the
of
of
the
apprehending
quality
elements
for
of
furiously
shaken
stands
means
suggestive
modifier
the
the
is
283
sensation:
the
the
of
visual
innumerable
ship
the
reckless
ghosts
watching
over
to,
indifferent
in
us that
like
"high
ship
the
time
and
for
the
rested
had been
a great
madman is
one
further
playing
with
subordinator
three
than
the
tive
establishes
ship
images:
of the
that
kingdom
nique.
wings
'- At
crest
of
image
through
the
less
comes in
as if
all
she
sea as a
it
of
as a
correlative
in
lyrical
functioning
the
while
on wings,
the
earlier
tone
as an adjec-
waves and the glass
two suppositions
sea bird.
have their
tales.
adventure
one'-time'
foaming
the
to
snow"",
soared
about
the
Vie have two concurrent
on the
and perching
tells
and
close
with
sea as a madman and a wall
sensation.
The sky
introduce.
danger.
narrator
she had
but
between
some great
with
the
towered
Like
analogy
The images
as in
of
that-follow.
as having
ship
original,
and as if
of the
bird.
a'sea
sphere
it
equating
Realised
is
a live
as though
walls;
a toy.
i. e.
reckless,
The image
on the
who
encompassing
topped
the
ghosts,
as mischievous
It
57).
variation
images
"looked
upon
(p.
the
sea
and
as though
poised
as$ it
as...
ship
an axet'.
it
sea-bird"
of,
the
of
Allistoun
however,
the
the
of
for-both
Captain
of
glass
nature
The image
become
sea
green
to
"rose
ship
a"moment
lunatic
between
of
a wall
that
solidarity,
as a madman with
the
admiration
Here,
foaming
as shattered,
storm.
contemptuous
the
rush
discomposing
the
to
of
sense
encounter
its
heighten
ship.
and even
this
During
magnify
up to
phantom
their
regained
to
a throw-back
is
the
such
to
as opposed
analogies
Modifiers
and thus
standing
two
meant
are
ship,
in
last
two.
first
the
and Grew
have
the
and appalling
facing
danger
in
auditory
source
The visual
of glass,
and that
top of waves like
as much in
sense is
the animal
the main
'
for
the
its
share
narrator-
of
sees
Conrad's
it
taking
comparative
tech-
on "the. ` delicate
284
tints
of
the
clouds
dazzling
of
the
analogy
and the
between
the
the
arity
the
crew,
a rare
clouds
of
his
the
and
the
audacity
functions
of the
shows
relation-
intuition
spiritual
bits
forgotten
of
night.
the
hymning
the
and
ship
in
set
experience
poses as the poet
of
night
like
perception
as in
shell
the
cases
wide range
while
shell",
of
both
In
sensuous
At such moments the narrator
of
of
fragment
8k).
this
sky
the
between
inside
The narrator's
the way he effects
ship
of
(p.
gold"
as an adjective.
up in
the
a forgotten
"like
appeared
a border
like
and yellow
pink
solidthe
of
magic
east.
Other
the
same page
tors
realised
include
proverbial
by the
adverbial
the
sayings
".
the
ever
with
their
with
two
coat
glistened
crew
sages is
hoar
synaesthetic
like
the
(P. 90)
a dart""]
where
bringing
gaze),
between
11
Captain "fixed
together
and
touch.
the
also
that
conquerors
or
as though
rounds
the
the
analogy
the
combination
inversion:
"as
figures
here
had
off-his
"Singleton's
Captain's
between
for
done
comparisons
in,
flick
a sudden
realised
sages
they
as adverbial
while
the
between
also
though
"as
used
like
the last
many benefac-
the
and
on
uncertainty
of
subject-operator
frost",
as is
of the argument
which
of
fatigue:
being
like
as striking
Other
with
made them"start
senses in
those
and
tone underlying
The ironic
tactile
There is
The narrator
of
like
like.
sheer
work".
lexis
Singleton
The subordinator
crew's
examples
the
between
together
as,
sayings...
expressing
idling
that
by adverbial
cook's
are
through
realised
analogies
of
the
whip".
.
and the
Singleton
of the
to
words
auditory
and
image.
analogies
include
Mr.
and Captain
his
Baker
chief
adjective
two-disparate
(the}piercing
the narrator's
mate with
like
spheres
dart).
Allistoun
a cold
establishes
of
during
gaze,
piercing
a relationship
sensation:
The breeze
account
sight
also
(the
stirred
285
the
hair
the
tactile
the
of
sense is
the
Sometimes
is
occasion
one such
together.
note
Jimmy
he brings
into
play
to
devotion
correlative
two
Jimmy
broug
are
spheres
the
t
the last
sees the
cones as of
Belfast's
dervishes.
analogy
between
shrieking
the
is,
a fall
of
bright
first
is
are
mist",
stainless
to generalisation
his
evil
as a phantom
while
snow".
seeing
seamy
the
There
is
also
and
slave
to
first
possessive
the
owners.
two) anacare
Of the
side.
to the
susceptible
by the
apprehended
back
of the
Belfast's
as its
harks
Belfast
sublime
fourth.
as well
care with
irritability
innate
analogy
from the
the
three
"Narcissus"
a frosted
hand,
with
gentility
and sentimental
like
its
the
philanthropists,
of
sordid
has
as identifies
last
With Jimmy casting
tion
relation-
This
that
analogies,
"like
the
Belfast's
as..
other
underlying
betokens,
while
underline
gunpowder.
habit
to
with
Oa the
with
Belfast's
of
gaity
owners.
equated
logies
two sensations
moment of his spare time in Jimmy's
tended
him, talked
to him; was as
woman, as tenderly
gay as an old
of his
as sentimentally
careful
he
But outside
model slave-owner.
(p.
140)
explosive
as gunpowder"...
subordinator
women, tender
It
where
Belfast,
The correlative
ironic
that
three
on which
spent every
He
cabin.
.
-'gentle
as
a
,
philanthropist,
nigger
as a
was irritable,
is
to
experience.
32)9
experience.
attempt
necessitates
of
spheres
of
spheres
narrator's
correlative
(p.
caress"
the means of apprehending
two items
between
slave
an indulgent
to two different
belonging
ship
"like
crew
four
sense of sight,
sense of hearing.
spell
ship
white
He then
on the
crew,
to which
sails
proceeds
the narrator
the moonlight
stood
in
"dazzling
from particularisa-
the, ship,
like
beauty,
a vision
of ideal
illusive
like
a
tender
dream of serene
And nothing
peace.
i
her was real,
nothing
was distinct
and
solid
but the heavy shadows that
filled
her decks with
their,
unceasing
and
noiseless
the shadows
stir:
darker
than the night
and more restless
than th
thoughts
of men.
(p. 145)
clung
286
again
tual
intuition.
analogies
those
of,
more
through
adjectival
the
of
to
tible
the
ship
in
ship
the
ship.
the
visual
to
supposed
useless
thing
the
sailors
in
mizing
moments
of
psychological
by the
the
nothing
but
the
it
together
effects
Jimmy's
death
tion
the
the
of
crew,
the
world
the
subordinator
"blaze
presence.
and the
heart
him
is
a static,
shadows
epito-
ship,
the
of
which
which
phantom
restless
turns
which
of
-.. This
adverbial
the novel,
of
the
is
to
out
be
with
"as
two
lamps
visual
and
tactile
the
unchanging
though
at
he had
h
as though
desire
their
scorn
is
immediately
like
and only
155),
wonder
secret
first
(p.
blow"
the
escape the
like
up and go out
subordinator
Donkin's
who made no secret
malingering
suscep-
The restless
the
sur-
mist"
rendered
Donkin
combining
around
reflecting
thus
peace
nigger.
eyes
his
where
is
which
desire
villain
by a sweeping
fills
mariners
atmosphere
The light
of
serene
the
of
sheen
"frosted
decay.
burning
arch
dying
an analogy
men dead",
position
that
light
into
impression
cold
ab-
dream".
see Jimmy's
overturned
like
the
of
its
way is
and
the
for
a "tender
spell
to
death
of
as
comp-element
on the
sense.
on its
ship
Nor does Donkin,
seaman
tactile
two
despondency.
impact
dead;
the
way Coleridge's
solidified
illusiveness
on board
ominous
is
sense
the
spiri-
combination
the
"the
of
of
and
an unmistakably
of
are
had its
the
and
mind
enhance
shadows
like
to
The moon is
nature
and
recalls
reeking
its
like
background
end has
guide
concrete
quotation
the
Against
can be apprehended
of
longer
perception
sensuous
the
realised
approaching
rounding
to
adverbial
their
Jimmy's
of
through
moon",
viewed
fusion
realised
nature.
stract
this
As opposed
than
...
dead
is
there
Here
that
to
and
where
senses.
condi-
to
expected
find
introduces
be rid
of
resentment
followed
body
adverbial
forth
a supthe
all
of
his
by the
the
same
analogy
287
and the
Donkin
between
returning
wanderer
(p.
wildering
aesthetic
supposition
pale
of
moon drooped
sadly
dawn",
the
life",
the
while
ship's
into
the
play
w6rld
stant
idea
death
sea is
in
continuity
of
immense
sea becomes
portant
is
this
a variegated
of
range
also
sequence
in
the
life.
death
of
analogies
world
The sight
of the English
the
lighthouse
dark
coast
land
impressions
the
syntactic
two
spheres
lay
like
Channel
emphasis
is
function'of"1
experience
ke
define
an enormous
is
on the
the
narrator's
to
his
wide
as it
that,
related
steamboats
the
light",
while
with
visual
vigilant
aspect
of
the
fact
despite
in
sailed
monsters";
riding
same on all
one another
closely
The Channel
bestarred
notice
on,
goes
More im-
the
and amphibious
ship
We also
life
On four
gold!;
with
a mighty
he
the narrator's
shot
"like
conveyed.
but
unleashes
function.
"like
The
narrator's
perception,
adverbial
migrating
con-
intuition.
spiritual
mantle
the
testifying
sensuous
steadily
162).
of
its
This
surrounding'.
in
off
last
phenomena
life".
of
of atmosphere.
used in
blue
a
shone
(p.
lights"
is
like
"glittered
"hugging
the creation
like
occasions
for
sets
of
dies
image
of
and adverbials
asserts
the
of
capacity
recondite
mystery
Jimmy
"like
his
for
also
image
which
intuition.
the
a
foundations
adjectivals
to
of
the
"like
the
in
senses
belief",
the
of
by a syn-
touch
cold
shook
spiritual
It
pinpoints
penchant
the
theme
experience
images
and adds
mind.
the
a
see be-
to
and tactile
an old
subordinators,
and the
mind
of
like
followed
as being
death
to
turn
by
which
only
though,
expected
visual
death
those
man's
that
in
described
the
variety
the
in
withered
between
stylistic
belief
as if
susceptible
creates
of
the
one of
variation
is
combining
"like
society
he had
This
Jimmy's
countering
brings
of
155).
"as
wanderer:
many years,
after
changes"
'"the
home-bound
four
terms
the
that
occasions,
peculiar
to
288
each.
The Channel
and the
land
is
the
a mantle,
with
a ship
lighthouse
is
lights.
myriad
experiences
and sea
shore
narrator's
is
In
other
the
project
light
a riding
the
words,
one on to
the
tendency
to
other.
The rest
establish
(p.
already
272
draw
seen
supra).
tiBlamme if
stood
of
his
far
a less
Donkin
the
uses
his
look
his
fellow
technique.
sight
in:
firemen
a broken-down
than
worse
as a conjunctive
(p.
12)
to
than
worse...
and
a good'un't
We
"a. mad bull"
to
opponent
sailor
like
uses
like
discourse.
of
comp-element
a blamed
Ile also
items
sophisticated
likens
my rights
narrator's
the'various
between
which
in
"cos
is
a mark
illiteracy.
on the
came jabbering
other
adverbial
like
in
the
relating
hole
106).
"He
is
in
that
as
the
in a minute...
talking
in
about
images
adjective
to
like
in,
of
the
the
is
keeping
in
The
the
man's
dark
grave
with
cook's
Bib-
intuition
spiritual
"Judgement
a sudden visitation
there,
analogy
up to
death.
of
by
die
version
image
women".
established
shows up in
the
"And
old
of
have
reported
was caught
of
lot
that
he would
death
with
tone
way of
More like
include
that
Jimmy
which
by the
a blooming
narrator's
in
as an. adverbial
like
complained
are reflected
effected
like
analogies
The prophetic
readings
uses
door
obsession
irritating
Jimmy's
lical
banal
which
Jimmy's
speech.
the
near
His
a dog"",
hand,
other
CP" 35)
(p.
the
how Belfast
11).
up for
Wait,
like
by
don't
you
(p.
fireman"
you
is
in
share
between
a comparison
I
crew
analogies
however,
Theirs,
have
the
of
such
capsized
than anything
all
else'
(P. 144).
A count
The NigEer
uses
like
of
has
in
its
the
various
shown
that
syntactic
items
in
thic
function
of
the lexis
short
of
novel
adjective
of uncertainty
(173
or
pages),
adverbial
in
Conrad
172
289
the
21 times,
the
correlative
appositive
each
are
On the
on the
tales
venture
main
odds
be these
of
The pattern
of
which
combinations
of
two
they
strikingly
not
are
In
five
some
1.
above
He jumped
3.
We spoke
analogies
of
analogies,
more
spheres
and earth).
wind
analogies
is
analogies
original
or
the
visual,
to
one of
analogies,
banal.
The
auditory
and
Occasional
sphere.
hard
not
inevitable
of
recurrent
dominant
are
The
analogy,
these
of
the
ad.
developed
commonplace
is
sculpture),
face
analogies,
the
first
the
the
based
(sea,
elemental
type
comparisons
intuition.
the
have
come by,
but
frequent.
above classification,
struck
with
of
small
discharges
we can now analyse
a handpike
cannon
on the deck
through
the
14).
up as if
a church
the
from the novel:
(p.
in
or
are
boomed like
2.
Conrad's
in
includes:
many heavy blows
-- forecastle
been
Wait)
sensation
or
examples
Suddenly
as on and as
(music,
frailty
The
of the
the light
like
spiritual
and analogies
of
spheres
he uses
include
arts
synaesthetic
analogies,
tactile,
the
of
sequence
personification,
main
the
human
analogies.
revitalised
three
They
comparisons
analogies,
and correlative
these:
is
human (James
the
and
addition,
of
sources
churches,
attraction
of
concurrent
the
and earae aspects
theme
as'of
combinations
heterogeneous.
kingdom,
animal
6 times,
once.
level,
semantic
In
as
subjunctive),
as 26 times,
while
only
used
be quite
to
proved
as twice,
such
suppressed
8 times.
than
introducing
as subordinators
-at
as...
more...
comp-element
after
by overt
expressed
suppositions
67 (both
as though
78,
as if
times,
low
he had
tones
(p.,
within
been
cut
that
with
fo'"c'sle
a whip
(p.
as though
19).
it
had
37).
1
290
If.
no one could
...
sitting
apart
carving
(p.
5"
...
tinder
blue
6.
sea
They
...
the
(p.
45)"
like
tired
a great
to
appeared
bird
of
an insecure
used
function
like
adverbial
sea
man
subordi-
animal
versus
semantic
the
though'
rock
Is
classifications,
the
tic
peculiarities
at
of
starting-with
the
tactile
original
visual
personification.
developed
commonplace
items
suggested
Per.
,
arbitrariness
in
that
of
inadequacy
relative
watertight
on. a large-and-almost,
The Ni
or
the
a clear-cut,
I have already
figure
precision
as against
attempts
etic
recurrent
tales
It
reflects
all
It
synaesth-
It
adventure
11
The chart
auditory
correlative
adjectival
1
original
recurrent
as correlative
sphere of
sens ati on.
type
pattern
arts
I
to
a treacherous
nature
as
like
mere
making
classification
theme
source
nator
like
like
kind...
172).
syntactic
as..
of
(p. 161).
nest
mad castaways
ledge
the
over
its
another
like
item
as if
to
speeding
castaways,
and upon
storm
low
ship)skimmed
be creatures
joyous
and
(the
she
wings
white
reckless
in
in
what was the meaning of that black man
and
as a
attitudeI
as motionless
a meditative
tell
description
syntactic
inherent
the
of
in
seman-
question.
this
stylistic
unprecedented
The
following
. .
-
table
scale
device
began
in
the novels
gives'
a statistical
&
291
the
of
account
the
occurs in
before
novels
occasions
on which
in
items
Their
later
some detail
these
of
each
The Nigger.
and after
be discussed
will
significance
of
numbers
stylistic
on in
this
chapter.
No.
Novel
of
Lexis
like
pages
as as
if
though
1
60
A. F
208
0.1.
368
199 136
N. N
172
172
L. J.
of
uncertainty
as..
as
.. as
such
as
as
of
3
6
16
19
9
16
67
26'
21
26
416
281 160 103
71
20
N.
566
256
197
42
45
38
S. A.
311
112
102
22
15
13
U. W.E.
381
145 123
44
9 10
C.
447
161 165
61
19 16
V.
412
163 169
9
28 26
A. G.
336
163
94
35
34 17
R.
286
130
101
43
12
As it
57
the
stands,
stylistic
strategy
the
novel
first
despite
items,
The lexis
of
and Nostromo.
displays
the
fact
Eyes
is
fiers
by side
side
whereas
is
it
it
at
its
be contended
is
or
The Arrow
with
novels
the
of
various
that
--
8
--
4
--
2
--
1
--
5
--
3
--
4
highest
in
137
--
2
388 1.05
--
645 1.56
--
3
589
1.04
--
a
270
0.86
--
1
334 0.87
--
3
426' 0.95
--
-
400 0.99
--
2
348 1.03
-
306
--
the
items
fact
sins
of
The
Indeed,
of
with
the
Niaaer
these
modifiers.
the
these
Lord
as are
remains
that
abounding
in
of
reflect
Jim,
just
novel
items
lexis
1.03
Conrad 's
came over
The Nigger,
with
2.22
382
3
An Outcast,
stylistic
followed
--
3
frequency
ladon
Gold,
0.65
as
on
The Nigger.
heavily
that
of
--
7
of
as much spattered
a conglomeration
the
is
ratio
%
ratia
28
change that
following
lowest
that
uncertainty
If
Western
the
--
16
the
underlines
the novels
in
An Outcast
ainty,
chart
The Nigger
preceding
Under
78
---
8
tot
more
than
modi-
unberta marked
292
the
down of
playing
tant
is
that
able
to
this
the
Secret
Agent,
decision
and his
characters,
lexis
tone
The sustained
of
to
end Conrad
those
or
practice
The Arrow
or
his
intent
fictitious
from
stress
be slightly
not
Marseilles
or
was a novelist
of
the
shift
favour-
much more
Eyes
impor-
More
Geneva,
Western
should
the
is
Under
to
uncertainty
of
London,
own impressions,
his
on recording
the
the
are
items.
other
the
to
as opposed
An Outcast
of
From beginning
respectively.
the
in
setting
than
practice
of
settings
Malay
the
by modifiers,
played
indulgence
sustained
novelist's
to
role
modifiers
over.
passed
makes
it
of
great
stylistic
let
us
see
first
in
significance.
Before
this
of
Conrad's
differs
contemporaries.
I
of
practice
his
near
frequency
items
these
of
These
lifetime.
in
Ford
are
?na
Lessways
the
No. of
pages
Novel
as
if
made a count
published
Madox
Ford's
The
as
though
as..
as
as
--
--
4
25
156 0.59
--
2
--
1
--
1
--
--
1 12
Hilda
408
72
35
25
8 7
220
75
66
--
15 4
,
James
1903;
,
%
ratio
11 3
1
1962;
End.
otal
44
Ford
Bennett's
as more
on than
30
(1)
Ilenry
).
as
of
Howard's 362
Bier
S lo
Conrad's
such
as
113
Good
in
relative
of uncertainty
18
y
wss
the
table:
256
Le
of
Arnold
Howard's
way
by some
Good Soldier
volume
following
what
endeavours
similar
novels
Lexis
like
Ambassadors
have
E. I=i. Forster*s
shown in
is
The result
from
four
(first
The Ambassadors'
James's
Hilda
importance,
its
examing
Bennett
-- --
--
11
1913; Forster
91
0.25
148 0.36
161 0.73
1947.
,
293
by the
Judging
figures
above
the
four
contemporaries.
writer
in
of
as Conrad
does
Almayer's
Folly).
(The
these
to
lexis
Jim)
Of
between
Conrad's
of
the
number
the
four
Conrad.
exception
of
of
items
number
In
work.
each
is
items
of
novels
as lavishly
the
novels
pages
four
the
with
then
it
two
Ford
was Ford
and hei
Conrad
novelists
Soldier,
like
it's
the
business
(p.
102).
Both
or
certain
is
true
that
in
an adjective
spread
out,
varied
to
body
36 of
he swung
a cat
into
put
to
(1)
in
Edward
Ford,
the
middle
of
Ashburnham's
1924.
:_ 182
the
things
clearly"
the
or
dropping
off
eruption
pseudo-heroics).
of
two
with
roof",
a volcano"
But
and
Still,
those
this
Conrad's
of
Ford.
three
or
he uses
its
all
or
if
covert
analogies,
sensations
than
round
_a
a chap
see
relief
pony
that.,
of
The Good Soldier,
that
The Good
matter
experiences.
complex
in
it
puts
(1)
the
forth
' actions
and
can
on page
like
make you
respective
Ford
11...
to
characters.
their
as when,
analogies
legs
their
for
novelists
try
novelists,
much more
are
analogies
good
as Ford
who,
novelist
a
of
of
aspects
It
"very
between
overt,
impressionists
were
were
seems
who wrote
the
without
accepted
much
protest
stigma:
...
that
"Impressionists"
In
was thrown
at us.
those days Impressionists
were still
considered
to be bad people:
Reds, wearing
Atheists,
red
ties
householders.
But
with which to frighten
the name because Life
to
we accepted
appearing
us much as the building
of Mr. Slack's
greenhouse comes back to you, we saw that
did
life
but made impressions
not narrate,
on your brains.
Both
of
almost
contemporaries,
But
the
novels,
uncertainty
of
(perhaps
the
of
pages.
one nearest
both
that
of
four
discrepancy
sharp
novels
eight
and Lord
the
of
be the
to
his
the
of
each
In none of the
the
use
same as that
Nigger
that
double
any
In
as much the
is
the
underscore
respective
of
pages
clearly
Conrad and his
does
of
number
"it
such
like
as
four
was like
(where
he refers
can in
no way
294
Conrad's
with
compare
us those
giving
aspect
surface
analogies
such
does
This
his
impressions.
is
the
exception;
mean that
because
as Conrad
mystifying
The Good Soldier
in
sions
where
he tells
if
as
fora
moment
if
appear
in
may come across
stances
that
stretch
the
do not
the
developing
on the
parisons
to
had looked
at
during
dialogue
Leonora
or
more
that
for
look"
thus
as
hinted
that
one
scattered
in-
best
develop
to
or
him-
a little,
or
his
with
matter,
concurrent
On the
between
as the
ability
occa-
such
39).
nevertheless
are
utmost,
or
me (p.
"shivered
original
or
a remarkable
The analogies
grave".
Conrad's
of
same page
on three
him
with
two
rule.
The narrator
gave
These
compare
analogy
at
adeptness
Conrad.
up of
the
on occasions.
the
the
of
be as sophisticated
Leonora
and
as sugges-
piling
is
it
as if
far-fetched
be as
to
are
the
subordinator
her
analogy
descriptive
are
Ford
cannot
and Edward,
over
which
Conrad
with
us that
had walked
a goose
at
a lighthouse
Florence
Leonora,
self,
us that
tells
he also
same page
as they
he can
the
uses
images
With
Ford
upon
analogy
of
deep meaning
of
not
piling
tableaux
marvellous
of the novelist's
tive
of
practice
com-
correlative
a novel.
-9,
Of the
bears
one that
and Ford's
Parisian
society.
Strether's
as if
of
affinity
Here James is
American
him to rescue
James's
novels,
a stylistic
comes to Europe
Strether
nator
remaining
practice.
of the
cording
wants
three
her
son,
case
explains
in
the novel:
in
mainly
express
Chad,
The recurrence
some sort
of
of the
orders
from
the
the
a way James's
to both
concerned
impressions
Strether's
on the
The Ambassadors
the
Conrad's
with
the re-
old
continent.
of Mrs.
Newsome who
temptations
of the
word
impression
free
use
of
is
the
Such had at any rate
been the case for
markedly
the precipitation
of a'special
series
of impresThey had proved,
sions.
successfully,
these
impressions
of-. Musette
-: all
and Francine;
but
in
subordi-
295
A bit
cup of his
the
a large
like
(p.
is
him
now as sitting,
defiant
family-group,
struck
what
like
of
The sheer
23).
view
him
make
M. George that
to
complex
even
to
this
retrospect,
hinterland
unmapped
from
On the other
that
shows
his
best.
felt
"as
hand,
he could
In the
if
the
his
play
neighbour"
(p.
that
gives
us a synaesthetic
with
the
of
his
Each
46).
tactile
analogies
of
them
coast
is
(Conrad
and
the
the
sheer
-James)
"had
naked
introduces
combining
Still,
simplicity
was. a stylist
ceased
in
sprawled,
back
like
some
77).
as if
as Conrad at
and suggestive
with
In-
to Conrad's
subordinator
us,
and
favour.
(p.
settlement
him
(penetrated).
one of
that
Still,
Marlow
Strether
tells
image
upbringing
social
stretching
use of
The subordinator
sense
that
striking
quite
Conrad's
the narrator
penetrated
is
the novel
comprehensive,
be as expressive
theatre,
a some-
like
in
adjec-
residence"
characters
a meagreness
free
like
and
in
-
"others....
of
told
a rough
in
characters.
to be found
and
this
sophisticated
the balance
meagreness,
vague
analogies
a little
with
their
education
when we are
his
measure
the
experience
tips
is
of
most
-
timi-
his
silent
expectant,
doorstep
of
a very.
of
of
as adverbial
and
Strether's
of
it
Contrasted
clustered
example
analogies
28).
of
is
which
70)
purposes
produced
"took
function
Conrad's
for
in
(p.
on account
us,
on the
finally
the nearest
deed,
analogy
like
of
by Strether
its
that
range
wide
the
simplicity
fact
superior
the
is
the
of
use
(p.
child"
an hour
to overflow".
his
tells
narrator
snubbed
function
tival
it
the
Waymarsh,
dity,
this,
When rebuked
nature.
simple
in
sparing
When he does
analogy.
in
very
larger
"passed
Strether
seemed truly
impressions
is
James
us that
James tells
earlier
by the
81 - 2)
vulgarised
and Francine
(pp.
of the type.
Musette
evolution
that
elbow
Strether
his
of
a supposition
the
the
(play)
visual
general
and unaffected
in
his
tenor
ease.
own right;
296
had his
and each
for
own reasons
items
too much use of the various
Bennett's
Arnold
End are remarkable
figures
The
novels.
is
ainty
at
he adds
was heavy,
in
a cat
enjoyed
the
(p.
69),
where
he falls
tableaux
characteristic
of
novels,
still
the
genius
used
of
the
to
to
cup and
analogy
he tells
overcoat
it
in
lost
been
on the
"shone
novel
other
in.
out
a banal
analogy.
He also
"like
an excluded
ghost"
his
But,
to
analogies
those
Scattered
practice.
be too
like
create
in
come by now and again
seem to
consciousness
novelist's
his
Conradian
hard
have
its
a delicate
"like
her
in
the
develop
as an adverbial..
developing
problems
social
to
Forster,
of
is
of
not
are
the
the windows
also
short
bore
100).
29), which
of
Hilda
modifiers
Schlegels
against
is
like
Bennett,
flashes
Hiss
(p.
the world like
stars"
that
/`one
fog pressed
says
(p.
The
novels.
like
who would
it"
both
uncert-
of
uses
Describing
""she,
still
a rug,
us that
tells
hand,
100).
lexis
Bennett
when he tries
of
in
extraordinary
us that
a couple
(p.
Howard's
items
big
nothing
Lessways
but
the
that
relatively
he tells
where
hand-maid"
it
us that
Hilda
new-except
nothing
and superior
like
In
of uncertainty.
use of these
have
from,
abstaining
and E. M. Forster's
two
process
or
lexis
2.92 prove
these
a hand-maid";
"like
saucer
in
the
function,
adverbial
controlled
them.
about
striking
the
on page
in
created
analogies
Lessways
lowest
its
the
of
Hilda
for
in,
indulging
both
in.
much foregromnded
leave
much room
Conrad's
peculiar
for
stylistic
experimentation.
items
This
brief
in
relation
shown that
of
fact
degree.
that
be, different
sources,
discussion
to
of
some of his
the difference
That
cannot
in
patterns
there
between
is
and
them is
especially
of
the
the
various
in
degree
is
analogies
in
analogies
has
practice
as much one of kind
The resultant
as well,
forme
contemporaries'
a difference
be doubted.
kind
near
use of
a statistical
show
them
as much as regards
concerned.
as
to
the
297
the
in
as he does
early
that
mistake
matical
to
fails
When Conrad
rules.
cance.
For
one thing,
put
right
is
his
of
in
explanation
on his
and Hardy
the
rise
the
to
contrary
In
an enlightening
question:
termed
the
spirit
of
Murry,
poets
quires
that
simile
lexis
of
reader
such
involvement
evidence
say
that
makes
(1)
(2)
us
the
simile
think.
is
1972. , .:.
simile
in
when
us in
facing
indul-
this
to
bound
is
reader
is
for
give
the
is
no accident
advances
is
why,
to
simile,
minimal
provided,
that
'
to
as not
the
unveil
(2).
re-
possible.
in
whereas
meta-
Although
Murry
than
the
according
as often
to
been
so far
congenial
attempt
of
has
what
thought-consuming
156 - 64
27 - 41.
J. M. Murry
which
his
parts
much more
it
a fact
This
can be easily
Hence
But
maintains
much more
verse.
to
the
contrary
Megroz, 1931 :
Murry,
of
two
of
like
that
as
has
Mbgroz
mistakes.
such
term
is
pauses
the
French
or
novelists
such
literary
metaphor
between
to
English
English
of
as R. L.
on "Metaphor",
than
rather
connections
phor
(the
start
Polish
Besides,
his
of
he do it?
uncertainty)
prefer
the
at
do with
norms,
essay
that
prose
to
device,
'why did
the
theory
the
stage
can be said
that
all
and when he consciously
to
and the
experimental
made similar
contemporary
signifi-
on some aspects
great
a stylistic
chapter,
present
gence
(1),
now and again
in
indulges
Conrad
hold
language.
adopted
the
that
something
demonstrated
convincingly
Dickens
had
stylistic
another,
is
phenomenon
this
that
or
influences
For
prescribed
himself
following
novels
had a precarious
Conrad
grammar,
this
of
slight
a gram-
the
from
corrects
soon
as a novelist.
career
career,
the
of
are
Conrad
in
he makes
career,
a deviation
however,
inversion,
subject-verb
his
of
period
constitutes
Such mistakes,
thing
the
effect
is
right
metaphor.
Conrad,
who was
to
It
298
after
this
to
his
involving
April
24th
himself
says
1922 in
which
he tells
this
It
to be an excessive
Far
from
his
impressions,
Conrad
letter
to
seldom
limited
to
definite
a
peculiarly
-punctuated
the
to
reader
tives
direct
of
and other
of
visions
sion
and
atmosphere
ters,
the moral
(1)
Curle,
(2)
L. L.,
the
up to
the
lexis
the
the
be
could
marks,
critical
perspec-
multiple
compare
judgements
evocation,
i. e.
his
mind
portraits;
of
As an
readers.
advert
of
can be
punctuation
him
lexis
conjures
corroborated
say about
Marlow.
issues,
Marlow's
1928
Vol.
own;
tending
is,
involvement
prose;
help
very
conflicting
and
through
further
uncertainty
adjec-
allu.
whets
the
faculties.
and Wright
especially
the
of
and individual
suggestiveness
Such a view is
Hewitt
his
art,
critical
would
speech
modifiers,
critical
reader's
quality
and reported
them with
contrasting
tives
rhythmic
that
Delayed
sentences
"is
wrote,
of
his
in
elucidated
necessarily
reader's
feature.
structure
and not
different
the
deep
Conrad
art",
A work
that
by many a-stylistic
secured
or
(2).
knew
their
of
aspects
surface
further
meaning
by the
Conrad
impressionist
of
one exclusive
interpreted
differently
iS
of uncertainty.
the
exploring
through
achieve
the lexis
recording
"A work
conclusion"
to
tries
The theory
Clark:
Barrett
with
of
(1)
allusion-.
all
use of
was after
meaning.
underlying
to
himself
contenting
letter
to the
is fatal
it
of
robbing
fellow,
work,
Conrad
his
Curle:
destroying
that
suggestiveness
what appears
or
resort
should
in
effect
Richard
my dear
artistic
suggestiveness,
all
this
to
something
Explicitness,
of all
glamour
is
process,
creative
device.
stylistic
Conrad
the
in
readers
II,
:
-
the
Hewitt
by what literary
rhetoric
of
reflactions
some Conradian
that
remarks
only
"far
succeed
(Letter
dated
4th
charac-
from clarifying
in
1J.2
P-'205
like
critics
May 1918)
making
them
299
more
confused"
deal
of
than
a vague
(1).
Marlow's
and rather
statements
characters,
lexis
uncertainty
in
with
inclined
it,
puts
over
little
certain
more
because,
to
excessively.
as Hewitt
a great
abstractions"
import,
one most
speech
and mystery
romance
of
his
some is
and
special
the
that
observes
playing
of
is
Marlow,
narrator's
"a haze
imprecise
are
Conrad's
Conrad's
Hewitt
pretentious
Marlow
of
later
"is
rhetoric
Hewitt's
(2).
A little
is
of
most
fond
of
of
casting
theme"
his
of
aspects
the
use
Like
all
(3)"
The, suggestiveness
leis
uncertainty
of
lexis
r,, the
Nib
main
image
in
cases
Conrad
such
is
novels
with
respect
that
"there
in
the
voyage.
is
implications
other
no need
is
Hewitt,
to
read
enthralled
atmosphere;
into
the
spectacle".
1975
: 34
t2)
(3)
Ibid.,
Ibid.,
(4)
Wright, 1966 :,., 64-- 5
p.
p.
38
101
any
sufficiently
from looking
(1)
by the
.
voyages
form
specific
magnificent
but
this
has not
In
with
the
with
It
the
of
as pure
Richard
suggestiveness
-
some
other.
that'makes
or
the
uncertainty
of
Nostromo.
"Narcissus"
by what
in
the
second
of
obsession
lexis
the
apparently
"magnificent
the
of The
structure
over
his
of
as an
preoccupation
over
It
the
to
contrast
the
of
as the
the
Conrad's
function
the
my analysis
function
or
one
in
overlap,
Jim
power of creating
critics
one
instance,
striking
importance
functions
Lord
to
is
to
use
its
of
as The Nigger,
of
preponderance
Wright
for
novels,
two
the
prominently
modifiers)
the
precedence
or mystifying
symbolic
to
only
Although
gives
building
image
in
(next
two
to
us
features
uncertainty
Conrad.
first
the
in
As has been attested
of
constituent
blind
not
should
device.
image-making
implicit
and allusion
Curle
is
this
Wright
say,
"Nan Shan't,
into
symbolism
(4)
spectacle"
calls
dissuaded
and mystery
Conrad's
other
behind
300
The interplay
this
of
embarking
on his
fateful
tells
Giorgio
that
old
look
I
be afraid
in
haunt
that
Gringos
one of
relief
novel.
that
mind
the
fabled
designs
fate.
of
His
omniscient
of
quality
The ironic
the
and not
the hidden
it
become
does his
treasure
his
after
ghost
haunt
his
lifetime,
in
death
of agony declaring
Conrad tells
which,
greatest,
that
us,
in
themes:
general
isolation
the
she would
and
that
see
through
the
on the
but
it
on the
Isabel
reintegration.
man's
Nostromo
dies,
in
of
quest
to
continues
also
by Linda
forget
him,
of Nostromo's
Conrad's
Placido.
the
that
reflected
never
by the
phantom-like
mission
Great
his
intricate
highlighted
and the most sinister
torms,
and
besetting
the letter.
clearly
"was another
the most enviable
Speaking
two main
as is
Nostromo
when we realise
to
is
function
dangers
nocturnal
almost
really
ghosts
what
the
comments
clear
intuition
indicates
later
are
the
came true
prognostications
of
calls
to
much
so
not
between
It
the
way it
the
suggestive
sets
in
analogies
as to
man could
expository
overtones
only
the
man following
like
legend.
premonitions
narrator's
The adverbial
up in
not
man need
those
association
presentiment
as though
is
mission.
cry
of
"will
power of spiritual
Its
local
the
a prophetic
It
the
the
susceptible
opinion
occurs.
enhances
phantoms
had
Nostromo
haunt
image
It
multi-sided.
of
consensus
the
Still,
are).
which
Giorgio
like
shows
is
Nostromo
which
and
recurrent
innate
to
our
as
no logical
is
(there
258).
Before
come back,
am dead,
I
function
image
Placido,
gets,
after
suggestive
spectral
perception
sensuous
most
Golfo
belongings
she
(p.
image-exhibiting
Its
up in
the
lover
Azuera"
Nostromo.
not
his
all
on earth
the
from
(Nostromo)
gets
next
linger
shall
on the
he
should
on the
enough
well
analogy
adventure
Paqueta
that
it
to
see
must
simple
and seemingly
concise
by
illustrated
can be well
the two functions
Viola's
a cry
triumphs,
of all"
analogies
revolve
His
novels
the
(p.
566).
round
can be
301
groups,
lexis
the
the
estrangement
and physical
isolation.
lexis
the
Victory)
the
two
lexis
ironic
is
as if
narrated
if
as
is
balls
his
future
Eyes,
In
a moral
Nigger,
Lord
Chance
for
mainly
of
purposes
third
period
of
Gold
and The
The Arrow
degrees,
varying
with
the
of
characteristic
subtlety
and
the
of
they
listening
set
the
tone
at
but
strikingly
original.
to
greatness.
'
listen
The
sight,
to
supposition
the
balls
rosy
billiard
by the
is
stood
to Willems's
subordinator
are personified.
man s secret
not
future,
balls
and a reader
is
sub-
isolation
his
The reference
Billiard
to our sense of
ears
about
the image produced
the
uncertainty.
one moment "the
6).
straight
for
and physical
thinking
also, " (p.
monologue;
growing
seem to
wishful
us that
so impregnated
are
of
the
the
3))
lexis
in
off
(p.
the
man in
used
adjectives
moral
the
of
honesty
His
man.
Willems's
three
seen
also
trait
"When he stepped
through
out
tells
the
the
reflects
We have
self-destructive
peculiar
the
monologue
self-importance.
that
of
The image appeals
the
both
is
Western
there
total
protagonists'
Under
narrated
novel:
his
of
brought
Speaking
still
i. e.
period
Indeed,
the
of
portrayal
the narrator
evocation,
second
Line,
the
function
(The
partakes,
this
forth
overtones
further
of
manner.
path
ironic
sequent
the
and irony.
lacks
sense
sentence
and narrow
with
but
the
Theirs
is
uncertainty
of
body
how modifiers
opening
Agent,
The Shadow
overweening
most
the
seen how Willems's
We have
the
mankind.
of
early
stages.
preceding
man's
of
uncertainty
of
functions,
both
body
In
-
Sharer,
Secret
Rover)
heightening
mystification
suggestiveness,
(The
of
The Secret
Nostromo,
that
mainly
the
In
An Outcast)
and
aim
the
with
from
Jim,
is
late.
and
middle
Folly
uncertainty
of
image-making,
of
early,
(comprising'Almnyer's
period
of
three
into
divided
without
can visualise
thoughts,
its
of
ironic
302
the
to
reaction
three,
fired
had
the
to
the
the
balls
may listen
sition
enforces
to
resentment
the
visual
and auditory
the
guns
(visual)
to
climax
it
He believes
to
them
but
not
the
effect
at
positions
towards
the
rator
reports
hills;
deep
This
gives
the
outcast
if
as
solid
the
of
possibility
although
the
to
and
serves
to
and
image
as an anti-
chapter
the
one and
safe;
discreet
to
Willems
some thick
senses
of
wä.ll
the
of
first
achieving
as ,a hill,
of-death`andfrustration.
thick
"with
hearing
head
down
The
and touch:
precludes
any
he was
30).
brambles.
of
the
(p.
11).
if
his
nar-
as the
(p.
"as
cup-
the
grave"
example
bliss
as if
solid
brambles"
sight,
two
first,
feeling
on doggedly
going
of
the
as
the
between
contrast
"quite
grave-and
analogy
the
saw himself
the
Willems«ever
reek
first
cases
balls
The second
At
three
he sees. himselffirm
analogy
the
together:
(auditory).
both
In
three.
way through
appeal
developed
brought
of
mankind",
all
discreet
hill,
are
suppo-
secret
wife's
chapter
close
chapter
his
evoked
conceit.
as an abyss;
way in
of
man's
end of
Willems
deep
-
pushing
images
also
that
The second
proud
applies
the
analogy
Billiard
one way.
The same observation
developed
human beings.
the
from
superior
thoughts.
his
share
man's
alienation
be too
his
of
than
more
to
himself
fire
and
and physical
somefirst
the
that
by underlining
senses
listen
in
let
at
ironic
moral
the
In
fact
if
"as
27).
the
chapter
anticlimactic
Willems
(p.
in
Co.
and
the
stunning
ears"
his
isolation
his
the
his
unexpected
wife's
Hudig
introduces
underscores
them,
and disgust
underpins
to
him.
mankind
of
rest
from
words
establish
around
people
woman's
his
with
dismissal
subordinator
aspirations
secret
his
a gun close
the
instance,
sharply
same subordinator
about
supposition
contrasts
news of
the
where
body
it
for
implications,
Here
any
kind.
For
remaining
parts
The
and grave
abyss
of
303
images
foreshadow
the
Hudig.
This
of
clerk
point
cally
way the
the
narrator
achieve
same artistic
After
the
dismissal
Willems
to
virgin
impudently
problem
its
depth"
nipa
palms
of
spreading
in
if
darkness
and gloom
heart.
The
his
Even in
sense of loss
is
standing
(p.
we are
bound
70),
cation
a result
gestion
in
the
of
of
Far
drawing
and
this
speech
feel
man's
reflect
the
the
kind
of
the
of
the
gloomy
the
felt
his
over
to
67).
(p.
PerThe
in
gloom
the
outcast's
it
but
man,
as is
"as
head
isolation.
bliss
is
by the
implied
a
modi-
th%tland
of
forest
the
adverbial
distinction
tells
a transparent
is
becoming
there
is
which
the
man's
inward
like
between
still
indi-
intense
that
as
sug-
apparition
perception
accentuates
the
ve 1to
a subtle
less
noun
us
forest
mysterious
there
although
the
of
behind
Willems's
Aissa,
with
When the narrator
at.
blackness
frustration,
of
lonely
presence,
dispelling
it
example.
that
mitigating
inner
leaves
the
as if
to
Willems
the
for
about
Sambir
outcast"
an apparition
to
line
broad
spirit
from
sharp
canoe
deceitful
gloom
lingering
relief.
solitude
like
outward
Aissa's
of
second
very
him
his
pity
hinted
subtly
before
In
forests
moments of
saw "the
Willems
solution
enhances
the
close
the
a degrading
of
In
to
wandering
may feel
of
coming
their
of-the
the
compassion
parallels
and direct
estrangement.
65)"
forest
forest
as if
everything
service
path,
nodding
of
contemptuous
that
(p.
the
of
sonification
fier
his
the
pity
contra-
almost
subordinator
reported
Hudig's
passer-by
any
contemptuous
qualified
from
accentuate
provoke
This
ends.
"bordered
forests,
categori-
which
isolation.
the
is
disaster
suppositions
Willems's
exploits
the
41
tends
as if
as and
adverbial
confidential
forthcoming
of
total
outcast's
the
of
use
puntal
to
up the
two
the
the
end of
premonition
in
highlighted
further
from'glorious
far
it
temporary
sets
of
by
304
"transparent
The image
it.
the
the
of
spirit
and the
veil"
created
forest)
to
Even synaesthetic
the
intensify
reaction
Hudig's
favour
through
his
the
visual
moral
the
of
revelations
27),
and
tend
to
a needle
the
with
cry
looks
when Aissa
is
like
adjective
the
of
from
fall
his
"was like
the
where
Again)
the novel
about
which
effect
auditory
needle.
apparition
disintegration.
and physical
form of a shriek
the
(the
abound in
which
(Willems's)Yleart"(p.
impact
spiritual
sense).
to her husband's
equating
(the
intuition
perception
analogies
takeSthe
means of
tactile
the
protagonist's
Joana's
of
and sensuous
appeal
which
veil
a blend
is
behind
"apparition"
sinister-looking
Willens,
at
0
her
glance
(p.
71),
is
the
where
tactile
and the
keen
was hard,
adjective
surrounding
to
Aissa's
pinpoint
the
like
the
first
brings
both
instances
it
and
benign
ray
together
th arp
of
the
both
Willems's
is
if
was "as
one of
its
the
steel"
visual
alienation
underscores
sent
providence
and outward
gloom
to
intensify
his
is
no chance
that
of
a gesture
for
the
the
far
release
desolation
forest
of, lofty
lover:
adjectival
like
from
of
and
narrator
towered
protection,
the
over
is
Aissa
it
as if
Aissa
that
and
steps
back
round
as if
the
merciful
man from
the
inward
bound
the
long
more
in
lines
hide
them
later
his
in
run
It
soul-searing.
"spreading
to
her"
of
us a few
them
and
subordinator
an agent
white
still,
to
darkness
being
71),
fatigue
by the
was
smile
(p.
refuses
the
render
tells
"(her)
proposes
she
slowly
him,
encompassing
the
from the
spiritual
introduced
that,
relief
day: -.break"
sheer
own devices,
she had drawn
fact
on her
when Willems
The supposition
154).
tree
to
uses
on a stormy
Thus,
Sambir
narrator
effect
light
of
alienation.
leave
they
as when the
impression
general
physical
in
like
gleam
moments of temporary
may experience
blackness
big
In
senses.
the
foregrounded.
Willems
(p.
like
and narrow
that
the
branches
4-ho Q.,mk".
305
shelter
passion
innumerable
leaves,
as if
of
the
by the
scornful
the
with
There
is
would
ever
in
nothing
in
laid
on those
before
to
us that
lessl
(p.
the
neat,
erately
marking
thing
ironic
Jim's
that
under
in
for
as
spiritual
from
fatal
case, the
hide
weakness,
the sun"
implications
his
of
spurious
would
prompt
3).
Jim's
fantasized
to
hat"
is
delib-
that
Marlow's
up to his
the
in
the
third
soft
revelation
heroics
remark
and
bewildering
pass an examination
Such a casual
sspot-
neatness
gloss
forestalls
of the modifiers
shoes
spotless
further
need not
"was
modifiers
their
clerk
(p.
choice
He tells
Jim
from
white
behind
which
The narrator
disgrace.
clerk
of
preoccupation
chapters.
that
to live
"a water
main
learn
The narrator
failure
after
up of
as a mere into-
serves
be the
in
story
summing
affair
subsequent
immaculate
we soon
whiteness
that
the
Willems's
ratiocinations.
about
invariably
Jim's
of
as a ship-chandler's
apparelled
ironic,
immaculate
spot,
is
narrator's
would
immediately
story
As in
3).
contrary,
protagonists
narration
Patna
that
in
working
while
the
issues
grave
up Jim's
takes
man.
On the
the
relief
the
of
Willems
stress
respective
omniscient
and after
investigations
Marlow's
the
the
over
the
Jim,
Lord
V of
duc. tion
takes
Marlow
life
Jim's
into
sympa-
that
suggest
the
Folly
of
alienation
to
might
foredoomed
and
of
mankind.
Before
chapter
weak
of
aspects
sympathy
regeneration.
throw
which
aspects
of
rest
of
Nature
to
scrutiny
on those
is
co m-
giant,
cold
contemptful
descriptions
and Almayer's
as physical
well
the
disdainful
an aged
the
sight.
remarkably
sort
any
An Outcast
both
the
is
it
these
achieve
of
sense
but
for
from
The emphasis
the
outcast;
sombre
strong-and
154).
to
appeal
which
nature
thise
' (p.
the
of
pity
human hearts
two
of
stars!
glittering
the
strong,
thi$struggle
screen
moved by
of
by rein
heightens
opening
anythe
sentence
306
of the novel,
to
"Patna"
the
like
feelings
baby's
of
sense
that
could
tude
of
ter
introduces
sky
without
poised
also,
there
image
and that
for
city
the
the
become
main
the
threads
Although
as in
analogies
like
Jim's
the
Jim's
analogy
forward...
filled
like
into
water
that
"like
crevices
rising
inner
and
silently
capa-
and the
the
finish
end
serves
body
sentences
foreshadow
is,
who will
can provide
(p.
hard,
up
pick
to
pilgrims
crannies,
with
of
like
the
us with
question
31),
and tactile
recesses
even
our
that
image of the
the auditory
the
to
later.
narrator
the
sea and sky)
and the
captain-narrator
a pang of pain"
relating
Here,
aspirations
They,
synaesthetic
together
developed
flowing
omniscient
immobility,
start
and
the
sea,
appeals
the
same chap-
26).
(the
The two
romantic
a little
story
speech
brings
the
(p.
way,
beginning.
fortune.
of
preoccupation
their
connected,
Jim's
of
in
sense
this
In
between
calm
' which
structurally
dictates
of
visual
destruction,
on the
comment
conflict
the
the
of
security
the
the
destruction',
certi-
a mother's
of
end of
insecure
yawning
intuition.
uncompromising
short
fusion
spiritual
as an ironic
of
"yawning
of
chapter
forth
brow
the
suddenly
formidably
appeared
this
is
'land
clause
the
like
bridge
and peace
and unapproachable
towards
narrator
as if
on the
perfect
on the
safety
tenderness
placid
of
Jim's
"Jim
nature
where
a suckling
unbounded
of
aspect
the
between
breast:
of
III
chapter
ttie'"Patna"and
mother's
silent
upon
when the
the
on board
time
in
it.
up in
analogy
certitude
dream
This
cloud
as if
of
love
collapses
soon
on the
fostering
(p: '17).
face"
great
in
role
followed
live
his
security-on
be read
is
safety"
by the
was penetrated
infamous
up that
conjures
the movement backward
for
treatment
"unbounded
of
tone
and Jim's
affair
The same ironic
adjectival
the
and sets
water
"(they)
ship
like
-
water
rim,,
filling
(p-
which
cut
where adverbial
senses,
the
live
14),
or in
the
flowed
water
a cistern
where
the
307
two
of
senses
that
Jim
and hearing
sight
for
the
analogies
in
turn
we should
and simple
(Jim's)
logies
a means of
are
with
torts
to
they
Marlow
our
of
Speaking
the
tells
its
source
of
its
source
in
he and his
fellow
deserters
were
is
one of
Marlow
the
moon with
those
tragic
graver
images
end of
those
will
spirit
of
Jim
(1)
The analogy
recurrent
and quite
later
develop
coming
ghosts,
makes Marlow
which
ever
seen him distinctly"
(1)
Other
birds
jungle images
(184,316).
of
graves,
and helps
ment
out
connect
and
him
it
(p.
tells
245)
Marlow
up quick.
in
that
are tho'sP. or the
ants
mystifying
cannot
the
the
The recurrence
foreshadows
captives
with
has
experience
by associating
analogy
two
the
images
symbolic
"I
(p.
and
by adjectival
effected
a grave.
fore
one,
men walled
declare:
constantly
".
the
257,260).
Of his
Jim
throwa
also
combines
preceding
"like
keeps
buzz
analogy
120).
is
25)
to
"Patna",
that
The
snake
It
(pp.
experience.
the
an analogy
the
of
it
where
jungle.
"began
the
the
novel.
of
and like
deserting
(p.
relief
Malay
the
'Jim
whatever
28),
novel.
ship
where
jungle
Malay
over
Outcast
after
a roomy
like
the
the
life-boat
the
that
beehive",
intuition.
(p.
into
appeal
derelict,
"went
image
-An
the
and hearing,
sight
in
in
that
Marlow
a disturbed
like
senses
in
tells
on Jim
in
occasions
which
floating
the
the
analogy;
analogies
snake
spiritual
a stick"
of
experience
recurrent
those
to
Later
Jim's
captain-narra-
and
as puts
as...
the
images
ship
over
crawling
up on various
cropping
aft
the
is
pattern
back
in
the
ana-
imagination,
those
the
and
the
case,
prolific
out
perception
that
subordinator
man's
hitting
Marlow
(Marlow's)
Jim's
In
bringing
of
to
sophisticated
creating
"Patna"
as a snake
correlative
the
for
inquiry
of
court
of
Conrad.
means
sensuous
the
of
was as easy
has
the
capacity
faculties
best
portraying
are
remarkable
are
is
it
combined;
say
the
eleI had
221).
and squirrels
(p.
a3),
308
The type
from
the
"The
thing
the
vague
as in
the
are
the
body
the
nature
of
and in
so doing
in
is
is,
that
they
in
the
much more
for
for
that
they
- Indeed,
fellow
deserters,
analogies
Marlow
in
that
all
tells
us that
Marlow,
like
languages
are
of
the
is
that
showing,
like
the
judge-
pass
concerned.
do not
these
capacity
Conrad.
markedly
can never
purposes,
of
is
because,
narrators
imagistic
people
and Nostromo
uncertainty
characters
other
be the one most endowed with,
of
humanity,
they
Jim
narrators
device
are,
and Razumov,
One difference,
tone
of
tragic
these
of
Lord
teacher
stylistic
on the
purely
in
lexis
from
The
the
Verloc
us".
that
their
or the
be helped.
most versatile
old
whom the
this
and white
Marlow
fact
the
us to
where its
the
reflecting
to
of
the
in
Nostromo,
each
pervasive
two novels
and
Jim,
that
"one
phrase,
senses
estrangement
Winnie
fact
simile
attention
adverts
Nostromo,
underscores
resort
of uncertainty
cannot
Jim,
Mitchell
black
Not that
that
is
human beings
fallible
ments
it
means of
appropriate
it
like
human beings
fallible
Eyes
underlines
also
Captain
Decoud,
Western
the other
It
ironic.
as Lord
"The
respectively.
protagonists'
such
his
is
in
and auditory
focuses
novels
(p. 84),
like
adverbial
analogies
uncertainty
Marlovian
that
palm
visual
respective
in
it
the
is
than it
on the
characters
quote
however,
of
through
my hand"
of
That
three
in
like
subordinator
kettles'.
The. tactile,
ranges
alivel's
correlative
as the
the
It
something
as when he uses
thousand
and Under
Agent
to
the
as big
rust
lexis
mankind,
Secret
is,
like
off
apprehending
novels
of
adjectival
Marlow.
means of
two
first
of
twenty
says
Whereas
as when he uses
original,
'like
not
the
flake
strikingly
mine "s
indeed.
as when he uses
"a
sea hissed
simple
jumped
and
stirred
is
analogies
and banal,
commonplace,
as...
to
Jim's
of
of
Of Jim's
Jim's
for
use the lexis
this
is
something
men, Marlow
seems to
establishing
words
hate
about
"distilled
the
his
into
309
commonplace
like
the/words
a drop
(p.
123)
the
of
hearing
where
he describes
saying
that
-her
the
the
in
to"dwell
(p.
note"
affection.
283),
love
of
the
over
"like
a flutter
that
her
look
was silent
of
recollection
notion
abstract
abstract
olfactory
sense.
in
a tremulous,
He develops
seemed
affection
-her
a
together
and impassioned
subdued
of
wings"
(p.
the
holds
(p.,
265)
the
recur
(p.
person'
is
the
of
(p.
an analogy
visual
combining_fiie
eclectic
in
contact.
his
two
Giselle
of
the
while
his
have
words
the
sight,
audi-
sound
and
Giselle's
also
said
a flower
indefinable
by the
effected
to
adjectival
where
like
the
evening,
said
cases
is
the
of
is
of
Nostromo
choice
sense.
together
senses
and olfactory
impressions
whom he comes into
last
unconsciously,
coolness
535),
in
220),
brings
three
535).
fateispreading
(p.
the
kinetic
Flora
where
these
flight
solidification
last
which
blending
a caress"
his
Marlow's
In
"like
Marlow
for
good
to
put
us
by the
with
senses.
the
telling
it
and
same analogies
her
in
while
combines
sight
means of
in
283),
as hovering
of
and
The
"bemoaned
tenderness
he personifies
is
describes
girl's
282)
like
perfume
Malay
(p.
-and
is
the
up also
shows
danger"
tactile
touch.
notions
some abiding
tDry-.
the
solidify-abstract
if
a caress"
like
the
sense
like
brings
like
by
Jim
him
adverbial
in Chance,
nearness
intimately,
nearness/like
uch"
a
Anthony's
her
for
"as
"like
of
like
love.
to"envelop
seemed
senses
(poison).
taste
and
water's
three
the
Jewel's
of
of
notion
voice
water),
of
subdued
The same argument
were
together
a glass
where
and
to
tendency
Jim
"felt
brings
auditory
sunshine
way he describes
the
into
263).
Marlow's
in
vigilant
(p.
poison
of
impressions
by adding
analogy
(glass
his
notion
abstract
like
sight
fragrances'
peculiar
powerful
adverbial
(words),
Again,
the
of
to
have
its
seduction
conjunctive
senses.
of analogies
actions
He observes
of
those
that
with
which
characters
Stein
looked
he
with
at him
0
310
interest
with
by the
introduced
analogy
is
Stein
priate.
is
flies
well-known.
Doramin's
(p.
mask"
facial
expression
274),
the
where
density
The marked
up of
piling
constant
that
of
becomes
black
to
Jim's
magic
atmosphere
Jim's
live
up to "the
fidelity
with
that
corpses.
crystal-clear
fundamental
tress
action
(1)
is
of
sphere
Marlow
"why".
commonplace
that
story
of the
of
challenges
(p.
is
the
not
of
the
his
came to
it
narrator's
is
the
similar
and
such
analogies
to
the
a tale
to
for
tone
superficial
his
on
performed
and
is
preoccupation
reason
to
to be compared
being
abandon
is
failure
obvious
the
that
to
advanced
Jim's
with
reason
audience
he intends
which
supposition
main
if
"as
set
too
his
The subordinator
incantations
for
How Jim
knowledge,
is
other
tells
Marlow
related.
concerned
case,
the
this
to
109).
the
craft"
of
presentation.
with
being
images
some five
by Marlow
of
this
on mystery
happened
what
mystification
of
insistence
Jim,
of
Ma±1ow's
meaning
with
character
a corpse'$
suggestion
"how"
this
of
story
used
the
far-fetched
Still,
of
The nature
story.
proportion
the
a huge
in
The answer
version
be advisedly
s`' to
out
his
bewildering
of
does
method
upon
work
at
seems to
of
like
What purpose,
when we examine
Marlow's
in
he listened
envelop
butter-
in
that
the
Jim
ghosts?
serve?
clear
earlier
What is
and
painting,
quite
of
Somewhat
if
as
appro-
on Doramia&s
connecting
shades
abstractions
characteristic
of
The
states
uncertainty
of
question:
analogies
spectacle
inscrutable
and
that
based
lexis
the
the
darkness,
abyss,
queries
Marlow
unalterable
is
analogy
of
to
rise
gives
narrative
than
"remained
very
interest
whose
hand,
other
219).
(1)
experience.
grave,
naturalist
On the
is
as though
subordinator
a confirmed
(p.
insect"
I had been a rare
"as though
in
ship
behind
with
dis-
the
and imagination.
the metaphorical
Here,
also,
origin
of the images is based on
the similarity.
between Marlow
relationship
and the insect
as
between Doramin's
on that
face and a mask.
The metonymic
is implicitrin
the 'contiguity
strain
relationship
between
the
two parts
(in both cases the Malay
of the analogy
Archipelago
is the place
where both 'parties
belong).
312
he tells
where
sense,
a negative
XVI he uses
Chapter
in
Later
the
as though
subordinator
in
us,
The time was coming when I should
see him loved,
legend
trusted
of strength
with
a
admired,
and
'
forming
he had
round his name as though
prowess
(p. l7
been the stuff
of a hero.
The attempt
Marlow's
at mystification
is
clause
subordinate
man's
prowess.
views
of
heroism
Patusan
Patusan
clear
that
people
admirers,
heroic
it
seems to
to
seems
Marlow
is
nature
(p.
416)
the
end of
with
the
have
been
in
if
not
was
-
a man cannot
in
somewhat
surprise
how-
Jim's
and unflinching
Marlow's
at
his
this,
for
of
glance"
ambivalent
at
atti"He
words:
He (Jim)
to me.
Doramin
old
self-incriminating
I may say so - clear
Jim's
of
up to
mistaken,
hands
his
measure
In
the
at
Jim's
secret
mind.
"proud
the
in
Unlike
the
the
of
modifies
stuff.
into
Patusan,
concur
such
death
Our
not
let
has
in
various
praise
been
that
when we remember
vanishes
noun
Marlow
he greets
novel.
He even
that
reflected
which
Jim.
who had
which
preceding
does
its
with
success
Marlow
derogatory
intimate
requirements
the
in
as elsewhere
clause
of Jim's
negate
about
the
Marlow,
the
tude
to
to
spot,
heroic
seeks
by adding
soft
ever,
is
It
the
the principal
commendation
an outright
here
as obvious
For whereas
speech.
modifiers
the
is
was not clear',
(P. 177).
like
The adverbial
where
mystification,
home,
trouble
in
and his
(p.
a mist"
ration
"like
supra).
(Jim)
and he
on that
a low
In
is
he observes
had
come to
claim,
shadowy
221).
of
groan
Marlow's
the
of
by Marlow
used
to
me from
like
The image,
grinding
the
the
audience:
there,
it
will
of
under
obfuscation
same purpose
"I
under
be recalled,
the
arises
miserable
a burden.
is
"Narcissus',
a burden"
of
was going
his
with
a man panting
links
a man sighing
case
his
for
(
an elabowhich
were
p. 276
as much from
the
312
vague
modifier
never
tells
us the exact
ently
Jim's
after
his
need not
the
Still,
necessarily
be-"in
is
And this
'II
(Marlöw)
to
this
In
of
shadow
(p.
Jim
seemed to
further
of
the
confused
"passing
lating
the
pitch
change
of
are
came over
It
all
rather
such
revealing
much in
his
of
his
him clearly.
reads:
sentence
diagnosis
does
- not
even
clouds"
vagabond,
Chester,
judgement
on Marlow,
interrupt
away Jim's
reader
Marlow
(p.
should
that
that
168).
be the
help
cannot
That
"like
the
man to
he should
use
of
which
gloom,
the
analogy
senses
or modua visual
the
(pp.
7).
to
with
the
of
rest
this
on this
obscure
in-
Marlow's
agreeing
uneducated
pass
the
of
337,415
with
that
gloom
attempts
Faced
as being
the
recurrence
Marlow's
problem.
the
we notice
by undergoing
constant
of
access
by raising
intimate
to
want
like
foot
and visual
seem remote
and parcel
to
introducing
rather
The
not
a strange
again
auditory
but
did
access
like
not
a possibility
of
head
strange
the
voice,
the
Jim
Here
Does Marlow
analogies,
the
the lack
seeing
in
from
adverbial
Jim
be part
explain
conclusive
modifiers
Both
play;
of
seems to
than
232).
was temporary?
makes
analogy
back
distinctly
"interrupted
(p.
by the
complexion.
Jim
of
whether
him
cloud".
into
on his
unless
analogy)
him
heart
with
following
seen
envelop
on vague
brought
ever
and
cloud"
passing
same insistence
is
the
question
"yes"
only
said
ofa
this
some reason,
his
221).
to Marlow's
that
(compare
for
meant,
Appar-
in
a burden
"Narcissus"
for
say I had
cannot
answer
gloom
Marlow
what
day"
go out,
incapable,
himself
is
the
in
a mist's
he harbours
a man carrying
a mist"
Jim had
claim"
suggestive.
quite
guilt
of
sense
disgrace.
"in
"shadowy
nevertheless
the
is
burden
modifier
viewer
is
Marlow
analogy.
subsequent
of that
nature
The analogy
him.
over
as
shadowy
the
from
Chester's
them.
Too
sea-faring
enlightening
one
occasion
the
313
which
same rhetoric
among Conrad's
seem to
soft
Harlow's
case the lexis
spots
Jim.
the
whole novel
him
in
a class
shows how appropriate
also
is,
of uncertainty
put
captain-
shows him to be as bligh-
It
It
the
of
comment in
ironic
characters.
as is
ted with
prerogative
sole
peculiarities
stylistic
on one whose
by himself
be the
the most scathing
is
narrator,
seems to
that
this
is
it
since
in
4
marks
juggling
ting
words only
with
the
at
exhausted
he were
Marlow
could
is
the
a trail
ness"
the
and
is
to
said
water
(1)
Wright,
it
second officer
"leaving
The
synaesthetic
two
spheres
of
him
away his
stone"
:
of
143"
(p.
is
derived.
scale"
396).
nature
walked
him
dark-
conversational
by the
the
a wall
(p.
395),
for
action
both
adjec(words)
auditory
Anthony's
solidifies
like
In
clause.
Anthony
realised
ability
visual
the words behind
He also
to
386).
commonplace
Captain
sensation,
him
(p.
or
as if
the
a perfect
of
the
of
analogy
front
forbade
fretted
by
sparks).
in
"rose
down-a
1966
which
us that
succeeded
have
in
he tells
himself
wearing
from
"walked
head"
that
as
implied
from
cautiously
effective
as
over-
Marlow,
on his
walked
.
on account
sparks
which
respect
be
in
as clear
to
ter
the
/ man
that
striking
(trail
visual
for
ttspecula!..
illustrated
according
of
supposition
experience
combines
generosity
it,
revitalise
can be well
full
not
to
ability
vIYro:
rra3,
.
occasion,
of
His
said
more
392).
like
tive
is
would
motionless
(p.
analogies
simply
of
On another
like
for
comparisons
by the
sphere
his
penchant
ass
this
introduced
past
puts
Mr dti
have
stealthily;
the
as Wright
c,
but
The image
banal
of
if
as
image
us,
Jim.
Lord
even
description
his
of
in
is
or
constantly
to leave
remarkable
as it
who is
impressionist
(1).
end"
Marlow's
Chance
as the
individuality
his
which
his
while
"time"
like
drops
cases
abstract
of
314
"
notions
terms
in
seen
are
to
susceptible
the
of
senses
sight
and touch.
fondness
Marlow's
that
on analogies
for
mystification
both
relate
26,30,59,52,284,285);
in
found
also
inconclusive
here.
tells
up in
to
and Anthony
sea
will
his
his
insistence
analogies
Speaking
are
Marlow. 's
of
example
suffice.
(pp.
spectres
and abstract
One representative
ratiocinations
Marlow
Barral,
Flora
animal,
plenty
shows
de
Flora
of
auditors:
These are great
Magic signs.
mysteries,
of course.
know in what the sign consisted
'I don't
in
this
It might
have been her (Flora's)
case.
(it
that
was not pasty
nor yet papery)
pallor
face with
blue gleams of firn
eyes like
white
(p. 217)
like
red coals.
and lips
Reading
the
mysteries
not
only
was not
hinted
the
vague
pasty
nor
like);
but
follow
throw
still,
a white
not
rather
this
the
fact
the
to
appeal
impression
young
and wonder
what
you
visions"
question.
'during
which
eyes
told
what
and
is
It
at.
woman of
this
world
(Flora's
it
was. exactly
that
analogies
face,
or
extremely
red
lips
more
to
worse
is
human.
than
spectral
Flora
regard
or as a supernatural
The two thermal
sense
pallor
A pale
whether
unknown planet.
visual
mystery
concurrent
loss
the
the
is
It
own making.
relief.
fiery
look
fare
is
any better
something
rites
311).
Flöra
The passage
quoted
Marlow
sharp
blue
mysterious
(p.
two
ata
know,
what
the
that
impression
confuse
images
than
rather
body
conveyed.
Nor does Marlow
girl,
not
feeling
help
beautiful
their
that
to
create
we are
into
sight
of some other
creature
forth
papery,
the
with
Marlow's
of
that
yet
with
left
largely
are
modifiers
face
cannot
as a really
with
at
is
reader
mystery
a. fascinating
The reader
the
passages,
such
talks
at
where he tells
like
are
a temple,
going
there,
still
the
is
is
tens
loath
about
you
on in
do Bärral
one of
us that
of
similar
women.
But
""a.
pass
by
what
prayers,
in
girl
passages
does
Marlow
315
help
really
A careful
ulations?
reveal
a temple,
the
of
Marlow
analogy,
the
of
cative
mystery
whom Marlow
says:
the
too
she were
the ironic
that
of
tone
of the
the
discursive
discussions
the
sees Flora
reader
(p.
Marlow,
Like
Western
Eyes is
of
cription
(p.
5) is
that
help
hension
mainly
of- Flora's
case
for
effected
reader
have
on the
the
second
Russian
the
English
noun
is
fact
the
lengthy
Visual
teacher
in
novel
(p.
4).
Provinces"
concrete
reference,
the
old
teacher's
has
already
of
languages
he
This
des-
young man,
Central
with
that
a
Under
His
mystery.
record
of
and
novel.
well-proportioned
a clear
and
a"woman under
of languages
modifiers
totally
not
frustration,
of
earlier
the
dis-
vicissitudes
Marlow's
Razumov in
"as
remains
Marlow's
like
teacher
the
The
one
marked",
be a victim,
he does
of
clauses
were
to
but
of
suggestive
her,
through
character',
de Barral
indi-
other
to
from
of
is
response
a Russian
page
Flora
309)
the
"tall,
old
the
two
the narrator
as Jim does in
Still,
of
effect
the old
dark
impressions.
declared
final
Razunov as being
the
with
fond of enveloping
unusually
quite
just
281),
girl,
reflects
negative
passing
temple
de Barral
(p.
suppositions
The
that
What
noun
was born
she
world".
girl's
inertia:..
her
cloud"
this
in
Flora
of
whether
for
round
as if
forehead
fine
young
mainly
He may sympathise
life.
condone
the
the
the
of
further
by
mystery
sugges-
part
second
that
say
an enigma.
subordinator
meantime
with
satisfaction
her
the
using
in
wondering
if
centres
was as if
"It
the
not
a temple.
If
up iä
mystery
The mystification
the
like
surrounding
this
the
spec-
will
be quite
would
in
told.
never
we are
something-wraps
implied
as "something"
girl
is,
"something"
association
ceasing
quotation
He does
increase
rather
would
the
qualifying
which
never
above
as ever.
and magic
mystery
these
the
of
examination
be as mystifying
like
is
Flora
tive
to
him
through
Flora
us understand
has no
is
why,
compreafter
316
us this
giving
of
tely
Russian
the
after
the
without
mystery
the
stand
to
he resorts
appearance,
element
description
concrete
his
as if
description
physical
to
that
add
to
inability
professed
be called
would
foregoing
Russian's
subordinator
which
character
the
of
into
come. the
doubt.
under-
Immedia-
revealing
sentences:
if
His good looks
would have been unquestionable
lack
it
had not been for a peculiar
of fineness
It was as if
in the features.
a face modelled
in wax (with
vigorously
some approach
even to a
had been held
of type)
correctness
classical
till
to a fire
had
close
all
sharpness
of line
(p.
been lost
in the softening
of the material.
thus
The supposition
respect.
It
is
the
of
the
nature
of
cative
capable
of
Russia
is
was and still
of
languages.
to
hear
of
Razumov
flaw
Razumov's
blurred
to
is
feel
sorry
The mystery
that
is
analogy
current
relating
for
Russia
the
is
Razumov to
a man
Morevastness
melting
snow,
occidentals,
just
to
the
old
teacher
is
the
deaf
he is
cannot
fallen
which
as
teacher
surprised
and crippled
Because
to
unable
why Sophia
see
Russian.
constantly
the
to
the
with
the
teacher
old
indi..
also
only
enigmatic
novel.
the
man,
to
visit
the
end of
should
Antonovna
that
no accident
the
understand
be somewhat
Antonovna's
the
towards
and never
to
is
can pinpoint.
complexion
a mystery
to
as
similar
which
character
plains
of
It
make-up
physique,
Russian
extensive
It
his
the
continues
Sophia
in
moral
one
uncertainty
Razumov.
of
than
more
teacher's
Razumov's
some sort
himself
Razumov
fully
its
with
he has
in
comprehending
identifies
it
over,
flaw
in
suggestive
the--old
impressions
perceptible
of
is
of
suggestive
a certain
hardly
that
introduced
5)
suggested
Russian
in
the re-
plains:
His existence
was a great
cold blank,
something
like
the enormous plain
of the whole of Russia
levelled
with
snow and fading
gradually
on all
into
shadows and mists.
sides
(p. 303)
Modifiers
like
cold,
bring
the
complex
out
nouns
nature
like
of
blank,
the
plain,
two
parts
snot',,
of
the
shadow,
and mist
Razumov-
317
Russia
With
analogy.
every
is
new mystifying
element
description.
Razumov's
What this
blank".
"cold
noun
distinct
in
half
blank"
he issue.
clarify)
the
and leaves
Like
lexis
""the
the
bring
chapter
the
out
the
visual
two
items
aspects
as if
the man, which
Sir
Ethelred
the
Assistant
reflective
the
author's
(1)
L. L.,
fat
of
lexis
V01-II,
is.
really
the
Agent,
of
the
in
with
examples
will
some
suffice
in
uncertainty
who
(p.
images
with
the
147).
the pillars
p. 322 (Letter
and whose
realised
caricature
through
the
t raverrr"
the
caricature
elbow
is
on
by the
picture
of
modifiers.
caricature
-looked"like
of
deadened
The emphasis
the
Such
Michaelis,
as if
chest",
effected
to
of
"wheezed
on his
complete
applies
Commissioner
at
dealt
of
whose wide mouth was "like
irony
puzzle
and
The analogies
has been largely
Don Quixote"
the
individuals
a dummy1s limb".
help
The same observation
to
objective
A few
replete
of the man.
and like
trying
main
been
whose voice
layer
a bend in
was more "like
second
the
novel.
40 - 46 are
by the
and oppressed
the
the
leave-apostle,
ticket-of
has
by the
to
The Secret
the
certain
The novel
played
of
from
The pages
in
on modifiers.
role
objective
overall
of
proceeds
Razumov
what
in-
He then
increasing
to
subordinated
(1).
ofjothers"
in
-as to
feature
worthlessness
come,
baseness
detail
is
in
the.
away the
explains
seemingly
results
stylistic
uncertainty
up
only
tell
not
he adds
and mists
he is
which
a
as a "cold
does
description,
shadows
speculating,
other
every
of
holding
reader
described
narrator
than
that
complicated
already
description.
of
This
the
the
vague
original
through
analogy
is,
feels
reader
vaguely
rather
enhances
new descriptions
the
of
is
on this
the
of
nature
pile
to
which
something
to
added
existence
When he elaborates
us.
to
being
the
used
word
pictures
(p-
vision
138),
of
images
of
and
a cool
enhance
peace and stability.
dated
1st.
Sep.
1923,
to A. J. Barker)
318
On the
is
in
set
vial
of
talked
when Yundt
4? ). j
and the
sense
the
the
the
lexis
and The Rover),
characteristic
which
begins
period
the
the
surrounding
on the
speculate
Far
concerned.
uncertainty,
narrators
in
rise
about
of
of
nature.
the last
concerned
of
The Arrow
to
admit
of
of
the
novels
any mind-racking
the
of
reader
spot
in
increasing
body of
In
vividly
the
problems.
the
Decoud,
characters
of
Conrad is
her
and
and give
critical
Rita,
about
issue,
I"Iitchel
the mystery
period
to
him
the lexis
in
on
mystery
crucial
and unambiguously
argumentation
the
the
of
middle
means,
of
conflicting
late
period
encourages
each
sub-
the
novelist's
also
of
the
In
conscious
It
promi-
middle
Victory,
with
Marlow,
in
feature
the
of
Powell,
too
a view
much of
explaining
such thorny
is
phy-
The Arrow
loses
like
to that
the
with
to
abounding
resort
the
spotlight
perspectives
result
Gold,
to
it
one
soft
can only
with
the
satisfactorily
the main protagonists.
longer
here
ends
is
the
Again,
with
(especially
characters.
principal
from
in
and
making
combined
concerned
period
use
uncertainty
and different
used
/by characters
ruminations
other
of
talking),
of
drug).
continues
that
Nigger
level,
stylistic
its
of
differ-
effect.
later
we notice
with'The
lexis
characters
uncertainty
the
of
novels
tlety
of
is
meant
ironic
overall
an old
tip
of his tongue behe were
it
as though/chewing
angrily"
(chewing)
of the
evil
the
The analogies-are
defects
in
four
(gift
the
in
man's
drug
(deadly
gustatory
The gustatory
the
of
together
auditory
word
Although
the
the
second
heightening
Gold
a deadly
every
at
(words).
in
of
brings
analogy
populace
analogies
shadow
smell
the
stirring
"the
catching
and moral
nently
the
of
synaesthetic
'the mumbled,
lips
his
auditory
to
(smell),
olfactory
best
(shadow),
the visual
gift
us that
to
ent senses:
sical
the
him yet like
(P. 48)
poison". / This live
gift
tween
Yundt's
tells
The narrator
clung
(p.
Karl
by one of
relief
novel.
the
hand,
other
views
no
the heroine
portrayed
character.
319
typical
The tension
or
gement,
that
be argued
tragic
death
mains,
however,
ovm free
his
on the
that
Old
part
Heyst,
estran-
with
proIt
the
same
fact
re-
on Jim,
forced
to
chooses
is
the
The
is
Peyrol
death
self
meets
suicide
old
Peyrol's
a man whose
of
or
here,
Razumov.
or
Rover
off
complex
more
protagonists.
earlier
death
and Axel
of
Verloc
The
of
eases
undergo
alloy"
Winnie
Peyrol
while
will.
do not
and Rita
"infernal
of. the
novels
period
Nostromo,
old
as most
Winnie
Nostromo,
that
from
as Jim,
such
middle
M. George
suffer
tagonists
might
of
like
and characters
the
the
of
move
a well-calculated
sums up the
abnegation
SpensPrian
Maxim:
toyle,
warre,
"Sleep
after
Ease after
The analogies
lover
often
more
of
than
centre
woman who isxas
times"
the
Rita's
neck
her
in
Rita.
tantalizing
the
while
not
as being
is
person
"round
The
Arrow,
round
the
old
as the
described
the
in
analogies
effected
by adjectival
give
which
the woman of his
ness
too
A woman's
analogies.
is
compared
insipid
with
the
like
a flower,
tion
of
for
he is
the
but
young
too
like
lover
much in
neck
shaft
Again,
and crass.
can
of
(p.
attempting
with
the
woman to
of. finesse
attempt
unwittingly
but
the
kind
92), t
The two
101)
In his
to
There
of
round-
becomes
be rosy
is
not
no suggeshere,
mystification
surround
at
mixes
when this
analogy
said
statue.
any
(p.
lack
be round,
is
He sees
two quotations
vkaf-
narrator
a column
all
some impassive
in the last
Dona Rita
an inanimate
love
like
dawn".
the
woman of
a column"
comparisons.
choice,
attractions
101).
the'lover-narrator's
the Marlovian
characterises
idealising
his
of
"the
(p.
"rosy
of the
like
is
of
shaft
They
pomposity.
and moral
world,
the
flush
indication
us a clear
Rita
as being
a desert
of
please".
and infatuated
young
physical
George,
like
the
smack
For
in
statue
seas,
stormie
life,
does greatly
after
after
by M. George,
created
de Lasoata
Rita
of
port
death
her
with
an
320
atmosphere
the
reflects
weariness
lost
If
mystery.
of
that
the
came over
his
much of
earlier
in
that
shadowy
distant
a
eyes
in
of
proportion
those
the
to
theme
but
tions;
where
no such
such
descriptions
inheritance
of
being"
(101).
climax
to
analogy
woman who has
distant
past"
current
and ill-advised
ridiculous
and
precarious
hold
the
In
ageing
spite
being
is
his,
sordid
bound
M.
fall,
of
declining
the
ruminamystery
condemn
"she
serves
her
of
as an antiThe
"
as a "creation
her
noble
This
and
to
of
devices
at
his
imaginative
there
of
coquetry.
only
on
went
had been her
fibre
very
not
pomposityl
and
reader
quotation
earlier
in
tragic
that
here
for
indulges
tenderness
the
of
pomposity.
remarks
as if
fibre
indicative
M. George's.
or
piling
out
create
make the
George
preceding
on the'stylistic
novelist's
to
introduced
-from
is
the
to
attempt
woman's
this
discursive
and
any
praised
praised
is
that
we feel
of
The
the
still,
When Marlow
note,
the
been
about
93).
transient
and playfulness
in
as if
immortal,
gleamed
a creation
(p.
grandiloquence
him,
times
Spanish
of
to
original
life"
and live;
vivid
is
exists
The hypothesis
the
have
enamel in
suggested
digressions
such
a playful
all
to
light
were precious
transient
de Lasoata,
speaks
of the
last
attraction.
as stylistic
in
the
reflect
also
of producing
subordinator
of
of
mystery
tenderness
with
of
point
Rita
When Rita
analogies
who seems
immobility
as shadowy,
admits
with
they
and
involutions
stylistic
sublime
its
by the
such
modifiers
"the
enaylel.;.., ° is
like
gleaming
us that
art
introduced
supposition
capable'
in
which
immortal
past:
quite
eyes as if
enigmatic
head
novelist
of
perceptiveness.
tells
he
when
as
her long
They
ageing
Sometimes M. George is
analogies
mixing
immaturity.
lover's
young
this
anything,
sublime
the
young
disposal
a
re-
the
narrator"s
but
also
powers.
are
moments
when his
321
for
love
sweeping
Rita's
he says:
where
sight
hatred
hand,
his
words
"which
acrid
oiltt,
this
charm,
a great
light"
in
of
reminiscent
- are
more
the
earlier
this
her
and
for
mistress
the
from
rise
Henry
justify
can hardly
which
does
rious
figure
not
are
Dona Rita
is
M. George
excessive
Dona Rita
of
Conrad's
professed
feel
of uncertainty
in
the mark to
say that
ously
the deep meaning
about
reading
careful
the
at
tic
suggestive,
device,
are not
god-like
aspect
of their
their
use
the
of
In'view
of
device
that
of
parvenus
of
uncortainty)
the
round
unmyste-
narrator's
stylis-
the
Like
whom the
conveying
to
lexis
experience.
than
others
That
in
stylis-
take
might
Conrad's
the
black
fact
that
for
is
their
and white
some are more subtle
(compare
for
of Uncertainty
the reader
who can describe
to guess
of this
maker,
seri-
through
be able
novels
their
wide of
is
It
will
lexis
to think
reader
connotations
of the
the
of
be shooting
reader
or ironic
for
density
analogies.
the
perusal
the
make the
was to
novels
not
wanted
convenience.
creatures
to
lexis
young
his
that
a cursory
every
the
of his
works
means of
appropriate
Nostromo,
or
social
mystery
one would
are impressionists
narrators
the
%%o
rks,
symbolic
which
of
writing
Conrad also
descriptive
a merely
in
and see".
of his
the
or
symbolic
shepherdess
of
though
which
infatuation.
aim
his
use
as pinpoint
"hear,
reader
Jim
and other
a halo
and imperceptive
pomposity
no Lord
taste.
and
sound
genius,
little
her
of some
of
very
of
other
liquidify
trickle
of
of
position
so much create
him
and
was
On the
senses
flashes
Conrad,
Allegre,
this
two
touch
of
a flame,
124).
Makes
way the
humble
like
warming
(p.
analogies.
senses
an unctuous
patches,
significance.
structural
like
two
the
of
Therese
sister
of her
combining
however,
These,
terms
"...
came out
some fine
with
in
her
of
him
seen
like
all-revealing
also
tic
thus
is
charm
inspires
Rita
instance
the
in
322
Lac-le
subtlety
the
riarlow
of
of
narrator
level,
of
Conrad's
the
what
and
literary
Professor
of
Conrad
giving
language,
is
"the
and yet
like
the
about
freedom
still
his
to
the
works
lends
credence
doubt
about
its
to
terms
final
called
density
marked
in
experience
and
stylistic
have
being
construction
shape
imply
and Hewitt
while
as if
to
Moser
(1)
decline,
and
in
on the
-, 4eSS-e
-f,
George
with9M.
indication,
a clear
critics
uncertainty
Cox says
narrators
earlier
The Rover)
achievement
lexis
the
aT
of
what
a means
of
of
human
validity".
(2)
/
(1)
(2)
Moser, 1957; 'Hewitt,
Cox, 1974 : 50
1975
of
323
VIII
Chapter
H. G. Wells
tandems",
fifth
the
in
part
the
cited
of
CONNECTIVES
he termed
what
of
As an example
OTHER
AND
CO-ORDINATORS
opening
An Outcast
"multitudinous
Conrad's
the
of
sentence
of chapter
Islands,
which
three
reads:
On LINGARD's departure
solitude
and silence
the cruel
of one
solitude
round Willems;
closed
by
the
men;
reproachful
which
silence
abandoned
the
by his kind,
ejected
an outcast
surrounds
by the slightest
unbroken
of hope;
whisper
silence
impenetrable
that
immense
silence
swallows
and
an
echo the murmur of regret
up without
and the cry
(p.
327)
of revolt.
Wells
of
dependent
no impression
blamed
Conrad
times,
never
a mass of
is
his
this
the
business
more perceptive
(1)
(2)
(3)-
the
silence,
(1)
"
all.
is
which
evidently
respect
view
that
Conrad
to
wordiness,
were
The Nigger,
"builds
up his
and comprehensive
and
full
tops,
views
of Conrad's
like
Moser who, late
theory'that
Wells, 1896
: 509
69
Anonymous, 1973'':
87
Courtney,. 1973..,:,
the
and at
he can be
levelled
scenes
"most
in
Courtney
by
piece
through
but
when it
especially
were not
a
with
incidents.
style
critic
said
by P. L.
sentence,
character'or*narrate
to'depict
the
critic
he describes
of
sin
(which)
equipped
which
corps
army
Another
same accusations
with
the
correcting
besetting
semi-colons,
postulated
trampling
a quality
time
critics
"this
scenes
The
by one large
commas,
at
Conrad
(2).
Such derogatory
fifties,
of
his
effective"
who expressed
piece,
silence
knowledge
him,
silence
Mr.
he resists
-when
to
"diffuse";
"for
lamented
extremely
against
of
being
for
thorough
very
this
clauses,
leaves
strongly
things,
among other
objected,
"
shared
the nineteen
characteristic
(3)
by
324
feature"
its
Conrads
of
but
dese",
at
to
the
constituents
have
already
been
with
the
as his
method
Although
the
is
of
are
of
such
contain.
"
with
some of
which
but
these
its
as repetition,
Hence
to
or
expliother
analysis,
ellipsis
the
the
within
last
asyndetic
(1)
rather
clauses
and
following
investigated.
also
and
chapters,
phrases
in
meaning
concerned
Conrad,
connecting
the
of
quite
not
previous
co-ordination
concern
connection
and structural
title
for
chosen
chapter.
is
My plan
of
main
can
in
his
more
at
"Conra-
called
is
we are
the
as well
parallelism
this
in
with
together
forms
factors
dealt
there
sentence
links
other.
cit
overlong
Conrad
language
chapter
way Conrad
sentences,
each
that
tending
sentence,
which
than
present
the
of
overlong
suggesting
be expressed
in
However,
the
mere mannerism
best
its
feeling
more
the
toward
worst
"is
style
after
second
any
of
the
much the
his
"The
sive
tives
the
novels
that
of
makes
them
Brig",
great
the
believe
stylistic
part
of
into
like
the
:.
chapters
three
of
distinctive
comma, semicolon
173
move to
to
novels
ends
that
way Conrad
first
and
the
In
of
achieved
in
connectives
it
uses
is
not
them
so
in
significance.
The Rescue
made up of an introductory
and some six
1957
of
I
other
artistic
account
for
then
novelists.
the
as the
connectives
used fall
Moser,
be given,
will
his
the
immediately
1919;
in
No statistical
(57 pages)sis
ordinators
discuss
in
writing
until
contemporary
I
peculiarities
level
started
feature
his
of
linguistic
sentence
finish
not
chapter,
Man and the
prose
and
stylistic
practice.
number
works
gation
of
this
through
(1)
by four
some works
part
could
the
Conrad
novel
this
of
manifestations
in
but
An Outcast
clause
the
The Rescue,
of
by analysing
on phrase,
connectives
part
begin
to
varying
piece
length.
groups:
and dash;
investi-
under
discur-
of
The connec-
asyndetic"coexplicit
co-ordi-
325
tion
as and,
such
nators
then,
and ellipsis,
This
tition.
connection
effected
the
thing
them
way he uses
hierarchical
relationship.
apposition.
The third
/
It
detically
and verb
first
love
is
of
this
(1)
main
case
in
co-ordinators
or
The Rescue
Conrad
in
phrases
happens
we have
here
clauses
with
ellipsis
aspects
of
in
a
of
cases
reads:
as the
fulfilling
the
as each
sentence
last
the
apply
one,
to
postponed
or
because
their
chiefs
their
interpretation
delayed
function
fronted
the
to
simply
logical
asya-
co-referential
he sums up as "gall
same syntactic
of
would
would
three
of
the
of
The more
phrase
a case
devotion
what
instincts".
last
the
fanatical
first
i. e.
object
In
particulars.
read:
They have kept to this
instincts:
and unlawful
Conrad appears
ti
to
is
this
while
apply
their
are
clause,
the
what
not
liberty,
the
to'regard
the
since
occasionally
clauses
of
repe-
connectives.
usually
Still,
would
and unlawful
appositive
of
co-ordinate
phrase.
fidelity"
their
and
lawful
is
asyndetic
sentence
parallelism,
arbitrary,
various
of
connec-
factors-like
somewhat
sentences
This
that
it
phrases,
"their
or
about
to
co-ordinated
subject
structural
of
They have kept to this
day their
love
of
their
fanatical
liberty,
devotion
to their
their
blind
fidelity
in friendship
chiefs,
their
lawful
and hate - all
and unlawful
(p. 3)
instincts.
be argued
could
like
is
interaction
The remarkable
the
clauses
factors
as semantic
however,
phrases,
through
other
as well
grouping,
of
for;
and
factors
syntactic
comprising
substitution
is
but
to have opted
for
day all
their
lawful
their
love of liberty,
the
reverse
etc.
to achieve
order
that
heightening
(1)
to the Quirk
According
Grammar,
the first
is the
appositive
item in relation
more general
to the less
general
second
Thus, " in "John,
the lawyer,
appositive.
is my friend",
John
is the 'more general
element
he can be a lawyer,
since
a
communist,
besides
a gambler
being
my friend.
Cf. Quirk
et al.,
pp. 625 -6
of
effect
indicative
of
the
speaker's
6
increasing
326
involvement
emotional
by the
out
blind
and
active
not
modified
as the
the
the
is
particulars
as against
ship
that
for
the
is
a final
object
the
in
the
main
second
their,
is
the
first
of
in
conjoin
by the
use
of
less
triple
the
the
relationto
thing
or
phrase,
Conrads
dash,
items.
general
enhances
norm in
almost
the
following
two
note
clause
upon
style,
the
cases
all
of
examples
it
is
is
at
the
same time
rest
of
the
predication.
second
- which
- and
The
occasions.
the
clause
fanatical.
The important
of
much more
same order
also
feature
a striking
being
the
the
conjoining
fanatical
of
not
highlighted
co-ordinated
position;
the
is
of
adjectives
abstract
appositive
on different
In
or
passive
phrases.
phrase
apposition.
of
various
matter,
of
second
asyndetically
The triple
pies
the
determiner
he capitalises
which
phrases,
further
the
of
the
is-that
two
comma used
The repetition
between
the
first
delayed
the
as against
borne
is
love
"Their
used.
the
than
theory
This
subject.
adjectives
following
concrete
that
fact
of
of
or
the
nature
is
liberty"
his
with
expanded
it
occu-
between
sandwiched
the
the
subject
To the south and east the double
islands
watched
the double
ship that
silently
seemed fixed
amongst them forever,
a hopeless
captive
of the
(p.
calm,
prisoner
a helpless
of the shallow
sea.
5)
in our own day we have
Almost
seen one of them in his
devotion
to his
a true
adventurer
impulse,
mind
heart,
a man of high
lay
and of pure
the
foundation
of a flourishing
state
on the ideas
(pp.
of pity
34)
and justice.
the
In. both
cases,
phrases
asyndetically
the
image
of
the
istics
to
give
special
tive
which, looks
claim
that
expanded
conjoined
stranded
"one
of
prominence
to greatness
second
like
is
ship,
them".
to
the
an ironic
his
is
appositive
to. the
the
first.
latter
first
The
adds
The dashes
conjoin
in
of
"devotion
former
further
the
comment on the
questionable
made up of
last
the
to his
develops
characterexample
second
adventurer
two
apposiwhose
impulse".
327
We also
note
in
of
each
three
the
in
helps
apposition
for
of
do without
the
such
through
pronouns
have
to
and 14
second
phrases
relative
he seems
which
As against
quote.
11 in
We get
contained
syllables
first
connection
Conrad
and who,
which
first,
the
the
of
the
of
phrases
Besides,
third.
the
nature
progressive
syllables
eight
in
the
such
as
had no special
predilection.
In
ance
the
from
to
the
clause
is
appositive
relative
phrase
triple
the
of
second
co-ordinated
asyndetically
shifted
the
cases
some rare
by two
thus
is
The stress
clauses.
clause,
expanded
and we end up with
an inst-
in:
sentence-as
But there
were others
who
adventurers
- obscure
had not his
advantage
of birth,
position,
and
intelligence;
his
who had only
sympathy
with
the people
of forests
and sea he understood
and
(p.
loved
y. )
so well.
first
The
second
appositive,
obscure
two
consecutive
by the
fied
the
intelligence,
the
is
contains
clause
relative
a marked
A signal
nouns
between
the
the
Conrad's.
to
further
birth,
clauses
triple
Conrads
of
of
example
this
is
feature
like
nouns
dash
the
first
position
marked
are
clause
the
modi-
Although
clauses.
conjoined
is
is
which
relative
boundaries
by the
conjoined
adventurers,
The result
semicolon.
also
is
others,
appositive,
sentence
and
by
which
style.
tendency
to
shun
relative
pro-
quotation:
Their
of land and water
country
for
the sea
the earth
was as much their
country-as
of their
has
islands
fallen
a prey to the western
races - the reward
of superior
if not
strength
(p. 3)
virtue.
of superior
Here,
again,
we. get
by a comment
rupted
sentential
relative
With
some other
like
this:
three
clause,
and
clause
writers,
ýý, which
is
the
clauses;.
with
the
the
the
last
deleted
sentence
reward,
main
one which
is
which
constitutes
relative
pronoun
would
of, "" etc.
end with
Asyndotic
intera
and verb.
something
328
co-ordination
triple
this
clause
The triple
the
termed
the
close
in
obtains
factors
of
items
such
water
and
lexical
of
and earth;
relationship
cases
between
the
of
might
what
clauses.
be
as in:
second appositive
split
connective
as land
such
also
phrase
main
Repetition
synonyms
highlights
further
the
are
sentence.
and near
as country
sea
ellipsis
plus
the retreat
following
from the eastward
The night
sun advanced
slowly,
swallowing
of the setting
tormented
the land and the sea; the land broken,
the sea smooth and inviting
with its
and abrupt;
to wanderings
of continuous
easy polish
surface
5)
(p.
facile
and endless.
The first
appositive,
a triple
up with
highly
of
of
Asyndetic
of
part
the
of
accord
most
postposing
by
of
the
appositive,
that
is
appositive:
.
in
placed
the
the
of
which
the
second
two.
In
phrase
imitates
its
the
the
flowing
semicolon)
Conrad's
on his
the
nature
means of
tendency
to
idiosyncratic
and
roughness
sprawling
and repetition
are
end
is
phrase
concise
while
the
to
novelist
of
the
of
either
sea.
connecting
avoid
practice
modifiers.
The same observation-applies
where
split
two
into
for
with
back
is
easy
describes,
notes
falling
sea,
it
appositive
One further
pronouns
relative
it
first
conjoined
sentence.
other
central
(the
co-ordinators
the
the
in
is
third
the
feature
topographical
the
making
of
form
adjectived
the
form
length
and the
sentence,
phrase
the
half
land
appositives
second
separate
about
the
second
appositional
to
instances
appositive
relationship
leads
of
composite
up to
with
a noun
a new second
s
The sun was noýmore than a- degree
or so
horizon,
heated
and from'the
surface
of
low mist began, torise;,
a slight
a mist
invincible
to the human eye; yet strong
change the sun,, into
a'mere
glowing
red
disc vertical
and hot,
down to
rolling
of the horizontal
and cold-looking
disc
(p. "14)
shining
sea.
phrase
above the
the waters
thin,
enough to
disc,
a
the edge
of the
329
Although
the
clauses),
it
the
heated
fact
the
last
is
further
the
between
connection
as elsewhere
various
by the
absence
in
cases
ternary
An internal
is
clauses
and repetition
co-ordination
all
of
is
rhythm
from
together,
a
of
explicit
apposition,
the
effected
through
asyn-
lexical
items.
the
in
perceptible
quater-
sentence:
nary
love;
always
like
(p. 10-
like
To him she was always. precious
old
like
desirable
woman;
a strange
always
like
tender
faithful
a mother;
always
daughter
the favourite
of a man's heart.
to
As opposed
in
co-ordination
asyndetic
the
of
on ellipsis
the
as
subject
rhythm
is
obvious
or contraction
of the
like
like
a mother;
The triple
asyndetically
clause
co-ordinated
"felt
his
ship
every
sway"
(p.
clause
are
ellipted
in
phrase
as in,
spars
double
that
were
10)`the
lashed
varies
phrases:
like
daughter
phrase
or
is
every
subject
"In
same lexical
the
and whole
last
two.
the
on each
side
of
of
the
woman;
heart.
in
cases
norm
of
us that
every
predicate
brig,
hatchway
of
some part
tells
in
the
expansion
a man's
Occasionally,
waist
the
ellipsis
motion,
various
a strange
When the narrator
live"in
the
as well
him,
with
of
with
first,
to
the
the
still
adverbials
of the main clause.
or other
the
favourite
rhythm
the
dependent
between
parallelim
adjectival
the
of
in
whose internal
clause
repetition
how the
notice
main
a
heavily
complement
of"the
structural
is
sentence
mainly
repetition
in
contained
adjectival
as much of
result
We also
clauses.
fronted
above
the
requiring
items
the
and predicate
the
as of
Lingard
lexical
of
is
which
apposition
and expansion
appositive
second
items
through
connection
reformulation
of
matter
the
co-
of
similar
quite
"and
with
bound
closely
four
made up of
e.
beginning
more
are
(i.
form
clauses
emphasized
Here,
ordinators.
three
" that
surface...
which
detic
is
sentence
is
ar
in
quate ry
in
roll,
of
the
main
he opts
in
(p.
the
13),
Tom
for
narrow
where
330
to shun explicit
tendency
the novelist's,
co-ordinators
is
co-ordinators
imply
striking.
However,
not
ellipsis.
the
ship,
Here,
We also
the
the
note
in
the
first
but
last
such
In
above
the
end of
finality
matical
that
the
ship
is
Nowhere
that
would
When he tells
to
is
the
reader's
those
the
only
and the
words
in
to
of
is
In
is
frustrated.
no gramthe
with
seaman's
desire
the
for
an explicit
narrator's
cases
we'meet
appositive,
with
what
since
might
but
for
contain.
where
co-ordinator
thoughts
wandering
listing
is
in
question.
had
the
She - the craft
all
qualities
of a
living
thing:
speed, obedience,
trustworthiness,
beauty,
to do and to
capacity
endurance,
- all
impression
love
us,.
suffer
the
marks
Still,
left
young
co-
always
level.
expect
would
that
in
most
by an explicit
full-stop
the
abandoned
reader
are
the
of
third.
the
reader
as against
repetition
the
the
which
(6 syllables).
which
in
orthographic
for
than
frustrated
the
expectations
enumeration
an end to
first
through
such
big
put
the
be introduced
is
ensues,
novelist's
too
but
on-the
sentence
syllables
a repetition
to
it
sentence,
(10
implicit
is
of
clauses
co-ordination,
phrase
as and;
sentence
three
resorted
asyndetic
or
clause
ordinator
the
of
clause
than
created
again
was its
of its
his
to
attachment
thought
breath
first
longer
clause,
once
cases
the
of
slightly
variety
these
the
length
the
the
of
parallelism
second
second,
triple
the
of
rhythm
the
will
noun
of
his
was its
will,
his breath
was the
(p. 11)
'"
the
with
subject
"His will
impulse,
existance.
double
is
Lingard's
of
remarks:
structural
third
5)
on the
asyndetic
narrator
again,
the
in
all
Still
of
cases
life.
be called
the " sentence
(p.
11)
a case
actually
of
reads
discontinued-first
as
follows:
more
his
331
The listing
the
until
the
of
in
a bid
Besides,
there
mentioned
general
first
second,
for
such
to
The rhetorical
further
in
issue
whole
is
the
such
constituting
the
but
be en-
lifeless
trustworthiness
of
prerogatives
too
is
sentences
and
beings?
sensible
obvious
to
where
the
need
of
conjoining
thing
remarkable
out
the
the
image
in
in
the
this
third,
great
factor.
last
the
the
calm,
(p.
use
peculiar
has nothing
it
quotation
the
is
of
phrase
role
the
of
the
is
of
asyndetic
for
rewording
of
by explicit
develop
concrete
in-
finality
main
in
Conrad should
connecters
favourite
of purposes.
a clause
the
to
it
picks
co-ordinators.
a variety
introduces
way Conrad
complete
and seems to have been his
ne uses it,
The
sentence.
more
co-ordinators
played
do with
to
and uses
description
that-lack
of asyndetic
Indeed,
or
but
5)
two post-
the
conjoins
second
there
number of cases, it
a recapitulation
flat
main, elements
this
us to the major
but.
and and
seem as though
phrase
rendering
The preponderance
blind
last
three
Still,
explicit.
necting
the
dead of
the
a dead,
phrases,
about
modifier
makes it
clause
presence
of a dead sea and of a dead atmosphere.
prepositional
modifying
not
final
and in
The co-ordinator
herent
the
even
persists
was absolute,
stillness
and
living
the
resolved.
The calm
the
is
incompleteness
of
sense
a co-ordinator
the
that
are
of
effect
particulars
as "obedience,
which
between
comment.
That
of
and the
attributes
suffer"
unexpectedly
contradiction
obvious
how can something
dowed with
capacity
that
appositive.
is
life"
ever
the issue.
to clinch
is
but
"all
utterance
of
seems to 'go on for-
in-question
qualities
rhetorical
the qualities
etc.
speed..
had
all
but lice:
She - the craft
thing
a living
one.
that
is
like
con-
In a
meant to be
332
have
The vices
of four nations
and the virtues
in the conquest
been displayed
of that
region
day has not been robbed of
that
even to this
urstory
and romance of its
past - and thee
all
the Portugese,
race of men who had fought
against
the Dutch and the English,
the Spaniards,
has
(p.
defeat.
not been changed by the unavoidable
is
the
lines
clauses
the
nations:
as well
two
clauses
could
types
certain
the
of
of
it
Dutch
the
through
of
sense
lack.
sometimes
indulges
or
phrase
underThe two
like
four
and the
English,
and defeat.
co-ordination
Conrad
making
implicitly
involvement.
the
subject
In
appositives
that
and gives
its
that
clause.
clause,
as conquest
such
triple
main
Spaniards,
asyndetic
the
in
main
be connected
that
argument
ordination
of
use
the
the
through
synonyms
the
of
connected
as near
but
colon;
Portu
that
emotional
ese, the
is
and clause
growing
narrator's
are
of
that
further
the
about
with
to
similar
a point
to
note
co-referential
not
the
to
thing
first
The
clause
3)
Apparently
dash
long
or
that
completeness
lends
This
in
semi-
weight
co-
asyndetic
for
sentence
purposes
rhythm.
The double
clause
sentence
obtains
also
and has
where
a
function.
causative
There was no wind,
brig
that
had
and a small
lain
the afternoon
to the
all
a few miles
had hardly
northward
and westward
of Carimata
its
half
during
position
altered
a mile
all
(p. 5)
these hours.
the
Again
in
meaning
This
two
to
"that
same if
is
why",
we replace
conspicuous
has
and
by the
a concessive
or
its
subordinator
the
dispense
or
And ýs
co-referential.
between
The connection
semicolon.
not
are
relationship
causative
be the
more
subjects
between
explicit
function
two
with
equivalent
because
variant
clauses
could
and in
favour
cause and effect
is
hardly
of
made much
co-ordinator,
in
the
following
the
sentence;
They were lost
in the common crowd of
seamen
traders
of the 'Archipelago,,
they emerged
and if
ft-Qpi their
it
xjty
was
to
only
be
law-breakers.
condemned
kQbr
as
4)
eriF.
AP*'*
.
333
The men in
for
the
question
Malay
coupling
the
in
mentioned
two
the
about
vations
the
race
the
of
those
"obscure"
narrator.
had
are
clauses
the
off
of
"birth,
advantages
The
ironic
narrator's
obser-
and intelligence"
position
And thus
sentence.
preceding
sympathy
commended.
already
sets
whose
adventurers
a con-
acquires
force.
cessive
And has
in:
effect
a resultative
He (the unnamed adventurer)
chivalrously
recognized
he was a disinterthe claims
of the conquered;
his
the
reward
of
noble
ested adventurer,
and
is in the veneration
instincts
with which a strange
(p.
faithful
his
4)
race
cherish
memory.
and
The last'clause
triple
form
clause
in
arranged
order
the
of
rights
the
towards
magnanimity
the
and
or
clauses
is
was proud
of
his
his
and
in
placed
for
This
luck.
order
we note
clauses
are
of
revered,
transition.
of
followed
in
number)
decreasing
or
that
remarks
is
This
three
rising
the
disinterested
"a
memory is
instance,
is
heart
(usually
a sequence
The narrator,
ficance.
the
however,
and
The man respected
he was at
that
chivalry
The three
sentence.
is
result
man's
Here,
importance.
still,
phrases
the
of
race.
because
together
links
the
of
conquered
More important
result
defeated
rising
of
and the
adventurer",
that
the
spotlights
an
of
signi-
Tom Lingard
by a sentence
that
reads:
I'He was proud of his brig,
of the speed of his
the swiftest
craft,
which was reckoned
country
in those seas
vessel
and proud of what she
(p. 101
represented.
The sentence
begins
love
Lingard's
specific
its
man:,
speed.
cance of
the ship,
be of paramount
the modifier
rising
order
his
for
as regards
a general
with
brig.
and
The
vague
second
the main attribute
The third
a significance
importance.
proud
of the
clause
of in
clause
that
conjoined
clause
clauses.
-
of
is
the
more
ship
symbolic
the narrator
The repetition
Tom
of
becomes
endears
the
stresses
which
the last
statement
the
indicative
to
signifi-
believes
full
to
form of
of
the
the
334
expatiates
ficance
on the
follows
symbolic
signi-
brig.
the
of
that
the sentence
in
when the narrator
becomes more convincing
The argument
She represented
on the Victorian
a run of luck
his sagacious
long
moderation;
goldjfields;
days of planning,
of loving
care in building;
incomparable
joy of his youthsthe
the great
because a
freedom of the seas;
a perfect
his love home; his independence,
wandering
(p.
10his
anxiety.
and
Here
we get
the
phrase
their
listing.
of
in
by the
replaced
conjoin
phrase
sive
,
the
it
amplifying
great
connects
dash
acme of
before
the
the
with
the
This
noun
the
second
until
earlier
order
rising
of
conjoin
and this
is
replaced
is
soon
last
we end up with
maximizers
The and introducing
progressive
order,
the
sentence
of
and to
signal
'dramatic
a
the
rising
order
of
the
last
of
which
the
the
for
is
Hence
conjoins.
in
the
last
noun
a conces-
presence
in-tone
shift
is
order
The subjective
used.
long,
rest
other
in
arranged
modifiers
and perfect.
to
relationship
are
of
concrete
the
marks
the
of
and
and as against
Lingard.
more
as incomparable
such
to
subject
The last
co-ordinator
sagacious
by the
third
the
nature
modifier
and abstract
inevitable.
The clauses
by the
the
of
ellipsis
is
importance
respective
highlighted
six,
by the
introduced
instances
last
through
co-ordinated
asyndetically
she represented
verb
is
the
In
semicolon.
lexical
clauses
some seven
of
and
emphasis.
Occasionally,
by a series
This
of
the
Nothing
moved on earth,
thorn in
the unbroken
and has
the
whose constituent
sentences.
adverbials,
further,
parts
on the
lustre
advantage
is
suggested
by and.
preceded
waters,
and above
of the
sky.
of, marking
the
have been lavishly
is
clauses
(p.
5)
end of
described
in
a. tableau
preceding
335
cases, the rising
In some other
by the
in
verbs
of
a sequence
is
progression
conjoined
indicated
as in:
clauses
(the sea) reached
the brig,
It
passed under,
out on each side;
and on each side
stretching
breaking
into
the water became noisy,
numerous
of an immense
wavelets,
and tiny
a mimickry
(p.
25)
agitation.
1
The water
reaches,
the
with
contact
by the
imitated
chain
the
of
play
two
compound
clauses
The clauses
for
factors
the
by means of
chunks
the
in
sea and
need
each
the
clause.
depicting
the
note
broken
is
which
last
inter-
The sentence
connection.
is
which
tableau
We also
ship.
of
the
final
is
a
down into
three
in
order,
comma.
not
following
of
nature
follow
end to
and expected
various
of
that
and this
brig
boisterous
modifiers
of
between
relationship
its
it
gives
a logical
The and puts
the
craft
the
round
stretches
passes,
be placed
necessarily
the
quotation
rising
happens:
reverse
Suddenly,
shrill
whistle
a long,
reversoared,
loudly
berated
amongst the flat
surface
of
motionless
sails,
and gradually
grew faint
as
the sound had escaped and gone away, running
if
(p. 26)
upon the water.
This
the
transition
and of
(soar,
clauses
render
quite
?lighted
by
length
, the
of
of
the
clear.
the
the
.
length
second,
final
verbs
of
the
of
clauses;
and-the
last
to
the
three
the
being
with
loudly,
first
de-
further
being
almost
the
gradually)
is
gradualism
made by
curve
conjoined
together
(suddenly,
process
the
of
faint),
grew
adverbials
This
touch
double
half
that
highthe
of
second.
And is
"plane
the
reverberate,
order
creasing
which
a curve
whistle;
the
puts
also
used to signal'a
transition
from one emotional
to another.
For hours he would stand, elbow on rail,
in his hand and listen
listen
in
-and
to the cajoling
stillness
and promising
(pý 10)
of the sea...
his head
dreamy
whisper
336
the outlines
It softened
and these moments kept
(p.
him and his brig.
Lingardls
through
the
in
the
to
itwith
brig
his
the
of
The same and is
'
to
another.
to
the
In
the
shift
tone
relaxed
to
used
most
relatively
of
the
to
to
to
is
in-
attention
tinge
of
attachment
absurd
and
one tense
the
from
in
results
the
of
the
"the
"the
from
effected
flow
rapid
clause,
emotional
transition
the
cases
man's
transition
mark
first
reference
throw-back
A
utterance.
The movement
participle.
from
earlier
example
and shifts
sentence,
the
first
a throw-back
anaphoric
by another
signalled
moments"
wasted
its
the
the
of
and marks
preceding
in
out
conjoin
half-light'19to
and serene
glowing
the
by the
pronoun
brought
second,
quote
second
imparted
formation
is
the
of
repetition
while
from
tension
emotional
of his rugged nature;
the bond between
close
11)
sequence
preterite
a sudden
to
preterite
the
more
participle:
Right
aft by the wheel the Malay quartermaster
brown feet
firmly
stood with his bare,
planted
on the wheel-grating,
the spokes at
and holding
right
angle in a solid
the
grasp,
as though
before
(p. 6)
ship had been running
a gale.
hanging
sentence
up in
picked
In
the
tone
the
of
the
the
the
mid
the
brings
the
introduced
hurried
tense
of
speak,
another
the
until
"He stood
sequence
transition
the
leaves
participle
mind came back
there
its
a moment
former
shift
to
thread
the
is
perfectly
logical
end.
from the preterite
by and offers
rhythm
before
the
follows,
example, the
As soon as his
leave,
walking
"looking
so to
air,
that
second,
to
preterite
sentence
following
participle
from
repose
in
which
motionless",
to
from
transition
This
to
the
of
respite
or
slackened
to the
preterite
from his
home
is
made:
he detached
himself
from the rail,
anA,
forward,
by the break of the
stood
poop,
the port
along
side of the main deck.
(p. 13)
This constant
recurrence
of and on similar
occasions
it
gives
the dimension
of a mannerism
to be expected
whenever
more and more
details
the sentence.
are crammed into
33?
him
his hands in his
Carter,
back,
from head
examined
the
The
of
mate
stare.
to his lips,
and glaring
drained
the co
stranger,
is
It
obvious
time
the
out
that
is
relater
the other
astride
to
minence
is,
to
the
co-referential
The main
to
do with-
function,
by placing
prose
Conrad
of
the
novelist
however,
a new element
sentence..
where
part
draw
the
of
the
the
to
wishes
give
He uses
sentence.
reader's
special
to
attention
pro-
it,
that
a specific
the description:
in
detail
used
of
had.
of the
one particular
when he wants
repetition
tempo
(p. 35)
ntents...
and enables
auxiliary
verbs
and is
Emphatic
of
after,
the
varying
of
use
as the
as well
subject
the
that
pockets,
and leaning
to foot
with a cool
brig
the glass
raised
above the rim at the
The night
effaced
even words,
mystery
and its
had captured
everything
and every sound - had
free but the unexpected
left
that
nothing
seemed
to stretch
to hover about one, ready
out its
hand in a touch
familiar,
sudden:,
stealthy
and
(p.
42)
appalling.
before
and
constitutes.
precedes
which
items
of opposite
c
impact.
climatic
a
and
third
This
grammatical
up in
(1)
from
is
the
contrast
the
to
standpoint
meaning.
Still,
The
the
three
is
the
some cases
be-
familiar
criticism,,
juxtaposition
two
of
seek
to
the
first
achieve
two
striking.
use of and as a means. of isolating
item
by
isolated
literary
between
of
modifiers
thus
modifiers
contrast
other
placing
modifier
the
in
or
the
preceding
of
of oxymoron:
novel,
(1),
Atralling
From the
the device
in
on modifiers
a sharp
it.
Conrad uses here
the
chapter
significance.
special
it
cause
elsewhere
isolates-it
appalling
it
giving
the
in
discussed
works
tendency
by Conrad's
Judging
for
of
purposes
conjoined
ofproducing
lexical
a certain
a dramatic
effect
lexical-verbs:
I mean his tendency
to use asyndetically
co-ordinated
in doubles, ":,triplets
modifiers
or foursomes.
or
shows
338
deluge
The overpowering
seemed
age; became unbearable
-- and,
(p. 45)
stopped.
highly
the
Due to
and is
emphatic
by the
about
On rare
other
In. -the
further
the
us for
followed
sudden
change
seemed to
phrases:
brought
verb.
occasions,
both
conjunctive
than
of
co-ordination,
function
and is
stopped
to the irrevocable-end
became unbearable,
last
verb
two verb
first
for an
once,
last
the
dash
long
movement of the
an age;
of
helpsprepare
that
phrase
from the rapid
for
by the
preceded
by an adverbial
last
nature
unexpected
to last
all
at
that
same sentence:
i. e.
and,
has no
that
and occur
and emphatic
-
He was a man - as there
were many - of no particular
to anybody but himself,
but
value
and of no account
mate of the brig,
as the chief
and the only white
the captain.
(p. 12)
man on board of her besides
the
The
first
two
conjoins.
the
fact
that
in
the
predicate
of
the
first
that
of
isolated
from
the
appositive
to
panded
the
between
not
the
to
main
other
the
the
clause.,
the
)
being
conjoins
subject
subject
preceding
complement
the
of
them is
The second
ellipted.
it
phrases
both
conjoin
are
follows
prepositional
relationship
second
complement
subject
thus
two
The close
phrase
noun
the
and conjoins
first
shown by
and whole
the
and relates
of-phrase
but
last
phrase
in
of, the
noun
to
some way an exfirst
main
clause.
Despite
a tradition.
practice,
Conrad's
introduce
sentences
ceding
tion
is'the
them.
similar
style
Here,
to
that
of
prescriptive
is
notorious
same and of
however,
transition
for
and
like,
assumes
fi n ally
already
the
this
connected"in
are
conjuncts
teaching
or
against
way he uses
way to
attested
and to
others
a quasi-adverbial
eventually,
the
etc.
on clause,
prefuncThis
and phrase
level.
As a connective
factor,
of. transition
and invariably
occurs
339
beginning
at
the
of
three
of
the
marking
a sentence
finale
a tableau
of
sentences:
Carimata
blue'of
Out of the level
sea
a shallow
barrenness
of grey and yellow
raises
a lofty
heights.
the drab eminence
tints,
of its
and
Suroeton,
by a narrow
Separated
of water,
strip
to the west,
outline
shows a curved
and rigid
backbone
the
giant.
of a stooping
resembling
of insignificant
And to the westward
a. troop
indistinct,
vague
islets
with
stand effaced,
the gathering
that
features
seem to melt into
(p.
5)
shadows.
darkness
the
hour
In half
sunset
after
an
had taken complete
of earth
and
possession
had melted
into
the night.
The islands
heavens.
the
And on the smooth water
of the Straits,
lying
brig
little
seemed to sleep proso still,
foundly,
of starmantle
wrapped up in a scented
(pp.
7)
16
light
silence.
and
to command silence.
Lingard
made a gesture
the wash of the
He seemed to listen
yet,
as if
could have had an echo which he expected
ripple
that
to hear.
And a man's voice
was heard
had something
forward
of
of the impersonal
ring
thrown back from hard and lofty
cliffs
voices
6)
(pp.
distancesof
the
the
25
empty
sea.
upon
-
Although
the
end of
the
final
the
the
pression
of
something
in
earlier
more has
when the
of. and
of
to
sentence
combined
with
does
a time
the
other
on such
It
from
mark
puts
in
follows
the
shifts
conditions.
As
quotes
the
occasions
movement.
sentences-is*far
signal
the
mark
the
gives
end
im-
indicates
that
complete,
and that
the
be added.
is
transition
tableau
described
weather
not
definitely
same way as they
as much'the
continuity
in
description
it
occurs,
to
does
quotation
immediately
in
sentences
The use
the
that
and islands
last
tableau.
the
it
which
sentence
paragraph
first
topographical_feature
sea
the
this,
end of
the
from
against
the
For
attention
in
the
to
the
in
sentence
paragraph
touch
two.
first
of
third
the
not
sudden
obtain.
adverbial
or
unexpected
Instead,
heralding
the
the
we find
new turn
triple
that
of
and ie
events:
340
the
he walked
And now, bareheaded
and burly,
He
deck of his kingdom
stride.
with a regular
his
the
hip,
from
arms with
swinging
out
stepped
the free motion
out for a fifof a man starting
teen-mile
yet at every
open country;
walk into
turn
had
he
to
twelfth
and
about sharply
stride
(pp. 11 - 2)
to
the
taffrail.
distance
the
back
pace
He tapped the table
with his knuckles...
the
leaning
sideboard.
Carter
against
stood
turn
of the conHe was amazed by the unexpected
lasted
in
the
cabin
'lhe
silence
versation...
heard
he
few
And
once
all
at
seconds...
only a
tick
time,
the cabin
for the first
clock
in it,
little
beats,
though
in pulsating
distinctly,
a
as
been
had
the
dial
behind
heart
started
of metal
(p.
38)
into
sudden palpitation.
first
the
In
the
ding
his
once
at
four
the
the
brig
pompous
that
is
concerned
In
serves
of
of
is
is
the
to
by
the
of
sound
by a series
proportion
all
and all
highlighted
but
nothing
his
second,
as anti-climax
surprise
hears
out
the
regar-
with
an
The element
magnified
thoughts
is
that
Shaw finally
sudden
secret
mainly
from
movement
Lingard's
reverie.
short
a sentence
what
which
of
modifiers.
And also
it
to his
ones.
preceding
clock
that
to a paragraph
introduces
fact
reporting
paragraph
subsequent
actions
and now underlines
quotation,
preceding
the
occurs
sentences
connects
in
the
speech
a view
with
of
to
Lingardts
producing
There
Shaw.
mate,
a comic
effect:
Chinamen,
Unless with
or niggers,
or such people
be
kept
in..
listen
to
order
must
and won't
as
kuow
having
to
not
sense enough
reason;
what's
to them by
explained
good for them when it's
betters
their
and such like
- missionaries
But
to
ten years.
fight
And
au-tho-ri-ties..
(p. 22)
for a woman.
Those pagan times
thank
will
never
come back,
Ten years
God.
of murder
and unrighteousness:
(p.. 23)
And for a woman!
The comic
effect
thus
of Shaw through
isation
his
The same comic: effect
.
Carter
queries
and Shaw,
with
the
where
tallies
producedý.
speech
is
characteristjand:
discussed
in
realised
the, latter
k
Conrad's
with
begins
.,.
in
the
individual-
fourth
the
dialogue
every
answer
chapter.
between
to
the
former's
341
What's
that?
I sighted
"Eh?
you just
after
sunset. "
too, " said Shaw,
"And you knew where to look,
hard.
staring,
to the westward
"I looked
where there
was
some light,
still
man would do, "
as any sensible
the other
impatiently.
"What
retorted
a little
to get at? "
are you trying
to blow about
"And you have a ready tongue
(p.
haven't
35)
"
you?
yourself
-
On rare
it
by coupling
force
and is
-introductory
occasions,
the
with
conjunct
given
a concessive
as in:
yet
That strange
himself
rescuer
was bringing
Danger from the natives
news of danger.
And yet he was in communication
course.
(p. 50)
those natives.
At
/
other
is
case it
times
often
and is
used. for
emphatic
by inversion
accompanied
bad
the
of
with
in
purposes,
which
the word order:
of
You standing1just
on that
spot of the whole
And that
I could not help.
coast was my luck.
You coming upon me like
this
is my good luck.
(p". 38)
I hold.
And that
In
case
each
the
one in
which
the
object
of
Lingard
of
introduce
to
the
whole
case,
fronted
inversion
characters
(Aissa
and's
in
Shaw's
highlight
sentence
preceding
that
also,
to
rhetorical
that
sentences
each
is
and sentence
and some other
As opposed
In
occurs.
cases
the
for
a pro-form
it
the
Such
nence.
is
that
it
give
which
special
in
abound
An Outcast
speech,
those
the man's
promi-
the
of
overweening
speech
for
used
is
instance).
by Lingard
sense of
self-importance:
0I
man inside
a white
I won't
let
and out;
inoffensive
people
- and a woman, too - come
to harm if
I can help it.
And if
I can't
help,
(p. 39)
nobody can. "
Here the second
It
sums up the man's
is
self-confidence
The second
-which
it
sentence
occurs
explicit
has a conjunctival,
a mere recapitulation
determination
quite
on clause
is
to
stick
is
the
of the
to his
word.
first.
His
obvious.
connecter
and., sentence
function`similar"
time
level.
tö that
In
adverbial
the
of
first
and.
of,
-then
case,
In this
342
is
it
Thus,
level.
sentence
its
from
different
definitely
purely
it
Conrad combines
whereas
function
adverbial
on
and in:
with
till
it's
dark,
don't
begin
The currents
when a
he
thing
what
confounded
see against
man can't
drifted,
come.
is being
will
and then the breeze
)
(P"9
where
the
connection
following
the
in
and is
through
about
is
clauses
the
examples
brought
is
nection
between
effected
dispensed
the
with
use
peculiar
by and,
mainly
the
and
then
of
con-
as a
factor.
conjunctive
The master
out of the comof the brig
stepped
glanced
upon the deck of his vessel,
panion
laid
dead square;
then,
from
at the yards
aloft
took a long,
lingering
look round
the door step,
(p. 9)
the horizon.
The white
man looked
at the impassive
then
disgust,
the
glanced
around
with
then again. at the helmsman and ordered
into
Lingard
steadily
peered
(P-.
21)
his
head.
shook
In
three
all
cases
behind
this
reason
for
this
time
the
those
of
final
touch
the
between
It
some of
it
verbs
introduces.
the
descriptive
similar
is
Here,
tableauxin
another
Conrad.
to that
of the
adverbial
that
preceding
also,
the
is
of
a time
underlines,
of the
?)
reasons
prose
typical
then
occasions
(p.
of
the
the
of
nevertheless
afterwards".
sentence
to
is
function
one of
tempo
has a function
On such
"immediately
relationship
then
level
the
of
which
practice
is
-
then
night,
conjunctive
variety
Variation
transition.
the
Stylistic
tactic.
On sentence
meaning
assumes
then.
and
combination
and of
then
the
Malay
horizon
curtly:
iss
the
sentences
it
adds
the
novel.
The sun was no more than a degree or so above
the horizon,
and from the heated
surface
of the
began to rise....
mist
a slight
waters
Then the edges touched
and the circular
expanse
took on suddenly
of water
like
a tint,
sombre,
deep,
the brooding
a frown;
meditation
of
_like.
(p.
14)
evil.
brig's
'There
was no sound`alongrthe
deck....
Lingard
struck
a match to light
his cheroot...
Then two shadowy forms`andItwo
red sparks
moved
backward
and-forward
on the poop.
(p, lös
the
and
'
343
than a second he could
For less
see on the shimmer
the heads
of the night
sky the shape of a boat,
of oars pointing
upward while
of men, the blades
being
Then all
this
got out hurriedly.
sank out
reappeared
once more far off
of sight,
and hardly
(p. 49)
before
discernible,
for good.
vanishing
the
Whereas
that
brings
the
In
into
relief
the
and
seeing
the
use
The third
becomes
in
prominently
the
the
a stylistic
the
and
it
puts
the
between
passed
On such
scene,
the.
cheroot
third
the
that
a minute
of
in
the
highlights
the
of
while
between
then
lighting
place
as a connective
time
example,
occasions,
necessity.
co-ordinator
explicit
by Conrad
used
other
Here
novels.
is
it
but
has
which
a conces-
in:
function
sive
of
disappearance
then
of
features
fraction
that
in
for
forms,
shadowy
taking
then
of
relationship
between
the
of
movement
i
use
the
give
simultaneously
sentence,
second
might
sentences
the
sentence,.
relationship
causative
above
action.
hierarchical
the
out
the
the
of
then
the
of
verbs.
the
and in
of
impression
erroneous
with
use
heard,
but went on somnolently
The others
feeding
lean arms.
(p. 13)
movements of their
with
spidery
think
the nephew cared particularly
I don't
to
but the old fellow
have her krissed;
made a great
fuss and sent one of his own chief
men to see the
thing
done - and the girl
had enemies
her
own
(p. 21)
relations
approved!
thing
The remarkable
introduces
of
the
a clause
first
"heralds
(This
the
is
thus
what
is
further
sentence
definitely
begins
subject;
it
is
not
speech is
everyday
emphasized
by the
where a new subject
meant as'an''aside
with
the
then
moves
first
to
person
in
conducted
on the
is
girl)
pronoun
part
I
"the
of
of the
of
it
the
the
the
old
speaker.
end of
introduced
part.
that
with
that
towards
on Lingard's
flew
a
subject,
but
co-referential
and Clause
(the
that
becomes indicative
afterthought
an
like
is
quotation
The use of but
which
looks
second
whose subject
conjoin.
random way in
the
about
in
what
The sentence
speaker
man"",
as
and ends
344.
a third
up with
hesitations
its
with
in
subject
is
that
the
steps
of
the
author.
but
6ccäsionally,
isolation.
prominence
similar
This
two
one of
accorded
The important
be following
a function
assumes
of syntactic
is
seem to
characters
or
language
of everyday
meanderings.
and continuous
thing
as an agent
a manner typical
morn
occurs
in
the
foot-
to
that
of
and
when special
an when the
conjoins
remarks:
narrator
but a paler
A larger,
of light
and oval patch
from the compass lamps lay on the brasses
of
the wheel and on the breast
of the Malay
(p.
helm.
by
the
18)
standing
He stood by his commander,
indistinct
his back;
a figure
(p.
27)
as an arrow.
In
first
the
larger
two modifiers
tival
by the
of
own mind
about
noticed
to
have
been
he saw the
case,
that
realised
ceived,
is
as though
down on paper
had
large
was paler,
of
its
most
the
the
his
on him.
was its
figure
were
and,
counter
to
following
rendering
but
the
occurs
of
example it
was oxatii-
but
size;
attribute
affected
him.
In
features,
it
events
rules
he
seems
the
form,
second
but
he soon
was as straight
in
recorded
from
the
order
the abstract
to the narrator's
-testifies
ordor
ho soon perceived
last
thus
in
thing
and this
on oontenco
prescriptive
first
a,
received
were
observations
The
adjecin
narrator
man. au a shadowy
blurred
- straight)
the realistic
the
It
that
(indistinct
Like
. In
they
the
the
of,
modifiers
movement
and
concrete
runs
the
order
the
whole
in
thing
despite
the
second
impressions
The impressions
an arrow.
for
the
the
from
spotlighted
they
it
larger
though
that
and in
isolated
Similarly
light
the
is
paler
is
putting
impact
initial
the
hands behind
but straight
as an arrow
memory.
speaker's
his
ning
the
records
modifier
and oval;
straight
phrase
move that
the
quotation
his
as
re-
to the
care
and actions.
level,
of
a practice
traditional
hao a conceccivo
function:
which
grammars.
345
have
The adventurers
who began that
struggle
The ideas
left
no descendants.
of the world
for that.
But even far
changed too quickly
the present
they have had
into
century
p. 3
successors.
But
in
simply
it
the
of
view
the
that
distinction
of
the
subtle
last
but is
Introductory
introduces
of
the
have
left
sentence
draw
successors
to
first
in
to
dialogue
the
it
sentence
adventurers
the
helps
the
that
fact
that
clear
But
that
indicates
question
is
surprising,
makes
quotation
no descendents.
between
descendents
and
sentence.
used to herald
also
the
transition
from
description.
But the master
of the-brig
sitting
with both
his face in his hands,
his elbows on the table,
into
had fallen
unexpectedly
a meditation
so
that
he seemed
concentrated
and so profound
(p. 41)
to hear,
neither
see, nor breathe.
has no other
such
cases, but
preceding
dialogue
to
force
obtains
In
concessive
so concentrated
phrase
the
to
characters
description
because
occurs
highlight
'My father
was master's
three-deckers....
But this
about
affair
tine. ' (p. 22)
that
from the battle
thought
is
relationship
But
by but.
has
been
which
is
accorded
the
is
realised
mate
on board
by
digressions.
special
pitch
sentence,
by
the
adverbial
in
the
speech
thought:
of
one of
a woman was long
purpose
a sudden, turn
words,
subject
prominence.
of
of
the
no concessive
two sentences.
the
the
before
the'main
of
No
actions.
level
shift
between'the
the
relating
etc.
a sudden
In other
introduce'a
of
man's
that..,
on sentence
serves'the
interrupted
But can also
of
of Navarino'to
established
simply
that
case underlines
' Helen of Troy.
conversation:
that
the latter
in
The transition
this
than
and so profound
but
More frequently
of
the
function
returning
first
connected
to
a subject
element
of
346
0i cannot
to see through
the peculiarities
pretend
But I can keep
of them out-of-the-way
parts.
have
in
1
lookout
ordinary
way,
noticed
and
an
a
the
that
of any kind
craft
seemed scarcejfor
(p.
24)
last
few days:...
'
is
The speaker
Shaw whose
tone
The bombastic
is
becomes
thus
particular
of
an agent
of the
part
It
novel.
Conrad
figures
cases
such
But
out
singling
a
effect.
special
limited
on a very
in
scale
function
a causative
ridicules,
it.
preceding
isolation
for
I in
pronoun
connective
sentence
performs
mainly
person
syntactic
for
The conjunction
'
first
by the
force
further
given
the
of
idiosyncrasies
speech
that
is
the
normally
by and.
fulfilled
"A boat sneaks up from nowhere and turns
out to
friend!
be a long-expected
For you are one
the skipper
to meet
of them friends
was going
(p.
here.
l3)
w
somewhere
is
The speaker
the
the
of
seems
Shaw's
speech
The third
in
abound
contrast
sharp
form
of
of
literary
the
and
with
method
of
tone
of
colloquial
them.
pronoun
Conrad's
the
formal
this
Again,
satirizing
habits.
of
group
connecters
and structural
pro-forms
dialogue
The ideas
for that.
of the
in
of the world
(p. 3)
is
as semantic
items.
of substitution)
are often
the novel
as well
lexical
sentence,
factors
syntactic
parallelism
are aspects
where they
of prominence
comprises
of certain
(which
one or more parts
'place
a
in
such as repetition
While
of
the
and parcel
substitution
factors
However,
accusative
be part
to
is
for
conjunction
nature
like
Shaw.
accompanied
usually
by ellipsis
the one pro-form
the
changed
that
demonstrative
too
quickly
Your gunboat
find
won't
a single
ship's
left
or a single
corpse
for a landmark.
(pp. 38
Thbt she won't.
--9)
rib
chap-up
Why, that
there
wanted to pick
a
quarrel
with me for-coming
aboard,
and
now
you
threaten
to shoot me rather
than let
me
go.
I care about
not that
that.,
(r
39)
that.
enjoys
347
In
three
all
sentence
contains
ellipsis
of
lexical
vainglorious
instances
Although
and clause
level
The Nigger
and
cases
rare
the
"Flash".
of
structural
hard
are not
that
"Youth"
To him
together
Tom Lingard,
following
it
is
turn
the
on sentence
parallelism
to come by,
with
rhetorical
of
process
speaker,
we should
the
like
This
the
of
characteristic
skipper
foregrounded,
find.
verb
of
is
the
The second
sentences.
that
to
reference
an anaphoric
earlier
a pro-form
the
is
inversion
has
the
in
expressed
statements
ever,
that
sentences
to works like
this.
for
how-
Here,
occur:
she was always
(p.
precious....
To him she was unique
and dear,
three
hundred
tons
and fourteen
(p.
kingdom!
11)
a
10)
this
brig
register
of
He - the man - was the inspirer
thing
of that
the qualities
She - the cxafV - had all
of a
(p. 11)
living
thing...
Only two sat on the spars.
One, a man with
light
face,
a childlike,
yellow
smiling
with
imbecility
fatuous
the wisps
under
of some
hair
dyed a mahogany tint,
coarse
straight
was
the tindal
kind
of the crew -a
of boatswain's
The other,
or serang's
mate.
beside
sitting
him on the booms, was a man nearly
black,
not
than a large
much bigger
ape, and wearing
on
his wrinkled
face that
look
trucuof comical
lence
which is often
characteristic
of men
from the
The identical
inversion
of
between
the adjectival
of
next
two
quotation
and
the
between
the
other,
the
"He -
subject
of
sentences
the
the
together
as well
two
further
first:
man;
through
as the
constituting
two.
It
could
second
also
the
The third
between
parallelism
the
in
obtains
erbt".
apposition
structural
brig
the relationship
structure
the
the
factors
and this
highlight
She -
13)
shows up in
Other
a kingdom
The same similar
sentences.
linked
to him.
between
register
sentences.
is
two sentences
complement
(p.
of Sumatra.
coast
first
equivalence
tons
hundred
the
the
of
structure
lexical
the
as
such
three
south-western
two,
one
existing
appositives
be said
that
to
348
parallelism
structural
Repetition.
device
one last
the
in
succession.
occur
sentences
clause
is
of
lexical
of
connection
norm
items
in
in
the
where
triple
consecutive
or
phrase
is
sentences
Tonrad:
The eyes gave the face its
remarkable
expression.
darker
than the hair,
The eye=brows,
pencilled
a
brow
below
the
line
unwrinkled
wide
and
straight
than the sunburnt
face.
The eyes,
much whiter
hidden
the
light
fire...
if
glowing
of
with
a
as
(pp.
The rhetorical
of
the
1.
I1arkers
a very
peculiar
sentence.
of
reinforced
apposition
in
triple
from
of
a descriptive
sentence,
particular
When it
occurs
an adverbial
is
similar
used'for
in
the
a variety
the
adds
last
clause
importance,
indicates
or from
the
or rejection
when it
for
dramatic
it
is
is
or emphatic
to and.
transition,
past
isolates
in
such as finally
or
a
used
used as an
also
equavalent
of
a change
is
It
final
in
fictional
concerned.
It
concession
functiön
it
connector.
level,
of
cases
are arranged
or summation
of addition
in
further
elements
character
sentence
is
fulfils
transition,
of
the
on sentence
But is
3.
it
case
of the
part
phrase
elements
and which
of which
isolation
of syntactic
uses
forms,
split
introduces
of the
Conrad
triple
or
especially
tableau,
or causative
as a concessive
agent
or
or diminishing
to that
author
three
to the participle,
the preterite
These
clause
the
co-ordinator
of increasing
the
triple
equivalence,
As a connective
clause
order
the
between
expanded
The explicit
to
typical
follows:
as
co-ordination.
in
lexical
its
functions.
touch
is
descriptions
similar
connectives
asyndetic
manner
through
of
Conrad's
The connection
2.
and
Conrad.
early
We can now list
in
this
of
effect
10)
9-
a
purposes.
meaning
to
or ultimately.
in
which
last
349
idiosyncratically
Then is
4.
in
co-ordinator
interim
the
Pro-forms
of
in
parallelism
7.
Repetition
of
brought,
about
verbs,
tempo
is
the
it
a time
is
the
the
in
allowing
of
most
as a
prose.
in
conspicuous
ellipsis.
and
lexical
items.
has
analysis
through
level,
level
investigation.
under
Structural
foregoing
the
that
6.
The
of
sequence
which
of the novel
the part
time
relaxation
a momentary
5.
On sentence
of and.
place
regulating
adverbial
used on clause
that
shown
the interplay
is
connection
of more than
often
one connective
factor.
Conrads
connective
typical
much more
deed,
the
pages
is
which
were
first
not
written
is
time.
It
earlier
parts
in
between.
It
is
this
to
narrators
height
The Rescue,
dwindles
in
lowest
in
the
novels
supposed
to
cover
in
blur
the
out'in.
by the
Lord
Jim,
does
disappoars
with
An Outcast,
the
the
short
stories
0
The Secret
Eyes and Chance.
Line,
soon
Gold
of
The decline
of
be due
to
author
and character
him.
for
Agent,
It
The Arrow
novel.
d:ýstinctioa
due
style
Nostromo,
might
for
this
Still,
and
between
up
previous
two parts,
Folly,
Jim.
complete
a distinction
that
Almayer's
In-
novels.
the
later.
The Shadow
maintain
The changes
later
the
Conrads
Lord
last
some of
be pointed
from
Under Western
Conrads.
to
in
is
The Rescue
later
analysed
The Nigger
Victory,
practice
be illustrated
in
in
the
of
decades
of
of
analysis
as will
two
at
in
conjunctival
final
respect
its
Rover,
The
and
desire
this
peculiarity
momentum in
feature
The Rescue
almost
It,
at its
gains
this
in
than
earlier
of
part
different
mean that
the
of
as displayed
practice
Excessive
instance,
Conrad's
use
tends
between
Marlow
of
in
this
the
and Conrad
time.
came over
Conrad's
following
characteristic
use
of
connectives
quotations
can
from
350
novels
stylistic
belonging
to the
different
stages
of the novelist's
development.
the
She had taken up her burden
with
already,
her path.
intention
His sudden moveof pursuing
her at the first
she
ment arrested
step,
and again
expectant,
slim,
with
straight,
a readiness
stood,
immobility
in the light
to dart
away suggested
the branches
High above,
of the
of her pose.
trees
met in a transparent
shimmer of waving green
through
rays desof yellow
which the rain
mist,
her
head,
down
her
in
glints
upon
cended
streamed
black
tresses,
the changing
glow of
shone with
itself
in vaniliquid
on her face,
metal
and lost
that,
the
depths
her
in
of
sombre
eyes
sparks
shing
looked
now,
open
steadily
with
enlarged
pupils,
wide
And Willems
at the man in her path.
stared
at her,
it
charmed with
a charm that
carries
with
a sense of
loss,
irreparable
tingling
that
feeling
with
which
,, begins
like
in that
a caress
and ends in a blow,
of a new emotion
making its
way into
sudden hurt
the brusque
with
of sleestirring
a human heart,
to the rush of
ping sensations
awakening
suddenly
to
the
new hopes,
new fears,
new desires
and
flight
(Outcast,
69)
old self.
of one's
p.
When he had taken it down the day before
he had
it in four,
folded
before
dropping
absent-mindedly,
it on the table.
And now he saw it
lying
uppermost,
spread out,
smoothed out even and covering
all
the confused
the record
pile
of pages,
of his intellectual
life
for the last
three
It had not
years.
there.
been flung
It had been placed
there
toot
He guessed in that
smoothed out,
an intention
meaning - or perhaps
of profound
some inexplicable
(U.
VJ.E. P. 77)
mockery.
behind
One closes
one the little
gate of mere boyiishIts
ness - and enters
an enchanted
garden.
very
th promise.
Every turn
shades glow vzß.
of the path
has its
And it
isn't
because
it is an
seduction.
country.
undiscovered
One goes on recognizing
the landmarks
of the predecessors,
taking
the hard luck
excited,
amused,
and
- the kicks
together
the good luck
and the halfpence,
is - the picturesque
that
as the saying
common lot
holds
for the deserving
so many' possibilities
or
for the lucky.
Yes.
One goes on.
perhaps
And
too,
the time,
goes on - till
one perceives
ahead
warning one that
a shadow-line
too, must be left
behind.
youth,
After
enteringtat
break
of
the region
`- (Shadow
day the -'inner
of early
Line, p. 3)
roadstead
of the: Port of: Toulon,.
exchanging.
loud
several
one of the-guardboats
hails
with
of`the
Fleet,
which
him where. he was to. take up his berth,
directed,
I4acter-Gunner-Peyrol
let'go,
the, anchor
the seaof
worn, and battered
ship in his charge,
between
the
arsenal
and the town, in full
view of the principal
351
his
The
life,
of
course
quay.
which in the
have been
of anyordinary
opinion
person
might
(only
full
incidents
of
marvellous
regarded
as
he himself
had never marvelled
had
at them),
him undemonstrative
to such a degree
rendered
he did not even let
that
out a sigh of relief
And yet it
of the cable.
ended
at the rumble
six months of knocking
a most anxious
about at
in a damaged
valuable
merchandise
sea with
1.
(Rover,
)
hull,...
p.
In
to
the
passage
one of
the
is
and of
in
the
the
purposes
concessiori
presence
of
the
and one of
to
thing
at
mainly
parallelism
Conrad's
of
series
favourite
realistic
of
between
the
the
works
the
as. will
in
singularity
practice
contemporaries.
(1883):
in
other
connecting
kept
works,
respect
a passage
for
the
function
quotes
of
The
and occurs
paragraph.
Apart
Shadow Line"
is
lexical
items
and
which
recalls
co-ordinated
Just
the
as Conrad's
end of
devices,
cropping
be presently
this
the
clauses,
till
that
to
there
are
troika.
him
with
The Rescue with
Here is
of
from
same time.
four
the
phrases.
while
the
"The
in
the
narrator
asyndetically
running
early
the
conjoined
the
and remained
in
his
Conrad's
of a Lady
repetition
as a writer,
strikingly
his
through
for
the
and's
at
from
passage
while
as a means of
makes
in
sentence
and clauses
connecter
life
third
the
two
fourth
of
touch
passage
respectively,
three
predilection
phrases
feature
posing
that
in
used
of
transition
and
that
the
of
together
mind
is
we note
structural
active
here
note
that,
linked
to
concession
beginning
the
from
both
the
the
in
yet
the
In
past
transition
with,
final
prepositional
is
quotation
adverbial
of
cases.
the-fictional
and
teems
transition
and of
third
of
both
the
and puts
novel
transition
from
In
the
end a series
Eyes
Razumov.
first,
a dramatic
attention
shifting
of
to
Western
Under
tableaux
numerous
brings
second
It
the
the
An Outcast
from
his
which
up in
the
most
shown.
can-be
other
Shown by juxta.
works
by some of his
from Henry James's
Portrait
352
lawn were straight
The shadowo on the perfect
the
old
of
an
were
shadows
and angular;
-they
low
the
deep
in
near
wicker-chair
a
man sitting
table
and of
on which the tea had been served,
desulin
to
fro,
two younger
men strolling
and
had
The
in front
talk,
tory
old
man
of him.
.
large
his cup in his hand; it
was an unusually
from the rest
of
pattern
cup, of a different
He
brilliant
in
the set,
colours.
and painted
disposed
with much circumspecof its
contents
to his
for a long time close
holding-it
tion,
(p.
2)
house.
the
to
face
turned
his
with
chin,
his
In
on James,
essay
(1),
consciences"
form"
of
passage
across
buts
or
explicit
as to
his
that
it
It
that
connecters
Some Do Not
gives
hand,
other
already
we read:
(2).
typical
shows
that
the
true
that
we occasionally
and
the
then
6),
(p.
way Conrad
style
in
attested
James's
of
in
its
most
come
fre-
and more
his
uses
the
nnd's,
triple
clause
distinctive
liberal
was more
the
man shunaed
(especially
his
"sense
Still,
is
is
is
James's
regards
finer
of
novels
co-ordinators
sentence)
on the
best
with
it
historian
"the
be unrivalled"
one of
still,
and asyndetic
Ford,
of
but,
with
phrase
Ford
beginning
sentences
quently
Madox
mannerisms.
Conrads
of
Ford
in
practice
connective
him
nice
from
quoted
calls
while
be "so
to
Conrad
in
The Rescue.
his
quality.
use
the
of
On page
ý3ý
had
He
had passages
And yet...
when a sort
of
had attracted
blind
him almost
to speechunreason
towards
lessness
behindgirls
of the most giggling,
big-bosomed,
the-counter
order,
scarlet-cheeked.
And Macmaster,
who would have sentimentalised
to the tune of Highland
the plump girl
Mary,
day
damn
for
Tietjens
down
for
a
up
would
and
.
brute.
coarse
And Macmaster
suddenly
realised
had
imagined
he
that
wallowing,
_as
the sensuous
current
of his prose.
Here,
however,
every
other
(1)
N. L. L.,
we notice-that
paragraph,
p.
and is
a practice
17
ý3)
2) -Ford, 196411,: - 169
Ford, 1963
.
used
which
is
a
that
he wasn't
he would,
in
at
the
contrary
beginning
to
that
of
24
353
the
that
is
cases
Biblical
but,
yet,
that
his
in
two
its.
the
book
finest
Another
on Conrad,
used
Lessways.
Hilda
but
but,
and,
variation
quite
remarkable.
as Ford
for
calls
purposes
friend.
in
is
to
with,
connectives
of his
The following
Bennett.
was Arnold
his
who overindulged
novelist
begin
in. England,
stylist
similar
function
yeet is
equivalent
one
on pages
addition
concessive
pages
the
I
The contrapuntal
in many ways from those
different
from
the
mere
such
since
to
but
and and
and one of
on the
or
juxtaposition,
of
and respectively.
obvious
himself
of
and in
of
an anti-climax
use
reserving
while
but,
and
and
is
but
prolific
function
function
only
contrastive
nothing
The paragraphs
between
It
the
and,
or yet.
and,
is
Ford's
66 makes
the
or
antithesis
it.
preceding
to
of
paragraph
second
65 -
Besides,
by Conrad.
" followed
the
use
of
connectives
a characteristic
passage
(i)
had its
The Church choir
dance to which
annual
but the perverse
she was invited;
creature
cared
Her mother
not for dancing.
did not seek socidid not appear
to require
it.
ety,
Nor did
Hilda
feel
the lack
acutely
She could
of it.
her need.,
not define
All
she knew was that
youth,
moment by"moment,
down,
was dropping
inexorably-behind
her.
And, still
in
a child
heart
and soul,
she saw herself
ageing,
and then
Her twenty-first
aged, and then withered.
birthday
was well
above the horizon.
Soon,
twenty-ones!
soon, she would be'over
And she
That was it!
was not yet born!
She was not
If the passionate
yet born!
strength
of desire
time would have stood
could have done the miracle,
in the heavens
Hilda
still
while
the way
sought
6
of life.
And withal
and indicates
first
The
The urgency
thoughts.
by
the
aged
two
and
following
then
the
woman's
the
and of
(1)
she was not
in
the
of. Hilda's
thoughts
is
the
-.,",-,,The, shortness.
In. And she
agitation..
Bennettt'1913".
turn
conjoining
signalling.
-
(pp.
unhappy.
a dramatic'.
and's
withered".
transition,
vjh.olly
two
woman's
secret
further
emphasised
clauses
of
the
clauses
was not
yet
born,
a return,
0
-to
8)
7-
the
"and
then
parallels
-we meet
preterite
with
after
354
two
of
sentences
the
of
reporting
to
similar
purposes
to
restricted
Bennett
more
are
significant
thing
the
in
transition
of
not
clause
or
Conrad's
Besides,
does
that
only
we do
phrase
factors
as
is
words,
other
Conrad.
of
for
this
that
triple
on the
insistence
that
passages,
descriptive
speech.
reported
her
connectives
remains
In
mere
regarding
his
use
fact
the
characteristic
sentence
to
seems
the
relate
two being"a
the
thoughts
anxious
to
seeks
and
one,
preceding
woman's
of
cases
and butts
and's
the
Conrads,
Bennett
in
find
even
or
young
Although
isolation.
not
to
last
That
past.
introduces
it
passage
future
in
obtain
Bennett's
case.
holds
The same remark
The
The River.
Over
for
good
following
Galsworthyts
practice.
is
(1)
passage
typical:
In
"
tantalising,
All new, and rather
unexciting,
No rest!
Certainly
none in the
satisfying.
the wide verandah
house with
she had
white
At first
occupied
she had enjoyed,
at Kandy.
if
then she
then she had wondered
she enjoyed,
lastly
had known she was not enjoying,
she had
hated it.
And now it
was all
over and she was
the ash off her cigarette
back!
She flipped
herself,
stretched
and the fantail
rose
and
(pp.
15-b
flutter.
a
with
the
After
1ast1
the
to
practice
that
is
, and
perfect
variation
stylistic
to Conrad's
(whether
such connectives
of
due not.
(1)
function
ä rare
explicit
the
transition
the
from
the
a.
the and's
Still,
that
of
conjunction,
occurence
in
Conrad
or asyndetic)
past
concerned,
occasions.
than
i. e.
sentence,
character
been called
what has recently
third
for
and
whom
are the-moans
of
the musicalisation
the novel.
This
in
about
of
on like
ensues is
that
the
effect
present
have no other
the monotony
bringing
to
used
fictional
similar
follow
on and of
brief
comparison
proves
that
so much to
the
higher
as to
the
way-he-manipulates.
his--works
Galsworthy
,
1933-.
frequency
Conräd's
singularity
of, particular
them
for
is
connoctives
purposes
quite
355
level,
for
Conrad
phrase
or
clause
isolation
syntactic
and repetition
ellipsis
in
and close
triple
transition,
of
parallelism,
put
novelists
on the
purposes
that
connectives
contemporary
co-ordinators
structural
emphasis.
the
but
and or
his
of
Asyndetic
friends.
or
those
from
different
are
by himself.
a class
S
that
The question
Conrad
objectives
tice
of
touch
for
his
of
that
conjunctival
this
in
his
his
artistic
practo
practice
a colloquial
style
incorrigible
arts"
reader
an artist
would
not
penchant
for
lines"^(1).
Ford,
simply
Preface
art
"must
the
colour
of
- which
is
to
of
music
that
means
Conrad
must be organized
this
is
the
all
sculpture,
ordered
him in
into
movement that
the long
such as Conrad haphazard
"hear
run
recording
to
strenu-
the
was aware
something
gives
pleasure
and feel".
of one's
For
impressions
do.
becomes more convincing
us about
of
Darkness"
were
He also'
1924
joint
:
mentions
199
in
the
preoccupation
not--very-
timer, to. turn
a short
'
their
when he, once told
that
remarks
"Heart
it
that
suggestiveness
This
and helps
The argument
Ford tells
magic
).
theory
of
of impressions
dince
order,
to the
the
in
philosophy
plasticity
(p. ix.
any series
like
(1)
this
give
to satisfy
the
advances
the
to
and to
painting,
tried
to
impressionistic
Conrad
aspire
ously
of
are
he overindulges
effects,
the
What
descriptions.
The Nigger,
thus
that
but mainly
of some sort,
Defining
art
believe
this:
through
achieve
rhythmical
certain
produce
to
seeks
I
his?
now is
arises
with
Conrad
far
light
that
off
a paragraph
into
how he and
Conrad
rhythm.
whole
blank
of what
Ford
"passages
verse
Conrad
docasyllabic
used
to
argue
356
the
over
of
number
is
testimony
Ford's
that
Conrad
This
is
Ford
Conrad's
elaborated
is
greatly
admired.
feeling
for.
should
ciously)
in
rhythm
his
On the
is
""music
is
music
critic,
the
later
Shand makes it
"merely
cadenced
In
help
this
dictated
since
I
have
The Rescue
rhythms
him produce,
peculiar
use
made it
already
Conrad's
most
(1)
Ibid.,
pp.
(2)
Curle,
1914
(3)
(4)
Shand,
Ibid.
1960
%
rhythm
(2).
his
sentences"
much in
he dislikes
about
A third
Conrad's
too
stylistic
love
Conrad's
the
with
(3).
A little
when
style
and beautifully
word-painting
few pages I shall
does
device
a
thrilling
(k).
This
that
It
strains.
harn-like
"is
opulent
Conrad 's
and
some of
of
that
for
following
effects.
mical
uncons-
or
that
individual"
Conrad
clear
sentences"
connectives
Ford
mysterious,
a Latin,
attribute
that
a striving
the
is
intensely
would
fact
sound
is
of
Conrad's
English
older
romantic,
There
and the
words
the
-
is
Shand,
of
it
that
assume
believes
Curle
enlargement'of
race.
which
mannerismSto
writer
paragraphs"
(consciously
be reflected
altogether
prose
John
to
although
great
to
proves
language.
that
us
he was "a
then
Richard
mere
another
Conrads
of
closings
natural
hand,
the
a new music
of
peculiarities
it
own works.
other
not
because
faulty"
singularly
It
us,
for
(1).
Racine
of
when he tells
whose "polyphonic
prose"
verses
prosodic
means
actually
"were
ears
the
to
certain
importance
great
of
was alive
what
in
syllables
at
aimed
201. - 2
:
15
try
among other
mean that
not
of
conjunctival
arranging,
in
things,
certain
conciderationc
on the
connectives
clear
to show how Conrad's
the
is
correcting
or
of
novelist's
linguistic
practice
rhyth-
first
adding
rhythm
part,
analysis
of
and
fore-
now details
357
the
to
That
such
blind
writer
should
a process
the
us to
far
to
wants
more
to
convey
in
result
occasionally
rhythmical
certain
acquiring
not
the
impressions
qualities
is
important
objectives
a side
the
reader.
the
prose
issue
that
his
of
should
impres-
(1)
sionism.
This
balanced
how asyndetic
is
co-ordination
produces
carefully
phrase:
light
that
dazzling
While the sun shone with
it
in which her love was born and grew till
firm
her whole being,
she was kept
possessed
by the mysterious
in her unwavering
resolve
her
heart
desire
filled
of
which
whisper/that
longing
the
darkness
ifspatient
for
with
danger
the
the
of
mean
end
strife,
and
would
the fulfilling
beginning
of
of happiness,
(A. F. 147)
the completeness
love,
of life.
four
The underlined
parts
phrases
can
be divided
into
Postmodifying
prepositional
(of + modifying
noun
phrase
end
of
danger
happiness,
the
beginning
i
fulfilling
of
of
love.,
the
/completeness
of
of
life.
the
constituent
as follows:
Head noun
the
their
The numerical
6 respectively..
they
order
of
in
syllables
A close
look
in
at
the
the
four
head
and
i
strife,
phrases
noun
phrase
phrase)
is:
phrases
7,8,6,
will
re-
veal
that
(1)
feature
I take rhythm to be a sinaqua'non
of verse,
whereas
in prose it has to be fished
out, so to speak, in passages
balanced
the
movement of certain
phrases or clausoa,
where
isolation-of
the
certain
syntactic
or
parts of the sentence
tend to induce a lilting,
Being
effect
suggestive
of rhythm.
English,
native
of,
non
speaker
prose rhythm having by
a
_and
almost general consensus of opinion
something
subjective
discussion
it,
hero
to the role played
restrict,
my:
about
--I
in, the overall.
by connectives
rhythmical
pattern
of Conrad's
works, which is, needless: to say, the outcome an much of
factors
connectives
as-of-other
not dealt with here.
are arranged
a rising
numerical
order
of
38
2,4,4,4.
syllables:
of-phrases
postmodifying
order
5,4,2,2.
lable
in
the
phrase:
position
is
Variety
phrase:
happiness,
in
the
the
these
of
and
of
then
noun
and
position
in
the
the
the
A cursus
six
is
syllables)
seems
cadence
4-1
of
in
of
to
be in
the
in
in
Conrad
balanced
ordor
full
6-4-1
typo
of
-filling
obtains
with
mentioning
(typical
cadence
the
of
worth
striking
tardus
third
juxtaposition
this
type
the
of-
i
fulfilling.
the
It
native
of
to
more
phrases.
in
the
in
second
co-ordinator
strife,
life.
the third
containing
besides,
is
syl-
this
results
syllabic
stressed
phrase:
(each
tho
strongly
once
through
an explicit
There
of
lovo
.. ginning
of
('--'--).
Connectives
this
head
preceding
(1).
to
recedes
phrases
here
happiness
of
and
two phrases.
from
that
we find
the
advances
the
last
danger
that
note
enumeration)
leteness
..
of
absence
muster
end
in
of
a decreasing
i
beginning,
two
longer
cases
the
in
maintained
last
relatively
that
are placed
ing
follov:
further
well-balanced
the
this,
second phrase
noun
of
to
We also
the
head
As opposed
are
passage
also
for
responsible
the
rhythmical
quality
from An Outcast:
Those were the delights.
of his life,
and he was
to conceive
that
the moral
unable
significance
interfere
of any act of his could
the vorv
with
dim the licht
of things,
nature
could
of the sun,
the oerlume
could
destroy
of the floyvers,
the
his : rife,
the s^i1e
submission-or
of his child,
the a:: e-struck
respect
da Souza. and
of Leonard
the Da` Souza family.
of all
kp. j)
The role
(1)
This
played
is
by connectives
the name for
in-the
certain
rhythmic
rhythmical
pattern
sequences
of
the
which
passage
occur
throuGhout
frequently
numerous
prose,
and especially
at emphatic
places,
either
and are used,
consciously
or unconsciously,
more-effective
because
they appear"to'be
than others:
In highly
rhythmical
prose they occur
with
such frequency
that
they
ofton
All cadences
begin'on'a
overlap.
ctronGly
stressed
syllable
both
contain
and
strong.
and weak syllables.
Like
they
motor
cut across words.
Cf. Tempest, 1930
: 133. ; see also
PP-73-103
359
becomes
clear
down into
their
Predicate
(verb)
constituent
with
the
very
the
light
the
destroy
could
clauses
and phrases
parts:
dim
could
underscored
Head noun
interfere
i
could
the
when we break
of-phrase
phrase
nature
things,
of
the sun,
the
submission
i
smile
the
awe-struck
respect
0flower,
the
of
perfume
the
of
i
wife,
P
child,
of
his
of
his
of
Leonard
Souza
i
the
do
and of
Da Souza
/-
family.
Ellipsis
; and then
remaining
identical
is
eliminate
repetition
the
lexical
interfere
by
second
in
monosyllabic
noun
modification,
range
are
respectively,
in
the
.
fromthe
is
in
On the
monosyllabic
other
the
as against
head
turn
by the
modified
intermediate
in
three
the
This
noun
light
is
troika,
despite
clauses
the
in
both
of
the
through
pre-
These
the
first
very
such
phrases.
the
in
replaced
attributives
lack
verb
phrasal
replaced
hand,
this
In
Thus,
is
from
three
we get
first
' There
which
could
and verb
running
the
syllables.
dim
phrases
in
different.
four
dim,
techniques.
of
eliminates
phrases.
clauses
and
could
destro
disyllabic
head
is
that
conjoined
phrases
which
subject,
is
connec-
of
obvious.
could
both
a variety
each
the
clauses:
three
auxiliary
containing
awe-struck
however,
the
with
by the
last
and
the
through
of
verb
by
is
process
The result
clauses.
created
the
and
to
between
order
variety
third
proceeds
factors
main
passage
elliptical
the-two
followed
the
of
of
clauses
balanced
rhythm
subject
three
the
are
progressive
co-referential
destro
the
this
is
there
First,
on the
impact
Their
tion.
the
co-ordination
and asyndetic
last,
disyllabic
all
3 60
/"1
to
perfume
his.
as
such
the
to
is
it
the
reader's
like
include
--i
of
mission
..
This
case
is
family
his
of
to
propensity
the
of
prose
is
which
wife
with
of
cursus
things,
light
cadence
is
isolated
syntactically
this
the
arrested
In
the
most poetic
pleasing
(1)
in
of
part
it.
over
planus
cursus
last
it,
following
the
balanced
pointed
Tempest
a) Cursus planus
planus,
instances
and
would
it
in
this
in:
over the
and now
sentence
from
gives
'--'-
"Youth",
connectives
phrases
out on p. 351
divides
these
Extension:
"'---'b) Cursus tardus_'--'-'---'-Extension:
'--'-'c) Velox
In addition,
on strongly
sun,
arr_ ested
modifier
quotations
the
Extension:
cursus
(effected
read:
through
and now hung
us a case of
arrested
works,
As already
places.
and
up in
reflected
also
the
of
of Conrad's
of
as
hear
Other
the
of
The way Conrad puts
over
effect
of
tardus.
modifier
isolation
syntactic
comma) the
novelist's
""see,
shows
a case
An immense cloud had come up running
looking
heavens,
for the craft,
as if
(R. p. 42)
hung over it,
arrested.
Without
the
(1).
preoccupation
the
structures
a way as much informative
innate
flower
to
this
pronouns
parallel
testify
group
the
alternate
and possessive
seemingly
in
a case
nature
the
nature
the
of
perfume
cadence
of
cadenced
the
as through
syllables
the
each
impressions
to
Da Souza
while
in
his
The highly
phrases
of
arrange
of
like
in
constituents
pleasing
feel".
number
Such variations
various
desire
the
to
applies
also
as much through
assured
determiners
between
alternation
is
in
and increase
decrease
This
submission.
variety
where
of-phrases
of
trisyllabic
the
are
and
there
are native
stressed
syllables)
perhaps
conducive
to the
the
clauses:
supra,
cadences
occur in emphatic
into
three
classical
modols:
(counting
from the
(syllables
are no.
(6-2)
(6-3)
(7-3)
(7-4-2)
'---s-'-
is
which
end the
5-2)
strong
(8-4-2)
(beginning
cadences
and ending
Cf. Tempest,
1930 : 82
- 102
361
day after
interval,
(p. 10)
It blew
without
rest. "
from
Apart
gether
three
the
prepositional
and
without
the
But look
process
eliminating
interval
noun
modifying
the
whole
the
syllables.
is
made up of
is
of
night
three
the last
of
order
stressed
syllables
purpose
storm
coming
of
this
alternation
noun
phrases
in
the
there
phrases
interval,
the
Ahilo
puts
adverbial
is
in
an emphatic
between
howl,
(most
the
of which
the
balanced
is
nöl
noun phrases
in
as the
the
of
(which
abounds in
inherent
and
as well
are monosyllabic
tension
nevertheless
and water
sentence
movement
monosyllables
tuniült,
the modifying
that
the
phrases:
where variety
sea (two monosyllables)
of portraying
is
strongly
words)
the
serves
depicted
scene.
The tension
storm
in
there
was
of wind,
water
after
nit
but
the
howl
the noise
of
(p.
10
night;
after
The fact
disyllabic).
transpires
syllables,
that
phrases
in:
structure
syllables
wind,
of-phrases:
the
the
in
disyllables
factor
three
phrases
three
of
semantic
without
monosyllable
followed
conjoined
through
maintained
rising
parallel
day,
Day after
In
of
and the
Repetition
the
the
of
to-
clauses
way the last
careful
day and night
Day after
the
round
nothing
ship
the tumult
of the
sea,
her deck.
over
pouring
from
them.
linked
sentence.
The same process
Aside
two
constitutes
gradation
we end up wit; ha
rest
end to
blew
the
of
follow
at the
The downward
placed.
without
that
is
sentence
structures
'verb
lexical
of connection.
are
parallel
phrases
the
the
co-ordination,
asyndetic
through
day:
It blew with
spite,
without
mercy,
without
is
also
example:
surrounding
maintained
in
the
the
Judea's
conjoined
attempt
lexical
to
weather
verbs
in
the
the
362
In two days,
blew a gale.
it
The Judea hove to,
wallowed
like
an old candle-box.
day, etc.
It blew day after
Asyndetic
critical
impression
a fact
the
which
storm
'(each
conjoins
novelist's
third
the
in
desperate
ship's
The process
of
explicit
is
first
three
(each
of
the
the
in
The element
of
of
of
abundance
cession
balance,
description
the
of
Moreover,
the
two
in
of
pattern
imita-
rhythmical
is
also
attested
to
preference
the
where
markers
of
asyndetic
at
the
The use
.
end,
thus
the
Variety
the
of
the
-'
three
riveting
is
of
the
which
to
the
in
occur
reader's
_t
the
fore
in
would
the
in
variations
kept
and
in
phrase
of
_ii
of
that
adverbial
_et
tension
use
effected
fronting
the
also
the
thing
is
the
of
through
syllables,
Notice
and
structures
about
and).
sentence:,
surprise
parallel
as through
third.
the
the
foregrounding
monosyllables,
the
information
of
day the
next
skydown,
the leak
and
went
six
as well
the
pattern
stress
the
syllable
brought
mainly
absence
clause,
clause
that
containing
through
place,
second
is
three
in
is
note
clauses
the
obtain
nate
in
used
morning,
and as the
sea
(p.. 1k)
to
thing
first
first
in
the
leaves
and one light
gradation
before
It
eased
cleared,
took
up.
not
hanging
faulty
in:
co-ordination
The
the
give
movements.
syllabic
co-ordinator
par
co-
absence
relief.
strong
on. a level
its
further
into
puts
one
containing
are
the
to
an explicit
would
fate
ship's
the
emphasizes
whereas
an end,
return
sentence
succession
ting
the
of
10)
conjoins
to
coming
question
critical
two
Atlantic
sentence
For
the
tension
the
of
(p.
central
ship.
and between
like
ordinator
the
the
of
condition
whole
in
co-ordination
on the
_,
subordithe
to,
_1
through
immediate
attention
fie
an
suc-
on the
imparted.
of
the
and of
transition
in
the
following
example
from
363
Jim aims at relaxing
Lord
attention
the
to
words
four
the
from
tempo of the prose
and
emphatic
temperate
more
five
or
rushed
the
tone
le
years
two
After
entering
and
regions
found
The movement of the rhythm
the
first
syllable
of'the
participial
occu
(the
falling
the
and prevents
two
two
strong
one notes
sides,
e.
mainly,
how the
clash
words
of
the
the
a light
and
to the waved rhythm
e.
a strong
the
while
by a weak
lightly
strongly
sea,
to
The same applies
followed
the
of
ones),
adventure.
(L. J. p. 10)
by the rising
of
(i.
by and
his
of
consisting
is
use
barren
as opposed
light
to
characterised
introduced
or more
sea,
known
strangely
-'),
syllable
related
closely
The Arrow
three,
comprising
to
went
well
further
succession
clause
between
ing
is
he
so
them
(i.
part
in
strong
If
-#1
training
of
the
imagination,.
nature
chunks
syllables:
I--
of
and disyllabic
monosyllabic
larger
of
by shifting
last
stressed
is
part
I-).
one
stressed
syllable
Bein
syllable
the
syllables
in
sentence
from
entering.
use
and in
of
this
Gold:
of
hands
his
the
hilt
resting
on
of a cavalry
...
sabre - and all around him a landscape
of
(p. 8)
savage mountains,
and the
the
Without
(the
first
with
a strong
while
for
ending
on a strong
one)
the and. in
would
sentence
ing
the
from
last
of syllabic
two
parts
in
a jerky
Agent,
of
the
of
landscape
units
The Secret
just
syllable
a cadence
velox
sabre,
clumsy
such
eliminating
bre,
'and a cursus
sa
cavalry
produce
to get
the novelist
Variety
two phrases:
the
sentence;
as the
second
on the
effect
makes it
type
of
I__'
him
around
effect
and cadence
where
all
in
begins
reader,
possible
cnvalr
savage mountains
also
and is
the
obtainsin
means of
this
conjoin-
3 64
The door of the shop was the only means of
to the house in which Mr. Verloc
entrance
of a seller
of shady
on his business
carried
his vocation
of a protector
exercised
wares,
his domestic
of society,
and cultivated
(p.
5)
virtues.
two
The last
into
can be subdivided
question
constit-
like:
uents
lexical
phrase
noun
verb
exercised
cultivated
and
in
clauses
his
vocation
his
i
domestic
(double
of-phrase
of
genitive)
14 society,
-of
a protoctor
virtues.
is
in
this
it
and those
four
this
and
five
of
the
velox
cursus
is
4 2.
It
this
marked
syllables-to
between
correspondence
(r___I_'_)
his
--yated
in
run
use
units
of
--tector
(ý---I-),
virtues
of
of
there
Besides,
planus
domestic
the
between
alternation
cursus
clauses
that
obvious
continue.
the
two
the
is
society
and
respectively.
is
When all
balancing
of
is
phrases
this
subtle
The
retrains
that
that
following
is
in
Conrad's
use
of
examples
from
identical
in
it
is
fiere
relief.
sharp
phrases
in
the
An
an instance
everything
the number of syllables
in
variation
fact
clauses
and
into
fact
adjectival
of postposed
the
striking.
quite
throw
outcast
and done,
said
parallel
connectives
the
for
possible
in
units
syllabic
3454,5
order:
and makes
the
that
be noted
to
It
except
for
each unit:
seemed to him to be something loud and
10
like
stirring
a shout,
silent
and--n Qn7etrAtina
It
like
Ia
the
following
combines
anced
with
phrases
of
asyndetic
and
clauses
ý9)
however,
quotation,
a new part
eliminating
(p,
an inspiratiön.
the
sentence
co-ordination
at
a progressive
the
with
in
end of
each
bringing
the
case of ellipsis
new movement
about
sentence:
And he lay there,
dreamily
contented,
in the
tepid
and perfumed
thinking
shelter,
of Aissa's
the sound of her
eyes; ',
voice,
the
- of her lips
quiver
her
frowns and her
smile.
(P-75)
the bal-
3 65
The participle
the
construction
sing
movement,
The
smile.
the
the
of
and with
and the
participle
sake
heightening
to
conducive
and
the
for
her
and
frowns
her
second
the
both
abandoned
are
the
after
fourth
the
of
onslaught
phrases:
dropped
is
of-
conjoined
both
is
gradation
emphatic
noun
ending
pleathe
of
sentence.
Far
in
the
early
lilting
tional
tension
ject.
'I
potentialities
rhythmic
to the
reader
sentence
level
--w
the brook
Tell
not to run to
the river
Tell
not to run to
Sneak angrily.
Speak loud.
obey you.
will
There
(each
sentences
balanced
there
is
the
in
the
loudly
and
how the
also
loud
adverbial
an ril
The
.
He that
lexical
of
such
to hurry
to
Apart
from
structure
as well
the
the
river
rhyming
of He that
in
which
of
(river
cares
as the balanced
the
very
not...
river
he is
the
lost
between
sprawling
he
for
sentences:
that
mountain
-
river,
adjectival
springs.
ever....
there
is
he that
tears
the
the
conjoined
movement of
also
Besides,
ever),
-
opening
rhyming
two
from which
earth
destroys
it-
to
faster
is
the
for
with
gave him life
tears
the
he that
Tears it,
eats it,
sentences:
two
tell,
as
inevitable
ends
the
inevi-
utterances.
opts
prevent
for
not
cares
the
There
items
passage
on
four
between
novelist
to
the
opening
fourth
and
the
connectives
with
syllables).
third
the
repetition
Notice
of
ten
of, the
the river;
the sea.
Maybe they
parallelism
structural
containing
movement
speak.
form
the
first
is
sub-
by referring
play
the
Take
emo-
his
with
discussion
various
into
called
are
of
situations
connectives
entailed.
results
rhythmic
brief
on page 254 where
passage
and clause
this
their
with
involvement
Conrad's
of
in
rule
authorial
conclude
(especially
style
such passages
the
are
effects
as well
Conrad's
development)
or unconscious
might
in
exception
his
of
phase
unmistakable
table
the
being
from
the
parallel
earth...
clauses:
etc.,
tears
366
it...
eats
it,
etc.
Notice
plenty.
it,
tears
to
not
of
impair
is
cases
like
factors
Conrad's
to
"stand
is
statement
parallel
first
structures:
there
it
and
this
in
interplay
the
is
tears
clause
it
the
following
and
similar
of
connective
repetition
ellipsis,
and
`The
novels,
the
use
excessive
of
Shadow
now is
too
him
the
virtuoso
of
and
the
For
to
this.
is
The
Arrow
"
(1).
The
could
the
other
in
to
be as
passage
hand,
the
The point
imparted
colloquialism
his
perfectly
swing
Gold.
Stevenson,
is
virtuosos;
of
1913,
while
himself
full
July,
style",
colloquial,
On the
in
than
but
Conrad
of
colloquial
of
there,
20th
it
style
his
Marlow
at
through
connectives.
of
startling.
Vol.
mind
towards
Line; ' and
II,
is
interrupted
"if
exaggeration
",
in the following
L. L.,
here
witness
dated
public
notorious
Chance when Marlow
who accused
the
interpreted
touch
colloquial
Knopf
Alfred
untrue.
degree
of
the
style
to
most
can be also
connectives
his
tending
bears
theory
peculiar
(1)
the
of
result
be "clumsy
as the
An Outcast
himself
the
he that
clause
Moreover,
effect
a conscious
totally
not
super-literary
is
between
much nearer
and
straight-forward
It
balance
a letter
he saw to
own style
In
the
to
who was super-literary,
issue
of
giving
In
needed.
he claimed
from
subject
use of
excessive
own way of
badly
the
in
found
co-ordination.
asyndetic
his
as
etc.
parallelism,
structural
of
is
the
squeezes
it..,
the
undoubtedly
items
sequence
The lilting
structures.
parallel
novelist
balanced
destroys
it,
ellipsis
order
'
also
eats
deliberate
in
how the
highly
new
a
tears-into
of lexical
Repetition
Marlow,
the
manner:
p. 147
only
narrator
by one of his
by way of
tells
audience,
putting
us,
things.
defended
367
I
dear
fellow,
things!
My
'My way of putting
business
the
verof
rags
have merely
stripped
jargon
financial
off
my statements.
biage
and
the
I
you
naked
giving
am
And you are startled;
itself
lays
too that
true
it's
nothing
truth.
than
the
to
more
of
exaggeration
charge
open
What comes with
the language
of naked truth.
difficulty.
But
is
what
with
admitted
a shock
his
it
the
to
of
career!
end
you
say
will
the
Bank.
the Orb Deposit
under
began with
the
de
Barral,
institution
that
with
name of
had
unimaginative
man,
frantic
of an
obstinacy
been financing
who was proseprince
an Indian
for
number of scores
an enormous
claim
a
cuting
his
lakes
of
remnant
ancestors
miserable
of
-a
it
thing.
that
And
treasures
was all
of
sort
(p.
80)
enough.
authentic
two
have
explicit
Here we
In both
but.
Judging
by
of
the
use
language
of
the
life.
daily
use
it
The
same thing
to
applies
with
but's
and
tive
such items
to another;
stylistic
but
in
less
more
educated
transition
of
speech
should
literary
still.
function
typical
of
classes,
everyday'
where
and's
In
speech.
from
one tatse
like
characters
in
by and or
used to add the
deliberately
are
speaker
replaced
is
the
of
no concessive
this
where-
.: arlow
descripfinal
sequence
no such
obtain.
effects
The speech
the
conversational
or effect
the
that_a
can be easily
it
Again,
the
among
to a tableau,
touch
has
which
are used to connect
passages
of
it,
about
typical
more
unusual
not
place
but
altogether.
especially
speech,
in
Indeed,
above passage.
dispensed
is
It
occasions
on similar
is
same function
appropriate.
touch
literary
an unmistakable
performs
as and which
the
has
the
occasions,
be more
would
still
and
concession.
on both
it
precede
conjunt
concessive
for
used as an agent
that
sentences
however,
Still,
and is
cases
the
connecters:
used twice
is
and which
the narrator
of
in*Thc
Shadow Line"is
replete
such connecters.
He had,
sie.
it
seems,
been
meditating
I began to pity
him profoundly.
to make as little
which I tried
as possible
I
said
that
I
upon
them
And in
sarcastic
was glad
he had
ever
a tone
found
with
36&
to occupy
something
his
(p.
hours.
morning
20)
Office.
for the Harbour
This
'Good lord;
must
into'.
be looked
he was right.
But I've
Strictly
speaking,
had much taste
for investigation,
for
never
that,
up and all
people
no doubt,
showing
ethikind
And my view
of work.
meritorious
cally
(p. 27)
was purely
of the episode
ethical.
All
as if
a page of a book had been
at once,
turned
over disclosing
a word which
made plain
before,
had
that
I perceived
that
this
gone
all
had also
than an ethical
matter
another
aspect.
I did not move.
Captain
And still
Giles
lost
his patience
With an angry
a little.
his back on my hesipuff
at his pipe he turned
tation.
But it
(p.
was not hesitation
on my part....
In
r
the
two quotations
first
finally
item
this
constant
because
of
characteristic
the
the
of
the
presence
between
alternation
used in
In
respectively.
and still
superfluous
and is
easy-going,
ands,
closely
place
third
of
of
and is
But is
and other
connected
like
adverbials
instance
still.
but's
a$)
a
not
connectors
nature
of
every-
day language?
However,
lar
positions
to
say that
are
colloquial
sweeping
generalisation.
junction
for
in
all
the
Conrad's
in
Take
following
nature,
for
connectives
would
instance,
quotations
occupying
simi-
be an unjustifiable
his
from"The
use of
the
Shadow Line:
She was an eastern
inasmuch as then she
ship,
belonged to that port.
She traded
among dark
islands
on a blue reef-scared
sea, with the
Red Ensoign over the taffrail
and at her masthead a house-flag,
also red, but with a green
border and with a white crescent
in it.
For
an Arab owned her, and a Syed at that. " (p. 4)
His alms-giving,
I have heard,
was most extensive,
covering
almost the whole archipelago.
For isn't
it said that "The charitable
man
is the friend
(p. 5)
of Allah? "
day long,
All
he could
at sea or in harbour,
be seen walking
hastily
up and down the afterdeck,
wearing
an intense,
spiritually
rapt
expression,
which was caused by a perpetual
consciousness
of unpleasant
physical
sensations
in his internal
For he was a coneconomy.
firmed
dyspeptic.
(p. 6)
"
con-
36ß
the
Obviously
But is
it.
semantic
becomes
more
follows
it:
it
striking.
of
absence
literary
border
on the
in
the
the
sentences
purpose
would
touch
about
is
literary
tho
and
it.
Conrad could
not
successfully
Apart
from serving
the
purposes
Conrad's
above,
the
together
various
informative
an
connectives
quote
immediately
flag.
(p.
"
-they
introduce,
k).
If
heigh-
quotations
the
in
served
fact
the
has an unmistakable
this
those
mixing
thorny
the
of
stylistic
pro-
resolve.
of
rhythm
are
and colloquialism
the
means of
descriptive
linking
In
passages.
John Shand once said:
on Conrad,
essay
his
of
elements
that
two
Still,
one of
monotonous
first
last
for
that
discussed
the
be as well
Besides,
conjunction.
formal
or
colloquial
blems
the
sentence
for
of
of
the ironic
that
remains
green
use
impact
ironic
the
the
that
the
of
view
the
"Hence
be argued
tens
in
on. the
this
in
for
of
one prece-
established
without
a
effect
and the
already
superfluity
to
is
sentence
and effect
cause
the
Indeed,
for
connection
one of
for?
of
use
the
instances
such
the
between
not
level
in
for
of
connection
syntactic
ding
function
For Conrad, always a serious
is most
artist,
in his descriptions,
serious
and seems so
the details
see all
anxious to make his readers
that he often
the picture
obscures
of a setting
it.,
instead
He is always inclined
of revealing
to squeeze the last
possible
word into
a sentence,
into
the, last';
sentence
a
ara ra h,
ossible
to
desires
be briefhe
sometimes
an-`c1when
he floes
Among the
use of
staccato
other
simile"
(1)
last
sentences.
that
things
which
inasmuch
In his
the
o
mania
word but
Shand, 1960
for
extreme,
14
first
.
short,
was Coaradts
been discussed
has direct
the
to
Shand objected
descriptions
also
and writes
(. L)
us most is
as it
:
er
has already
What interests
chapter.
statement
the
to
the
underlined
bearing
Conrad
word into
in
the
"extreme
previous
part
of
Shand's
on connectives.
could
the
squeeze
most
not
sprawling
only
of
370
-sentences.
it
that
is
far,
other
to
over
given
arrival
They came covered
rags
with
grime,
This
he
the
sees of
dirt
or
new detail.
every
with
level
Conrad
covering
soot
between
other
utterances
the
the
to
The
he sees
the
on
momentum
helps
preserve
On similar
does
thing
but
gathering
occasions,
hanging
utterance
main
first
dust,
with
utterance.
this
with
and then
is
be
to
he writes:
sweat,
co-ordination
emotion-packed
related
closely
he dust,
But
Patna,
covered
none
prose.
swing.
Emotion
of
sentences.
rhetorical
full
faces
the
Asyndetic
the
leave
would
in
rags.
prominence
pitch
seems
with
method,
the
narrator
dust,
with
(p. 14)
--
shovesthroi.
sweat
who is
on the
is, perhaps,
men
scrutiny
close
the
impressionistic
the
is
chapters
author
pilgrims
his
of
four
with
outburst5of
the
of
begins
omniscient
some characteristic
the
Describing
This
desire
novelist's
prerequisites
some unidentified
himself.
Conrad
main
Jim
Lord
the
run
the
of
one
by
narration
long
too
when carried
a method,
such
the
philosophy.
omniscient
but
is
which
impressionistic
of
of
in
undermines
impersonality
for
danger
The real
in
not
happen
here;
clause
follow
the
mid
air
other
long
dash:.
the
the
head
family
men
of
strong
at
parties,
-the lean old men passing
forward
hope of
without
fearless
return;
young boys with
eyes glancing
tumbled
long hair;
girls
curiously,
shy little
with
the timid
to their
up and clasping
women muffled
head-cloths
loose
in
breasts,
ends
of
wrapped
soiled
their
babies,
the unconscious
sleeping
pilgrims
of
an exacting
The main
tional
the
it
clause,
usual
ellipsis
first
of
are appositives
appositive;
the
of
connected
serving
although
and
part
sentence,
ends
function
subject
second
semantically
part
the
of
The above-quoted
phrases
be remembered,
will
fulfilling
phrases
15)
(p.
belief.
the
as the
of
subject
particulars
he has described
on such
the
of
is
made up of
to the
equivalence
they.
with
occasions.
however,
sentence,
by lexical
preposi-
subject-complement,
predicate
the
some four
with
Syntactically,
the
passengers
general
in
very
they
first
their
totality
371
as
"they"
those
who
clear.
disposal,
his
of
cases
timid
balanced
men,
strong
their
women,
the
the
only
connective
device
in
fit
would
boys,
young
Needless
at
such
the
of
shy
little
to
say
girls;
the
that
by means
together
crystal
with
balance
careful
held
are
phrases
antithetical
sure
babies.
sleeping
appositive
is
men;
old
in
pile
clear
everything
the
also
made it
not
that
connecter
Notice
apposition.
phrases:
is
no explicit
since
the
quite
co-ordination
Asyndetic
to
he proceeds
he is
until
he has
etc.,
soot,
Thus
were.
appositive
after
the
with
covered
coming
dust,
the
of
r
comma.
the
leave
now
we
If
Marlow's
speech
narrator
omniscient
we come across
the
like
sentences
and look
aside,
at
following:
kindred,
face
our
our superiors,
We return
those
those
whom
obey,
friendswe
and
whom
our
the
have
they
but
neither,
love;
who
even
we
bereft
irresponsible,
lonely,
of
free,
and
most
dear
holds
home
for
those
no
ties-whom
even
they
to
have
familiar
meet
even
face,
voice-no
the land,
dwells
that
under
the spirit
within
its
its
in
its
in
valleys,
on.
its
and
air,
sky,
its
in
its
fields,
its
in
waters
and
rises,
(p.
inspirer.
221-2)
judge
friend,
trees-and
a mute
to
Marlow's
is
sentence
kindred,
our
friends,
exactly
as in
the
those
clauses:
being
in
both
our
joins
the
previous
whom we obey,
and
Here,
again,
tween
the
superlatives:
balanced
rhythmically
the
whole
in
appositional
clause:
the
to
most
the
superiors,
free...
and
the
first
the
second
and
These
relationship
obtains,
neither
bereft
dash
co-ordinator
relationship
who have
our
appositive
whom we love;
clauses.
they
omniscient
co-ordi-
long
two
follows
our
concessive
the
superiors,
by
An explicit
friends.
by a new clause
followed
those
relationship
our
our
Then
of
asyndetically
followed
soon
example.
kindred,
two
as object:
is
this
appositional
three
ends with
functioning
noun phrases
nated
similar
The main clause
narrator.
many ways to that
in
of
and
ties.
in
turn
with
the
this
time
the
string
The
to
conare
first.
beof
emotion
372
to
continues
and
on its
and
its
a case
and
of
narrator's
perceptive
are
one and the
that
with
conclude
would
reader
same person,
in
its
valleys
in
its
waters
spirit
already
of
that
inevitable
that
both
result
narrator
distinction
asyndetic
sort
in
attested
of
the
case
that
the
and character
between
on maintaining,
friend,
a mute
and
markers
the
it
sentence
creates
the
and
keen
to.
be
seemed
Conrad
the
between
of movement
prepositional
narrator's
between
sentence,
air,
fields,
co-ordinators
explicit
and continuity
the
its
The alternation
and
its
omniscient
apposition
admirer.
co-ordination
balance
of
of
a series
in
sky,
in
the
And like
trees.
judge
its
triplets:
in
in
culminates
under
or
rises;
with
ends
until
rise
foursomes:
in
phrases
it
the
two,
be utterly
would
blurred.
To call
serving
patches"
texture
the
into
it
one hand,
On the
insistence
tor's
of
pilgrims
their
"Patna"
destitute
seemingly
hand,
other
as Conrad's
to get
at;
grasp
Even in
junctival
vely
short
the
the
the
essence
and less
practice
sentences
is
us that
purpose
of
of
marked
of
importance.
from Nostromo:
is
things
Harlow
complicated
Mecca.
and
On the
described
nature,
truth
those
conditions,
sometimes
loquacious
or reality
ultimate
shorter
are
the
of magnifying
abject
in
narra-
regarding
ridiculing
their
prophet
which
showing
purpose
as of
judgement.
omniscient
details
double
despite
of the man's
the
slightest
as well
who,
be an unfair
that
faith,
mannerism
some "purple
cramming
would
the
harangues,
way of
that
as is
the
homage to
Marlow's
the mere reflection
fied
prose
serves
people
so keen on paying
are
to
of
of
be contended
could
tenacity
sheer
the
of
on recording
the
that
but
purpose
no artistic
a mere stylistic
sentences
such over-long
be justi-
could
not
is
his
sentences,
as
always
easy c
as difficult
likes.
Conrad's
Take these
con-
two relati-
373
She (Giselle)
be
to
promised
in
brave
lace
in
far
a white
away
loved
be
always -541)
(p.
"
blue
sea.
above a
a hill
p. 543)
the devil. "
promises
she is after.
a
lace,
etc.
i
the verb the
the
relief
the
for
to the
night
already
full
phrases
like
Then
of
the
comes
Nostromo,
of
wiles
night
since
The man's
same night.
The same argument
quoted
on the
series
of
appositive
impression
sentence
would
first
of
will
give
silence
reveal
the
faulty
to
page of
this
clauses
chapter.
in
Still,
at all.
that,
the
if
impression
left
attributes
the
the
is
night
distant
showers.
the
too
dense
Giselle
by
mysterious
for
the
on that
through
self-
this
sentence
from
There,
also,
An Outcast,
we find
Wells's
view,
a close
scrutiny
of
the
clause
on its
of
appositive
highlighted
of
sentence.
puts
love
underlined
of
the
that
Giselle's
confirming
see
phrase
sentence
further
magnified
which,
the
of
all
verb
phrase
of
thus
good for
holds
after
sound
after
to
addition
superfluous
seemingly
is
position
the
further
he decide&
guilt
its
disaster
the
was not
which
in
nature
wind,
phrase
appositive
that
of
nature
of
Gusts
a white
part
impending
of
premonitions
--
away in
description
The
that
far
dash adds
by the
Giselle.
sighing
last
sentence,
second
main clause
facing
the
to
the
In
love
adverbial
and qualified
ephemeral
Capataz.
conjoined
way the
sister,
so much the
not
isolated
this
In
flirting
that
modifies
syntactically
dash.
the
to note
always
adverbial
always
the
of
unqualified
not
to be loved
interesting
is
It
Linda's
is
it
but
She wants
as the
to be loved
follows
Nostromo.
love
to
isolation
syntactic
Giselle,
phrase.
adverbial
underscored
into
a deliberate
is
there
first,
the
upon
found her with
ý-9
black
the
back,
facing
her
at
candle
the
of
wind
sound
gusts
and
of sighing
true
the
of
gulf,
night
a
showers
-for the eye of God and the
Linda,
..
a lighted
full
night
of distant
too dense
In
to
order
own,
solitude
leave
main
and silence
a
no
the
being
374
A
of
the
tive
of
malting
make it
clauses
It
inspired.
by a desperate
such
sprawling
and apposition
feature
the
but
rather
in
that
the
Conrad's
works.
to
are
can
from
characteristic
be
experienced
of
only
The fact
through
An Outcast
co-ordinators,
lexical
the
of
importance
apposi-
psychologically
as Willems.
together
sentence
asyndetic
testifies
-
which
the
whereas
solitude
man such
are held
sentences
they
and
silence
and ostracised
through
effected
quite
in
-
that
clear
not
devices
connective
is
is
jungle,
Malay
the
atmospheric
forces,
natural
or
this
a variety
that
of
connection
equivalence,
stylistic
375
IX
Chapter
VERB
THE
Ever
since
the
manipulating
who,
the
of
account
of
connotations
antic
stylisticians
overestimate
Conrad's
the
the
views
two
represent
Conrad
of
phrase
verb
examples
In his
review
departure
solitude
claiming
they
dower afar
sit
us,
(1)
(2)
in
is
wells,
Cohen,
"silence
1896
1966
:
:
the
sem-
of
there
WVells's
their
among other
in,
round
round
Language,
any one;
as Joan
two realities
and independent
,
of
1976
"On
Willems",
round
close
i. e.
on
(l)
closed
509 - 10 ; Cluysenaar
28
in
render
closed
do not
of
emphasis
sentence
objected,
of
nature
subjective
Wells
and silence
to
Both
corpus
they
phrase
are
of
novel.
convincing.
two substances,
self-sufficient
the
(one
and watch"
off
oz
potentialities
than
verb
and solitude
made up of
both
the
those
achievement
by putting
Cluysenaarj)
the
a reflection
the
since
works
An Outcast,
use of
that
of which
of
to Conrad's
Lingard'a
tells
Conrad's
more thought-provoking
judgements
it
of
betray
them,
Miss
are
an. ever-increasing
also
behind
in
case and one paragraph
things,
in
views
from
in
structure
extremes
stances
critical
individual
overall
Both
criticism.
the
the
in
there
of
who choose
linguistic
the
awarenessof
remarkable
manic
been
other,
Cluysenaar
seeing
achievement
has
grasp
On the
such as Miss
or
critics
method
Conrad's
verbs.
certain
hand,
deficient
"apparent"
novelist's
works
one
depreciate
to
tend
Conrads
various
On the
views.
H. G. Wells,
like
his
in
1895,
in
writing
phrase
verb
conflicting
of
subject
he started
PHRASE
the
Cohen
each
other,
: 77-81
(2)
376
These
called
are
the
Ls
:
articulated
to
object
or
the
in
either
the
deviation
from
word.
This
"right
deviant
replaced
the
powered"
or
"weighed
on. tho
as against
last
those
second
the
mind
heavily
is
doviational
level
the
aignifiant
This
parole
pp.
27 -9
words
with
round
"overwhelmed",
changing,
In
of
other
would
be
"overmeaning
other
words,
The first
literal
the
reference;
the
of
deviation
ozL
by an instantaneous
in
general.
This
R
(literal
meaning)
signifie
1
cignifie
2.
level)
paradigznaticl
level
metaphorical
meaning
Ibid.,
a. violation
schema:
(syntagiatic
(1)
occurs
by means
closed
of language
following
sense
metaphor,
reduces
alternative)
literal
this
the
its
of
ttsignifietI
two "signifies",
of
from
To reduce
of language.
of individual
by the
of
from
referred
the
constitutes
to
concept
conceive
and
like
verbs
level
idea
in.
anyone
a case
on. account
paradigmatic
can be represented
by
the
parole.
such
wo get
the metaphorical
resulting
and
meaning
level
paradigmatic
norm
resorts
upon".
one "cignifiant"
(i. e.
to
literal
In
reader's
oyntaematic
resort
the
or
the
example
the
and
usually
alternatives.
in
occurs
language
reader"
he replaces
which
discourse
is
above
""signifiant"
of
of
individual
of
the
deviation
less.
deviation
The ""signifiant"
we cannot
round
closing
solitude
the
all,
while
ttsignifieII
used
words
After
syntagmatic'level
code
word,
the
reality.
of
silence
the
of
In
between
or
on, the
of
refers.
this
(1).
the
the
word
signifigo's
contenu""
et
the
we get
world
et
sound of
incompatibility
the
of
which
novel
Conrads
to
them "expression
calls
ljemsiev
"signifiant
by Sausaure
t
377
Wells
However,
his
in
the
use of
meanings
phorical
phrase
Wells
for
opts
constitute
phrase.
Still,
Conrad 'verb
the
conclusive.
verb
is
phrase
The whole
individual
preference,
fully
referred
the
it
by
is
much more expressive
Conrad
rather
to
As opposed
Miss
by Wells,
that
this
"inadvertent
of
Conrad's
The passage
is
that
overheard
conversation
AccordinC
to Miss
coquence
The idea
(1)
(2)
is
of
that
say that
between
Cluysenaar,
tenser,
instead
that
of
the
beint
Wells
Conrad
off
using
the
this,
in
its
solitude
(1).
from
As
round"
the
from
The
of
1-1
tense
him.
norm cited,,.
Secret
in
Agent
his
departure
from
to
reactions
deliberately
past
and
and the
be expected
a
and watched"
and Winnie's
would
until
"closed
Heat's
husband
of
own merits
they
afar
one.
Failing
breast
manipulation
Conrad
the
silence
a paragraph
her
of
from
I. believes
deviation"
death
Stevie's
after
to
Inspector
doscribing
far
than
the
the
which
that
on its
Willems's
masterly
and
an antonym
compiled.
in
quotes
off
is
us
so,
that
"stood
afar
meta-
to be a question
phrase
they
than
zilt
as evidence
the
only
exist
Cluysenaar
house
is
show
will
to
outcast
Vorlocs'
Conrad's
This
context.
particular
remain
other
as
tell
analysis
will
what
phrases
context
of metaphors
examine
as well
one might
such,
dictionary
fledged
the
final
and it
verb
works.
the
the
inspector.
deviates
in
G
syntagmati
a synonym of
argument
would
in
the
seems in
thing
being
regarded
Wells's
appropriate
more
be
dictionary
No English
"stand
conjoined
might
what
the
no matter
from
Far
fault
was at
on both
may have,
two
the
round,
closed
for
them.
be one of
can never
watch"
closed
phrase
verb
Conrad
round
of language,
levels
the
as though
sound
phrase
verb
and paradigmatic
verb
makes it
the
perfect
Through a. soriec
Conrad
of independent
clauses
that the solitude
and silence
are of Willems's
81
78
1976
Cluysonaar,
:
-
in
"from
context"
his
(2).
description
makes it clear
own creation.
78
the inspector's
of
backward
which
overlap
adequately
in
of
seen
a growing
past
in
tendency
the
result
in
decided
it
Bosidec,
could
of his
thread
so much
to
awareness
which
Conrad's
on his
he
by no moans surprising
of
dinew
adding
still
thing
in
wanting
be due
might
as
to
of
English
English
since
up
picking
characteristic
be
whole
artistry
I
away,
acceptable.
merely
that
to
intricacies
the
of
is
than
the
remarkable
part
he went
linguistically
thought
still,
syntactic
he had gone away,
Conrad
other
mind
which
important
More
precision.
is
in
a description
to
details
"After
a moment of
after
or
simple
replacement
such
ambiguity
has
century
the
use
where
are
here
that
a possibility
to
and "After
a visit",
narrative,
no purpose
with
gression,
semantic
a visit",
be argued
impression
twentieth
writers
two sentences:
family
to pay his
decided
of
family
of
the
a
recurrence,
such
especially
unnecessary
to pay his
that
part
perfect,
Nowadays the
complexity.
not
past
or
Although
remains
the
on
"communicates
psychological
shock".
fact
the
of
lieu
not
would
the
states
be overruled,
cannot
I
a certain
thus
past,
simple
which
immobility
merely
not
mimes very
present
often
time,
in
the
for
opts
technique
"cinematographic"
his
highlighting
Conrad
departure,
lack
a possible
was not
grammar,
his
first
languago.
to these
In addition
two clues
on the
one hand and a stylietician
the
first
of
chapter
that
have maintained
theory"
"click
"hunch
(1)
theory"
pp. 35-8
this
supra.
the
other,
stylistic
thesis.
my approach
inter
recently
for
of
plan
adopted,
quite
and
sixties
the
in
implicit
factor
is
there
is
analysis
developed
the
on. the
intuitive
in
propounded
There,
it
partly
based
will
by professor
alia,
stylistic
by a critic
provided
be recalled,
I
on Spitzer's
Ullmann
in
the
in
his
by Dr.
Roger
Fowler
investigation
of
literary
texts
(1).
3 79
Now,
"The
I
Lagoon",
had
have
on intransitive
heavily
I
of
my discussion
during
types
various
to
occasion
the
in
modification
that
the
in
striking
of
observe
throughout
verbs
to be somewhat
this
find
the
depends
Conrad
whole
light
short
story.
the
of
following
by E. Fenollosa:
statement
dwell
on
have
rhetoricians
our
"I
seen
seldom
the great
that
of our language
the fact
strength
verbs,
in its
lies
array of transitive
splendid
sources.
drawn both from Anglo-Saxon
and from Latin
characterisation
These give us the most individual
their
in
lies
Their
recognition
force.
power
of
forces.
do
We
of
storehouse
vast
as a
of nature
things
that
in
English
seem, or appear,
or
not say
they
but
that
they
do.
that
"
are;
or
even
eventuate
The
question
to
denco
the
I
shall
in
enco to
the
various
the
to which
extent
Conrad's
his
of
will
be concerned
(1)
(2)
clear
The
belongs
in
the
the
Author's
second
Note
to
not
of
with
particular
they
the
section
period.
the
being
of
peculiarities
implications
"Lagoon"
cre-
(2)
be contrasted
literary
to the
of
lend
not
descriptions?
lead
will
typical
then
will
this
activities
This
is
contemporaries.
"Karain"
the
verbs,
"Karain"
with
(53 pages)
used.
practice
verbal
four
quite
forma
tense
of
intran-
prefer
some critics
linguistic
the
"Karaintl
of
categories
by
really
would
as a novelist
by examing
Conrad's
Conrad
soy
him
at
actions
begin
phrase
verb
levelled
of
a portrayer
much
And if
verbs?
charge
Does
is:
here
arises
transitive
to
sitive
the
that
(1)
volume
to
the
refer-
represent,
and
a discussion
full-length
of
of
novels.
that
with
so
the
of his
Conrad
containing
of
chapter
practice.
makes this
"Karain1,
Quoted by Rose, 1970
: 223
1969
35, quotes Conrad as saying:
"It is
Graver,
.:
that
to
be
is
descriptive
fate
my
evident
and descriptive
only.
697
in
On the other hand, Macy, 1906
702,
believed
that
:
Conrad "each description
creates
a new scene, and when desof different
criptions
and separated
places appear on the
the eye
before
of events happening
same pago, the illusion
in destroyed.
""
380
and three
Lagoon"
"The
other
short
stories:
had
I
"Karaintt
In that
story
I had only
the Archipelago,
at
it.
I
look
admit
another
the
distant
by
view,
sorbed
then that
the
didn't
notice
identical
the
is almost
with
(1)
Lagoon.
From
the
"The
Lagoon",
stylistic
standpoint
the
in
of
abounds
attested
in
my analysis
"Karain"
is
subtitled
is
at
full
Like
fied
ences
most
the
a representative
hates
the
first
as it
Conrad's
of
sailor-narrator
in
of
the
east.
the
latter
in
the
almost
"Karain"
works,
in
story
and
sixth
than
already
chapter.
about
descriptive
technique
works
begins
two paragraphs
chapters.
the
au
allLother
The opening
Conrad's
longer
impressionistic
at large
of
far
features
stylistic
reminiscing
sample
three
is
though
story,
"A Memory",
here
play
many
not gone back to
turned
for
that
I was abthat
I
so absorbed
motif
of the story
of Zhe
;no" i:
-`"'ý
with
his
past
of
Conrad.
an unidenti-
experi-
can be quoted
method
which
(2)
We knew him in those
days when we
unprotected
to hold
in our hands our lives
were content
and
None of us, I believe,
our property.
has any
now, and I. hear that
property
many, negligently,
have lost
but I am sure that
their
lives;
the few
who survive
are not yet
so dim-eyed
as to miss im
the befogged
respectability
of their
newspapers
the intelligence
of various
native
in the
risings
Eastern
Archipelago.
Sunshine
between
gleams
the
lines
of those
short
paragraphs
- sunshine
and the
A strange
glitter
of the sea.
name wakes up
the printed
the smoky atmosmemories;
words
scent
faintly,
the subtle
phore
of to-day
with
and penetrating
breathing
perfume
as of land breezes
through
the starlight
of bygone nights;
a signal
fire
gleams like
brow of a
a jewel
on the high
trees,
the advanced
sombre cliff;
great
sentries
forests,
of immense
stand
watchful
and still
over
sleeping
of open water;
stretches
a line
of white
thunders
surf
the shallow
on an empty beach,
water
foams on the reefs;
and green islets
scattered
through
the calm of noonday
lie
upon the level
of
a polished
sea, like
a handful
of emeralds
on
a
buckler
of steel.
(1)
(2)
T. U., p. vii
As elsewhere
in this
thesis
based on the Quirk Grammar.
Chapters
2,3
&7
the linguistic
Cf. Quirk
is
analysis
1974,
et al.,
as
domi-
381
truculent,
dark,
faces
too
faces
There are
faces
frank
the
of
men
audacious
and smiling;
They
noiseless.
barefooted,
well
armed and
decks
length
our
of
schooner's
the
thronged
narrow
barbarous
with
crowd,
their
and
ornamented
with
red
sarongs,
of checkered
the variegated
colours
the
jackets,
with
embroideries;
turbans,
white
charms,
rings,
gold
armlets,
gleam of scabbards,
handles
their
jewelled
blades,
of
wealance
and
bearing,
independent
had
resolute
They
an
pons.
to
we
yet
seem
and
manner;
a restrained
eyes,
battles,
of
their
voices
hear
speaking
soft
boasting
with
composure,
travels,
escapes;
and
in
murmurs
well-bred
joking
sometimes
quietly;
their
our generosity;
or
own valour,
extolling
the
loyal
virtues
enthusiasm
with
celebrating
the
faces,
the
we
eyes,
their
remember
ruler.
of
the gleam of silk
the voices,
and
we see again
that
brilthe
of
crowd,
stir
murmuring
metal;
festive,
liant,
and we seem to feel
and martial;
that,
brown hands
the touch
after
of friendly
to
hilt.
on
rest
chased
a
grasp,
return
one short
devoted
following.
Karain's
They were
people
-a
lips;
they
his
their
hung
on
read
Their
movements
to them nonhe murmured
in his
thoughts
eyes;
death,
they
life
and
of
and
accepted
chalantly
like
They were
gifts
of fate.
his words humbly,
to
him
free
when
speaking
said,
men, and
all
his
died
On
voices
out as
passage
"Your
slave".
by silence;
he had walked
though
guarded
awed
him.
him
their
They
followed
called
whispers
the
three
He
ruler
of
villages
was
on
war-chief.
the
insignificant
of
master
an
narrow
plain;
a
foothold
foothold
on the earth
- of a conquered
lay
ignored
belike
moon,
young
that,
a
shaped
(pp.
the
34)
tween the hills
sea.
and
.first
In. the
are
which
and
one
The twenty
catogory
as follows:
Transitive
verbs:
to miss,
wakot! uif
Intransitives
those,
followed
two are
be
(used
in
plus
of
lexical
a single
can be divided
timesj,
(eleven
lie
for
their
an intensive
The concept
nineteen.
verb)
lexical
verb,
to
according
have lost,
has,
hear,
learn
(twice),
verbs).
marked
especially
of
believe,
three
foam,
thunder,
by modifiers
bo und rtnnd.
scent
(nine
phrases,
an auxiliary
phrases
hold,
to
know,
arc:
stand,
verb
verb
consisting
made up of
phrase
complex
have logt.
curvivo.
(each
phrases
simpld
twenty
we get
paragraph,
of intencivo
verbs
in
bre_.athin
__
susceptibility
relationship
relationship
Of
all).
with
to boing
the
subject:
can be further
382
extended
relation
the
intransitives
containing
clauses
the
intensive
such
words,
other
to
the
to
between
innate
novelist's
to
him
enable
freedom
much
of
relief
sharp
they
activity
inert
the
as
that
throw
verbs
the
is,
him
allow
than
verbs:
verbs
nine
sort.
first,
to
hold,
to
the
complement
in
wake
three
knew,
one
up and
with
concerned
are
the
Even
used
hold,
into
per-
action
in
occurs
sense
a metaphorical
state
a prepositional
in. relation
of
than
action
of
any
action
in
phrase
functioning
up
their
and
the
abstract;
scent
as
are
respective
sub-
/
jects.
Oa the
tional
over,
gleam,
the
subject,
hand,
other
of
strand,
verbs
the
They
them
are
thunder
in
the
state
are,
intransitives
eleven
verbs.
activity
by a modifier
followed
moot
the
beg and eight
vorb,
invariably
them.
three
and
six
wake
to
transi-
words,
rather
while
have
other
verbs
two
verb:
In
of
three
believe;
express
content,
adjective
hear,
scent.
types
include
relational
verbs
activity
the
transitives
nine
lose;
misc,
to
according
cognition:
and
verbs:
verbs
The
represent.
event
activity
of
that
phrases
not
such
rather
subject
congenial
They,
adverbial
that
In
be more
to
would
just
is
the
of
and
transitives
it
state
perception
tional
the
description.
that
We can now classify
the
for
lie.
and
by it.
formed
of
seem
expression,
the
foam
intransitives
penchant
Not
adverbial
thunder,
on as many modifiers
pile
be mustered.
could
and
subject
the
in
used
and
in
a metaphorical
All
foam.
highlight
described
and
is,
Each of
or an adverbial
passage
that
include
stativo
this
the
the
these
sense
means
More-
the
majority
between
surrounding
active
is.
especially
that
relationship
than
last
phrase.
circumstances
rather
one rela-
verbs.
the
383
The second
intransitives:
are
further
be
can
two
to
return
oke,
and
verbs,
have;
verb,
throngs
four
hung,
murmur,
as
seem
phrases
read,
we have 16 activity
that
is
tone
nant
relational
place,
the
with
concerned
Karain's
that
nothing
verb
one of its
the
by the
instrumental
with
their
with
negative
of
effect
gleam
the
hoar
imaginary.
and
followed
represent
they
doviational
are
no action
verbs
crowd,
at
seem on
such
all.
on account
as hung
On the
of
five
verbs
that
realise
verbs
the
with
of
place,
focuses
subject
and
their
that,
-we notice
the
nature
of
prepositional
Besides,
activity
second
colourful
three
verb
the
activity
as the
scabbards.
We simply
feel.
Other
of
relational
Seem neutralizes
passage.
boast,
the
barbarous
has
much spotlight
a
the
made up of
and
verbs,
activity
nature
bearing
the
first
The fact
ignored
between
they
very
subject.
lay
domi-
the
In
the
means
the
by their
In
does not
subject
subject
ornamented
colours...,
the
verbs,
This
action.
story.
that
relational
Still,
or independent
foothold
instance,
one
transitives
7 activity
the
of
9 activity
call.
are
relationship
attributes.
performed
action
the
As for
for
than
state
eyes
of
plot
a conquered
throngs
verb
or
had keen
on the intensive
attention
the
in
lair
passage.
the
The
feel;
the
These
feel),
see;
be and have
like
the
to do with
out).
rather
appearance
people
(die
follow,
in
verbs
verbs
to
accept,
description
one of
seem
sensation,
boast,
(including
verbs
verb
twice),
lay.
walk,
remember,
bodily
of
out,
hear,
verbs,
celebrate,
extol,
the
event
perception
one verb
to
(used
speak
16
Of these
phrases.
6 relational
transitional
one
times),
(used
classified
2 inert
include
the
rest,
verb
complex
contains
paragraph
be
29 verb
phrases:
variegated
there
is
the
verbs
in
the
like
joke,
speak,
the
activity
on,
died
syntagmatic
metaphorical
is
out,
level,
nature.
384
Such
verbs
are
the
novelist's
say
that
on
the
his
that
seemingly
incorrigible
tical
Conrad's
the
sharpening
story
are
fourth
extends
which
verbal
examine
reader's
narrated
the
over
the
change
in
use
the
first
the
the
in
various
that
or
saying
kinsmen.
verb
of
with
an action
by
remaining
the
elements.
The opening
paragraph
the
the
chapters
Karaints
a. dramatic
analy-
advantage
of
chapters
Karain
to
in.
tell
shift
in
days.
own story,
occasional
We might
to
of
bygone
his
with
speech
see
their
as well
whether
respective
r
of
chapter
the
sets
story,
three
sailor-narrator.
from
entails
first
begins
passages
of
has
who knew
himself
three
rest
The
by a sailor
these
parts
awareness.
verbal
of
his
illusion
in
technique
paragraph
perspective
lips"",
occurs.
Karain
chapter
To
a simple-stative
the
satisfy
way of
amongst
replacing
give
on his
a roundabout
respect
to
description.
"hung
is
practice
between
digressions
descriptive
of
descriptive
the
comparison
In. the
and
that
really
action
Although
one
elements
verbal
of
for
thus
is
for
mania
out"
is
sole-function
people
"died
voices
method
whose
Karain's
had much prestige
no such
where
of
movement
Karain
a series
the
elements
appearance
Conrad's
tone
imagistic
IV reads:
the great
trouble
that
"It
broke
the
was after
four
the
of Wajo.
We fought
of
states
alliance
from afar
ourselves,
and the Dutch watched
amongst
Then the smoke of their
till
firewe were weary.
was seen at the mouth of our rivers,
ships
and
their
full
to
men came in boats
great
of soldiers
talk
to us of protection
We answered
and peace.
for our villages
caution
with
and wisdom,
were
burnt,
the people
our stockades
weak,
weary,
and
the weapons blunt.
They came and went;
there
had
boon much talk,
but after
they went away everything
their
seemed to be as before,
only
ships
in sight
from our coast,
remained
and very
soon
'Choir
traders
came amongst
us under
of
a promise
My brother
safety.
was a Ruler,
and one of those
the promise.
I was young then,
who had given
and
had fouCht
in the war, and Pata Matara
had fought
by my side.
We had shared
hunger,
danger,
fatigue,
the
385
danger
His
my
quickly,
eyes
saw
victory.
and
his
It
life.
had
was
twice
preserved
arm
my
and
And he was
He was my friend.
his destiny.
those
one
of
who were near
us
great
amongst
in
He
the
Ruler.
brother,
council,
spoke
my
he was the chief
his courage
of
was great,
that
the
lake
is
in
great
round
many villages
is in
the middle
of our country
as the heart
body.
When his
the middle
sword was
of a man's
in
his
into
coming,
campong
of
advance
a
carried
the
the maidens
under
wonderingly
whispered
together
in
the rich
fruit-trees,
men consulted
feast
the shade,
was made ready
with
rea
and
had
the
favour
the
He
joicing
of
songs.
and
the
loved
He
the
of
Ruler
poor.
affection
and
the
hunts,
He
deer
charms of women.
and
war,
lucky
jewels,
the
of
of
weapons,
possessor
was
He
fierce
devotion.
was
a.
man;.
men's
of
and
(pp.
friend.
28
9)
had
I
other
no
and
The passage
contains
the
They include
tive.
(used
twice),
of inert
one verb
activity
verbs:
was
and loved.
The
to 'the background
the
of
state
44"
of
forget
Such verbs
purposes
of
use of
times,
together
linCuistic
circumstances
Stative
by nature;
of Karain,
in
phrases
the
from
the
action.
certain
verbs
with
came, went
repertoire
of
the
act
verbs.
to use the
like
such as fought
and see*
speaker,
impe-
form
for
was carried,
or carrying
More important
of
on the
Dutch
passive
was seen,
seeing
out
concentrate
the
the
Still,
verbs
or
drive
with
it.
20 relational
people
to
concerned
all
carried
was
seems
surrounding
his
of
and seven
verbs
they
tondemcy
Karain's
fron
other
we have here
attention
resulting
the
above).
(used
preserved,
activity
that
thematication
made, shifts
repetitive
passage
aspects
Besides,
rialists.
state
are
or moral
physical
the
of
abundance
twice),
had
shared,
seem
passage
have
verb
(used
see
intransi-
17 times),
in. the
relational
given,
and the
subject
not
one should
the
perception
had
broke.
(underlined
verbs
33 are
be (used
verb
relational
include
transitives
Of these
phrases.
15
activity
and
once)
The eleven
tod
44 verb
which
Karain's
he uses
These indicate
and highlight
the
to
is
still,
was
the
three
limi-
Conrad's
386
for
preference
prolixity
density
relative
they
action
Jim
divested
to
be irrelevant,
in
less
it
have therefore
"Karain"
speech
of
levelled
a normal
if
most
in
Marlow
three
whereas
people.
among Conrad's
alone
against
person
would
action
among his
Karain's
of
about
to
evenings
the
of
was
story
thought
is
which
be reported
effectively
hours.
to pass
be misleading
practice
on the
made the
following
basis
on the
the
prestige
details
of
the
what little
passage,
on descriptions,
whole
would
verbal
and
by Marlow,
insistence
the
However,
a heap
charges
take
told
as
three
than
in
a peculiarity
would
story
its
of
Conrad's
it
that
is
Jim's
narrate
kindness
the main
One of
the
submerged
power,
be called
characters.
in
is
in
verbs
despite
Indeed,
expression.
activity
spotlight
Nor can this
Lord
of
friend's
Karain's
in
of
the
basis
of
one or
classification
first
judgement
I
two paragraphs.
the
of
one hundred
on
verbs
verb
in
phrase
the
and Karain.
sailor-narrator
Classification
A-
a fair
according
to
category
transitives
Speaker
total
number
of verbs
Narrator
100
58%
1+2%
Karain
100
69%
31%
B.
Speaker
relational
trap.
intransitives
- Classification
according
verbs
intran.
activity
trap,
verbs
intran.
to
the kind
activity
other
tran,
of
verbs
iatran.
Narrator
4
26
33
29
5
3
Karain
2
30
26
35
3
4
0
387
A clearly
Table
element
on the
other
hand,
in
verbs
the
in
in
used
verbs
the
between
Narrator
62
Karain
61
that
the
cant
reduces
narrator
minority
in
the
in
the
final
It
also
30% in
the
narrator
the
either
thrown
i. e.
narrator's
that
the
equal
activity
number
61% for
against
number
of
activity
Karain.
or
the
deviational
their
of
as
into
B,
Table
verbs,
shows
narrator,
focus.
sharper
(metaphorical)
verbs (1)
in
verbs
used
tran.
sense
a. metaphorical
intran.
total
25
14
426
of
verbs
activity
55% for
(63/)p
dialogue
latter
and
they
case,
analysis
Karain.
the
constitute
passages"
the
in
our
corpus
We can
bulk
that
of
far
the
from
at 45% of
stand
which :simply
dominant
in
elements
verbal
an insignifi-
being
the
of
say
now safely
total
means that
feature
37% for
to
the
verbal
verbs
stative
verb
phrase
Conrad.
Another
peculiar
(1)
of
Karain,
11
number
verbs
"purple
in
are
the
to
by
verbal
relational
up
almost
be
will
dominant
and
account
sense
the
that
the
into
two
as against
stative
elements
in
are
number of
total
verbs
activity
Speaker
the
add
Classification
C-
This
fact
62%
for
:
a, metaphorical
contrast
the
speech
we take
if
Still,
Karain.
narrator
32% in. Karain's.
Karain's
be
the
stative,
narrator's
equivalents
the
underlines
as against
speech
both
of
speech
unequivocably
are
which
shows
the
in
to
intransitives
important
use of
the
feature
auxiliary
of
Conrad's
would
to refer
verbal
practice
is
the
Qui
to what
his
of
The reason
the
for the exclusion
class
of these
from
verbs
is that
they refer
activity
verbs
to action
jr, the abstractwho
Thus when Karain
describes
woman
his
a
friend's
as
sister
refer
do
the
not
silences
heartsq
the verbs
reason
and ravishes
attributes:
so much to physical
to
the
action
woman's
as
one of
beauty.
extreme
388
"characteristic
Grammar call
the
to
auxiliary
happen
lavish
Conrad's
use
to
According
the
of
propensity,
himself
occasionally
attention
"was
one
of
by which
scene'',
depict
"a
not,
dramatically
In
to
last
unique
term
are
so that
Mills
a beha-
to
natural
or
is
classification,
the
Conrad's
marked
view
use
of
the
use
of
similar
recurthe
captured
the
special
of
constant
has
works
he
as
is,
of would
Still,
he means the
s
but a series
"some-
(1)
two types
made any
stri-
Mrs.
"refers
who holds
that
Conrad
'would
would
to
occurrences
(3).
we have 16 examples
"Karain"
The following
in
is
7),
a day I s. washing'
after
action".
(2).
would
have
moment
presented'
vague,
Stegmaier,
critic,
first
the
indeed
of
the
(p.
Visser
"Well',
character
the
be arbitrary"
type
latter
the
of
to
bound
by
between
"rather
later,
admits
rence
person
in,
example
typifying
as
denoted
distinction
Visser's
last
us',
like,
examples
face
a. red
the
in
would
may be understood
that
viour
Visser,
be suddenly
Language,
in
would
with
suddenly
would
typification
English
typifying
and
use of
trouble
not
of
would
consuetudinal
appearing
say,
would
the
of
"What
did
purposes
Syntax
laugh",
she would
for
in,
gun-boats
life
active
would
between
distinguishes
times
of
of
to his
meaning
Spanish
moribund
An Historical
In
king.
the
a, flicker
into
galvanized
hypothetical
a
express
one of
should
activity".
Compared
representative
of
this
peculiar
use of
would.
samples:
that,
the most
even during
we noticed
interviews,
Karain
would often
give
a
his discourse,
start,
would
and interrupting
to
sweep his arm back with
a. sudden movement,
the old fellow
feel
The old
whether
was there.
Meantime
important
follow,
impenetrable
and weary,
was always
there.
As men's names came up in conversation
he would
say, "We swam against
one another
when we were
(1)
(3)
1963 : 1709 - 12
& (2)
Vissor,
1972 : 517 - 23
stogmaier,
(p.
12)
389
the deer together
"We had hunted
he
boys; " or,
as well
use the noose and the spear
as I. "
could
Now and then his big dreamy
eyes would
roll
resthe frowned
become
lessly;
or smiled,
or he would
in silence,
nod
would
pensive
and, staring
for a time at some regretted
vision
slightly
of
(p. 14)
the past.
The
thing
remarkable
fluity
the
the
the
of
presence
of
notion
mainly
The
verbial
example
which
the
cases
use
gave
often
dreamy
ing
the
at
the
first
of
series
the
at
all
the
the
of
is,
would
(the
action
Karain
expressed
rolling
extends
would
A close
In
since
the
roll
with
Even
time
frequency
and
he mean
smiling)
eyes)?
time
of
verb
Does
the
of
its
the
or
big
clear.
smiled?
frowning
his
nature.
before
incorrect,
a
so,
adverbial
to
aspect
clauses.
thing
on the
to note
lexical
seems to be more indicative
say that
and
"He
simplify-
use
make my meaning
would
through
then
from
the
both
In
adverbiale:
far
ad-
second
served
a baffling
of
use
action
sentence
co-ordinated
sentences,
(the
grammatically
the
the
is
the
of
the
Now-and
Indeed,
frowned
verbs
the-use
of
highlight
Conrad
what
two
"
will
Conrad
actions
is
The important
auxiliary
two
habitual
start
the
sentence
a momentary
structure
of
instance,
for
to
best
arm back...;
complexity
why does
be
the
of
super-
superfluous.
would
etc.
structure
underlined
juxtapose
his
is
to
quite
each
after
this
sentence
would
action
swept
a grammatical
before
it
drop
of
restlessly,
place,
if
last
sheer
sufficient
applies
the
use
past
and
grammatical
the
in
habitual
simple
rolled
in
look
of
a start
eyes
results
to
the
of
then
the
passage,
quite
behaviour,
the
renders
first
is
same observation
now and
concept
the
often
adverbial
is
quotations
In
characteristic
phrase
the
the
after.
two
would.
auxiliary
of
the
about
would
roll
by the
his
verb
is
that
negative
verb
that
follows
it.
rather
than
of
state
eyes pinpoints
as one of
the
not
man's
of
effect
the
Would,
action.
that
To
the
much
so
attributes:
his
390
irritability.
Besides,
highlights
two important
precarious
hold
lengthy
or
means
last
This
or
concept
denoted
by
the
us
than
disliked
open
tart",
its
what
to
the
preposition
the
idea
horrible
For
of
would
practice,
he tells
warranted
the
(1)
sole
uc that
shift
example
his
of
characteristic
also
the
thing,
the
grammatical
to
of
the
space
behind
him.
if
with
favour-of
the
the
form
in
is
the
verb
the
older
40).
be worthy
followed.
here
'For
story.
such
with
another,
be
could
hide.
verbal
dispense
simple
is
with
form
sudden
view
by
predicate
Conrad's
This
striking
imagine
could
hide.
to
on
following
phrase:
in
give
start"
not
the
tendency
Other
the noun in
grammars
would
call
The Quirk
Grammar,
however,
dispense
or gerunds.
substantiv©s
the
be
simple
whole
would
front
"he
"would
could
should
of
(p.
moved not"
kind
one
inconsistencies
in
its
of
we do without
narrator's
older
Karain
phrasing
worthy
was more
stylistically
"he
for
It
and
with
tells
narrator
my opinion,
that
us
express
concisely,
In
An elaborate
the
the
11)
tells
expressed
more
Karain,
expressive
-ing
ourselves
rather
two
or
to
a verb
of
' (p.
form
one
quoting
from
or
disturbing,
one
""Karain
derived
clumsy
such
negative
by
be wrong
void
we may mention
the periphrastic
(1)
fear.,
and
be best
other
is
an open
at
plus
to and content
Of the
roundabout
illustrated
could
what
look
6).
use
when he
Again,
of
to
be more
would
space"
(p.
hide"
worthy
of
"He was ornate
depth
tendency
Speaking
resembled
Besides,
sentence:
of
grammar
be better,
would
one wonders
own.
his
the
which
verb.
it
-
economical.
more
.as
that
lexical
a dislike
First,
of
a. noun
uses
"He had 'a deslike
that
himself.
some aspects
an innate
be well
can
Conrad
idea
an
some cases
English.
point
where
examples
on
in
would
Conrad
about
expression)
in
writing
foreigners
facts
Second,
of
of
superfluity
as a foreigner
language.
adopted
the
where
and un-
of its
When Conrad
being
uses
"substantives";
cases
such terms
as
391
the
older
perhaps,
with
quialism
in
the
tells
in
form
the
the
there
(p.
spoke
not"
sort,
however,
the
the
the
form
and
testifies
English
of
(p.
191).
Willems
"was
there!
He
colloquialism
negative
style,
Arsat
me"
He was
underlining
novelist's
not
that
dwelling.
collo-
Lagoon"
sees
saying
as
simple
some aspects
of
"The
this,
or
education
She
me...
the
from
of
the
to
grasp
certain
use
not
of
Far
of
In
reported
gloom
233).
touch
literary
is
Aissa
in
lack
does
he
An Outcast,
speaker.
"She hears
narrator,
- alone
the
of
speech
in
or
underlining
of
aim
An Outcast,
And in
Lagoon"
"The
of
any
a further
adds
to
his
un-
grammar.
SSS
Conrad's
by his
ised
the
simple
of
graphs
this
fact.
past
to
least
the
the
are
time
simple
deck...
"
This
the
opening
in
thronged
constant
other.
is
It
the
the
third
of
the
simple
simple
shuffle
whose past
often
Ono important
:. ) bear
-
of
we are
which
soon
remember
past
it
second
is
paragraph,
with
our
present
between
project
the
the
schooner's
gives
and present
impressions
in
suddenly
the
to
simple
by a sentence
length
"we
para-
the
where
the
of
witness
from
statement
simple
difference
two
a simple
sentence,
and present
opening
of
present,
between
sequence
sentence
past
character-
time
effected
followed
is
story
transition
narrow.
as in
the
the
immediately
is
by an onslaught
a. novelist
the
Take
-...
on pp. 380
is
versa
"They
new sentence
The
vice
which
Hero,
present.
cases
ýý
short
dominant
or
too
his
the
quoted
these
of
most
present
reference
past,
ted
story
faces
simple
(already
expected.
"There
the
with
In
in
to interrupt
readiness
past
tense
of
manipulation
confron-
way
faces...
is
the
simple
to
a
'
typical
of
one onto
present
in
392
first
the
and
the
the
of
in,
"There
the
Unless
the
at
in
were
second
is
sentence
living
form
past
present
thronged".
men were
selfsame
the
of
"They
sentence,
the
of
subject
of
sentences
nature
deviational
here
fourth
the
the
telling
of
the
of
place
to
present
-11,
the
second
say
that
the
the
story,
use
be more
would
are
for
of
same subject
meant
the
too
faces
are
Conrad
time
is
paragraph
appropriate.
In most cases,
one
the
of
facts
our
of
to the latter's
prior
is
present
simple
desire
the novelist's
for
outlet
of
the
however,
for
of his
narration
or'highlighting
sermonizing
Speaking
existence.
as a kind
used
Karain's
of
emotions
Conrad
own story,
observes:
The necessity
him to speak.
within
Vie expected
those
lips.
his
There
him tore
who say
are
at
to
that
man.
not
a white
speak
will
native
a
but to
No man will
Error.
speak to his master;
to
him
does
friend,
not come
who
and
a
a wanderer
to teach
to him who asks for nothing
or to rule,
the
by
things,
words
spoken
are
all
and accepts
in
the
the
in
fires
of
solitude
sea,
shared
car.ºp
riverside
in resting-places
surrounded
villages,
take
that
by forests
no account
spoken
words
are
One heart
one
speaks
of race or colour.
- another
the sea, the sky,
the
listens;
and the earth,
passing;
leaf,
hear also
the
wind and the stirring
(p. 26)
tale
futile
of life.
of the burden
This
is
surely
help
cannot
his
into
to tell
past)
simple
impressions
the
already
The
simple
or
tragic
deviation
from
other
than
texture
to
the
Conrad's
the
do with
Are
story.
dominant
desire
to
details
of unnecessary
of
One
worst.
have-got
his
cram a-host
overstretched
at its
sky and wind
flagrant
this
for
(the
sequence
poeticiso
earth,
or hesitation
any grounds
tense
description
for
mania
what
wondering
inability
Karain'a
there
Conrad's
Apparently
narrative?
none.
the
speech
of one of
transposition
account
of
of
the
is
present
the
the
more
characters.
verbs
utterance
interesting
into
being
as a means
In
simple
a universal
such cases,
past
does not
time
of
the
obtain
statement.
reporting
customary
on
When
393
Hollis
the
empties
There
contents
were,
amongst
simple
present
the narrator
bag,
of his
a lot
various
of
observes:
small
a narrow
white
a bunch of flowers,
objects,
of
packet
many buttons,
a slim
glove
with
tied
Amulets
letters
up.
of white
carefully
talismans!
keep
Charms that
Charms
and
men!
that
drive
them crooked,
that
them straight,
have the power to make a young man sigh,
an
things
that-procure
Potent
old man smile.
thoughts
that
dreams of joy,
of regret;
soften
hard hearts
one to the
a soft
and can temper
(p. 48
hardness
of steel.
The use
the
of
sudden
indirect
either
the
rator
retains
their
timeless
logue
tion
which
The
simple
present
is
stylisticians)
us,
the
fictitious
the
first
person
past
"the
function
events
(1)
of
the
the
events"
preterite
:
in
this
world
42 -3
of
all,
the
narof
on account
of
dia-
narrated
the
transposi-
speech.
by
called
commonly
Kate
Paraphrasing
in
fiction,
of
the
the
Broazwaer
novel
novel,
the
here
He then
at
is
the
of
them,
is
present
in.. any novel
to any time-sphere
1970
world
characters
(1).
sentences
form.
preterite
the narrator;
of
two
regarding
tense
which
sight
a form
as it
fictitious
fictitious
past
present
narrated
Bronzwaer,
the
novels
the non-fictitious,
and not
epic
the
on reported
preterite
the
of
is
rules
chapter
by means of
vehicle
the
supreme
the
present
being
the
about
fictions
"in
to
Conrad's
theory
Hamburger's
(or
to
free
of
marks,
way through
it
a
exclamation
reporting
the
all
the
in
the
In
As such,
conform
past
simple
tells
Hollis.
or
discussed
verbs
of
by
a form
There-follows
Karain
not
is
It
reactions
charms.
reference.
does
here
constitutes
above)
norm.
heralded
and
amulets
by
dominant
instantaneous
Karain's
man's
uttered
is
which
style
punctuating
white
the
from
deviation
(underlined
the
preterite
In.
conveyed.
novel
the
constitutes
constitutes
preterite
goes on to
conveys
say that
is
not
to assign
but
'to
fictionalioe'
the
394
of
them
to
present
events
taking
them,
may,
fact
pose
the
investigation
but
nothing
the
remains
in
of
tense
in
in
pressionistic
thesis
novel
very
style"
for
turns
preterite)
to
out
be
of
to
reached
the
out
(the
pur-
reference
conclusions
but
as it
examination
special
novel,
a chain
a declared
convincing,
bear
only
can
and
of
Be this
soon
with
The
a particular
about
the
Girl.
nature,
has
which
not
indirect
"free
The Italian
Murdoch's
ceived
book
a plausible,
preterite
Iris
the
instead
(2).
order"
that
though
fiction
epic
an
a temporal
in
place
the
forming
as
author's
hardly
would
im-
are
preconto
apply
novels.
all
Conrad
many
uses
both
reasons;
cases
it
Suffice
in
Conrad
by
deictic
the
of
as a. narrative
reported
to
here
is
past
simple
mode and
say
as in
that,
linguistically
of
adverbs
discussed
speech
In
in
most
the
fifth
form
of
in
chapter.
the
to
ability
"Karain",
a variety
tense
main
novelists,
by its
marked
time.
the
as
for
preterite
be modified
we come across
examples
like
We sailed
examined
south;
we overtook
many praus;
the creek
and the bay...
The wide
sea was all
round
its
of
now has
The adverb
moment
which
of
accords
the
with
the
In
point
This
narration.
narratives.
time
for
function
following
Speaking
reference.
fact
gives
of
the
example,
of
(p.
us now.
reference
Karain,
it
we
31)
Karain's
present
a past-time
in
preterite
however,
the
reference
first-person
now has
narrator
a. present
observes,
Meantime
he filled
the stage
barbarous
with
dignity.
Some ten years
ago he had led his
lot
people
Bugis
of wandering
scratch
a,
-
to the conquest
of the bay, and now in his august
the past and had
care they had forgotten
all
lost
(p. 8)
all
concern for the future.
The preterite
the
(1)
characters
Ibid.,
this
in
case constituting
concerned,
p.
45
the
adverbial
the
fictional
now retains
present
its
present
of
395
time
reference.
is,
which
the
in
to
is
man's
say
works,
for
the
The past
lavishly
is
the
of
past
the
his
to
In
characters.
more
expanded
tense
than
form
in
case
one
passages
term
where
or
past
use
the
of
first
the
as
be is.
past
the
In
respect.
one
the
this
"Karain"
as well
descriptive
that
this
using
at
speech
in, his
to
preterite
as stylisticians
to
refer
the
of
characters'
pluperfect
before",
Still,
attempt
and innovator
the
(or
function
element
time
novelists.
among
the
adverbial
"a, long
of
pioneering
of
by Conrad
in
faulty
is
his
stylist
perfect
used
the
is
it
the
use of
place
about
reporting
for
him
mark
that
little
as the main verbal
use of it
his
in
a common practice
very
for
form
tense
8,31)
(pp.
ago
all,
after
this
say
time
"long
phrase
to his
The same applies.
past
it)
anterior
past
perfect
place,
he uses
perfect
should
be used:
had
been
talking
to
we
after
(p. 18)
campong, he jumped up.
On one occasion,
him late in his
The
is
speaker
in
or .that
character
latter
on this
Conrad is
fect
not
(1)
(2)
or
at in
he had never
in
his
the
last
a. foreign
talking
to
past
on this
is
the
progressive
with
the
past
grammar
striking
that
up".
the
deviation
"after
Obviously
past
This
perfect.
(2).
he meant
read:
should
with
he
the
of
past
who boasted,
pro-
to him,
he jumped
past
Karain.
past
more likely
campong,
writer
the
use
-the sentence
opened a book of
to capitalise
to
we were
'It
is
question.
meant
to refer
As such,
that
man in
Conrad
occasion.
up either
mixing
progressive,
hasten
given
the
"while
he meant
to him late
to be wondered
that
like,
possibility.
we had talked
and
whether
sure
a sentence
jumped up",
the
narrator,
be dead
we cannot
gressive
the
(l)
peris
not
on one occasion,
Still,
from
we should
the
norm
Neither
French
has got anything
nor Polish
to do with
these
grammatical
mistakes
on Conrad's
So© p. 409 infra.
part.
62 supra.
Soo p.
396
by attributing
to Conrad
the
example
is
this
only
I have not
total
a
lack
kind
its
of
the
in
whole
in
mistakes
any similar
come across
'grammatical
of
for
sense',
Besides,
story.
the
full-length
verbal
practice
novels.
What interests
in
we find
this
sustained
the
like
examples
the
is
us most
and
following:
that
he was
Afterwards,
when we had learned
the son of a woman who had many years
ago
to
Bugis
came
we
state,
suspect
ruled
a small
(of whom he
the memory of his mother
that
in
his
mingled
enthusiasm)
somehow
with
spoke
to form for himthe image he tried
mind with
(p.
far-off
13)
the
Queen...
of
self
Here Conrad is
of English
a non-native
speaker
taught
about
the
before
before'-:
After
gone
before
away
the
in
reading
do not
always
that
we may assume
anterior
these
Conrad
remote
past:
had many years
"who
gone
past
"
first
used
the
train
is
only
prescriptive
rules.
differentiates
here
by
emphasised
and
the
a recent
that
rule
is
It
do.
usually
we foreigners
that
ruled"
ago
it
away,
arrived.
English
follow
the
myself,
he had
train.
way foreigners
was that
perfect
past
about
and
the
English
writing
"after
I was
and
after
He had
arrived;
through
constant
that
realise
In
As
writers
Conrad's
between
two
adverbial
example,
kinds
in.
phrase
anterior
of
the
past`in
i
first
of
phrase
between
the
of
the
past
of a foreign
past
of
in,
the
and past
past
and the
past)
of
the
perfect
simple
of a Stative
with
flavour.
active
insistence
Other
writers
nature.
(or
and past
its
that
words,
perfect
past
Moreover,
perfect.
than
other
man and woman in
"when we learned
past
In
sentence.
simple
"well narrator,
anterior
the
he distinguishes
anterior
past)
(or
perfect
remote
Even so,
question.
on hyper-correctness
would
he was the
simply
the
of
use the
such use
smacks
simple
son of a woman" instead
such use of
the
past
perfect
is
more
397
Other
the
such examples
simple
the
time,
haggard,
he had not
though
as
on that
say
that
and
lean.
that
is
each
simple
used,
Faced
first
the
the
the
verb
is
the
past
use
of
the
style
the
that
perfect
(the
past
Conrad,
the
uses
fact
lean
the
of
as would
a foreigner
way the
with
which
tense
form is
also
attested
in
is
used in
lieu
of
the
past
not
seeing)
fol-
the
first
nature
stative
that
quality
of
the
in
perfect
a sense
ia
occasion.
and
remains
be
must
It
becoming
past
as
after
become
on that
creates
literary
is
sufficient.
Either
The
first
nor
use
if
even
worked
second.
unequivocal.
be
mind
haggard
though...,
the
to
means
the
haggard
as
and
would
in
lean
The implication
cases
correct;
rules,
in
both
become
both
past
clauses,
In
the
simple
man was neither
second,
prescriptive
past
second?
became
in
actions
simple:
the
"was
Conrad
man looked
the
way Conrad's
preceding
the
and
of
two
with
lowing
the
the
subordinate
past
he had
of
period
observes,
Apparently,
use
be quite
simple
imagine
to
hard
the
the
then
weeks,
days".
clauses.
main
was would
past
the
two
by the
two
the
of
in,
occasions
on previous
made clear
then
he
perfect
past
for
occasion
particular
the
narrator
of
place
a long
After
the
slept
for
20.
and
who,
not
eaten
Why should
and
clause
he had
though
as
Karain
sees
narrator
19
the
taking
perfect
past
on pages
occur
past
the
of
overscrupulous
artificiality
and
gives
many a, critic
has
found
cases
where
fault.
The expanded
the past
progressive
those
as in:
simple
Under the thatch
by smooth columns,
roof
supported
the life
of which'each
one had cost
of a straight-the scent
hedges
stemmed young palm,
of flowering
drifted
in warm waves.
The sun was sinking.
In
the open courtyard
the
through
suppliants
walked
(pp.
15 - 6)
gate etc.
To all
seeming,
there
Still,
there
no indication
is
is
nothing
that
wrong
the
with
tense
sinking
of
in
the
this
sentence.
sun outlasted
393
the
drifting
the
more logical
of
teristic
the
of
progressive
of
description"
than
the
of
forefront
the
descriptive
passages,
the
Quirk
to
Grammar
is
natural
one of
characto
shift
"vivid-
call
rather
state
a natural
taking
actions
is
it
as a background,
sun serves
the
two examples
for
past
simple
However,
sinking
the
in
place
picture.
following
the
the
outlived
walked,
The method
93).
human or other
to the
In
(p.
actions
context.
what
achieve
The sinking
action.
scenery,
in
contrary,
and third
first
and
by the
especially
to
the
drifted
verbs,
Conrad,
that
is
made clear
past
ness
to
two
is
as
sun
the
scent
On the
trees.
flowering
of
inference
the
by
expressed
of
the
the
almost
past
is
progressive
preferred
same reasons:.
He was bending his head under the deck beam;
beard spread out magnificently
his fair
over
ineffectual,
he looked. colossal,
his chest,
(p.
46)
mild.
and
The gun went up to my shoulder.
(p.
37)
firm.
I
was
and
0
Here the
expanded
the
rather
than
action
on such
were
being
"slow
calls
left
explanation
is
While
from
the
past
the
linguistic
(1)
Palmer,
(2)
Phillippa,
1974
progressive
:
1970
cases
of
(2),
the
only
is
progressive
of
the
state
the
As such
in
of
part
the
what
actions
condition
Mr.
what
possible
and
subject
parcel
and
of
the
it.
surrounding
circumstances
photography"
technique
express
with
that
(1).
examples
past
to
be accompanied
implication
timet'
of kneeling
state
progressive
must
the
previous
the
that
past
necessary
motion
descriptive
Conrad's
"the
the
in
the
action
throughout
obtain
phillipps
table
terms,
on the
emphasis
For
the
occasions,
repeated
only
could
itself.
act
Palmer
professor
the
form puts
was kneeling
I
in
standpoint
55 -8
:
108 - 59
the
preceding
(at
least
is
examples
in
(pp. 111-2, in
terms
of
particular)
accep-
its
399
following
the
function),
in
definitely
deviational:
the
example
past
is
progressive
the,
thinking
of
repose,
Thenyjust
were
we
as
hail
the
would
a splash
of
schooner
watchmen
the
the
in
gloom
of
starlit
away
of paddles
tones...
in cautious
bay; a voice
would respond
doorway
in
the
of
Karain
noiselessly
appeared
(p.
11)
the little
cabin.
Here
first
refers
verbs
in
simple
like,
something
hail
would
becomes
"Just
As it
stands,
quite
at
beginning
of
of
the
adverbial
Just
tion
in
the
would
the
as limits
which
phrase
of
the
In
the
the
watchman
would
auxiliary
Conrad
frequency
of
the
example
aspect
the
of
the
with
taking
action
the
the
contrasts
sharply
by
be reworded.
adverbial
durative
The
repose
to
has
case
the
of
of
repose,
of
as
followed
thinking
which
sentence.
occasion,
one particular
in
be
should
"just
it.
follow
sentence
on account
the
the
that
as we were
paddles",
superfluous
that
phrases
the
in
progressive
we thought
"whenever
of
past
action
past:
a splash
the
would
incomplete
an
hailed".
watchman
the
and
to
the
between
clash
thinking",
we were
in
that
is
there
use
to
verb
implica-
on. various
place
occasions.
The foregoing
by the
characterised
1.
relational
this
and
could
for
them.
preference
dialogues
for
However,
intransitive).
of
have been the
verbs
or
other
is
higher
parts
verbs
copula,
it
must
in
the
concerned
main
behind
Conrad's
reason
that
with
patches
the
them,
after
be made clear
purple
resemble,
modifiers
these
state
these,
seem, appear,
(be
of
is
practice
Some of
verbs.
the
like
verbal
features:
salient
become and grow accept
fondness
A special
stativo
verbs
alone
Conrad's
on intransitive
like
verbs
and process
2.
following
A. marked dependence
expecially
shows that
analysis
plot
than
of
transitive
the
it
the
or
percentage
is
story
in
where
400
"
are
verbs
active
Conrad's
3.
the
style
would
for
technique
is
iliary
frequency
is
the
to
brought
fore.
notorious
tautological
adverbials
In
give
auxhowever,
cases,
time
of
presence
of habitual
same indication
the
the
of
most
the
of
on account
that
use
excessive
typification.
of
purposes
his
for
activity.
towards
A tendency
4.
from
things,
the
of
use
the
form in
6.
Conrad
the
past
the
8.
both
uses it
ively
of his
speech
Conrad's
verbs
of
It
now remains
novels,
from
him
shes
form.
In
past.
to
and in
cases,
which
simple
He extensreporting
some of his
shows
past
such
up in
the
in
progressive
use
in
results
highlights'the
the
novelist's
descriptions.
see how far
what
the
or
other
function
for
grammar
perfect
past
a stativo
predilection
on English
hold
uses-the
notorious
length
tense
mode and as a means of
as a narrative
simple
acquiring
the
interrupting
of
favourite
Conrad's
precarious
the
way.
characters.
way he sometimes
lieu
is
past
negative
present.
simple
The simple
7.
direct
of
non-periphrastic
old
Conrad makes a practice
tense
with
the
for
opts
inconsistent
a strikingly
With
instead
verbs
other
among
themselves.
verbs
Occasionally
5.
from
derived
nouns
of
use
resulting,
prolixity
unnecessary
ItKaraintI
way Conrad's
contemporary
is
verbal
typical
of
the
full
distingui-
practice
novelists.
1000
In attempting
similarity
differentiate
constant
to answer
between
"Karain"
botween
or invariable
the
first
and the
two aspects
and the
of
casual
the
question,
full-length
Conrad's
degree
novels,
verbal
or variable.
of
we have to
practice:
Conrad's
the
40
to
teadeucy
is
making
use
Western
foregrounded;
to
Agent,
even
to
short
Under
Western
period,
example
signal
the
casual
to
the
-nature
effect
the
zubject-operator
inversion.
sooner
in
fondness
the
late
from Lord
second
Conrad
Here
respectively.
are
the
physical
to
resort
these
The Secret
to
regard,
Jim
of
(his
A.
Conrad'
first
novel)
the
the
onwards.
is
mistakes
when using
tense
stories
short
a Fallt'
on the,
(1919).
Lord
:Ls.
style
prominently
Nostremo.
and
of
his
of
features
with
more
attributes
feature
in
s
to
no
adverbial
disappears
a mistake-which
Lord
Jim
-'
three
verbs. -
stative
much
(1).
novels
now examine
for
are
ready
arrays
as,
Under
Agent,
verbs
from
of
from. Almayer'
position,
Secret
Jim,
disappear
come sentences
We car.
Malley
novels
in
and subsequent
the
which
mistakes
failure
initial
of
and The Rescue
Victory
tend
novels
constant
like-Lord
in
-that,
or
moral
and novels
they
of
is.
would
grammatical
true
active
auxiliary
satll-scale
but
Conrad
the
Eyes,
Conrad's
on a very
early
here,
image-
is
The
-. here
Rover,
Another
the
of
the
or
It
style.
Nostronoi
highlight
stories,
figure
The
still,
use
hand,
other
like
others
description
of
in
scale
concerned.
peculiar
the
in
of his
or
characters
his
feature
Chance
verbs.
stative
the
in
than
Eyes,
purposes
on a larger
figures
Archipelago
for
verb
a prominent
it
such,
the
passages
The first
the- third.
Jiti,
put
which
,
into
comes from
-fromm_Victor
Gonad'
relief
Alnayer's
(early,
s.
Fol? y,
middle
and
)
two opening
paragraphs
from
chapters
? in
A1Waiorlts
Folly:
In the middle
of a shadowless
of moonlight,,
square
on a smooth and level
shining
expanse
of young
rice-shoots,
shelter-hut
a little
perched
on. high.
(1)
In Alnayer's
hoý,reve-rptharr
Folly,
Conrad writesi
tll
a vague shape flitted.
sooner
she had
out..... "(g. l56)
In Lord Jin,
"No sooner
words out
we read:
were these
it (P. =2y ý"
mouth than I perceived...
The mistake
is never
the first
repeated
after.
novel.
of
äisappeare
my
402
-wood
brush/
by
the
the
near
of
a
pile
glowing
and
posts,
before
fire
it,
man
with
a
stretched
of
a
embers
if
lost
in
the
pale
as
very
and
small
green
seemed
from the ground.
On three
iridescence
reflected
far
the
very
clearing,
appearing
of
away in the
sides
the big trees
light,
deceptive
lashed
of the forest,
bonds by a mass of tangled
together
manifold
with
down
the
looked
growing
young life
at
creepers,
at
the sombre resignation
their
feet
of giants
with
faith
in their
had lost
that
And in the
strength.
the merciless
to
creepers
of them
clung
midst
in cable-like
leaped
the big trunks
from tree
coils,
festoons
hung in thorny
from the lower
to tree,
tendrils
to seek
boughs,
on high
slender
and, sending
branches,
death
to their
carried
out the smallest
in an exalting
destruction.
riot
of silent
victims
following
the curve, of the
On the fourth
side,
branch
the only
bank°Fthat
formed
of the Paut. ai that
black
to
the
line
ran
clearing,
of young,
a
accebs
bushes,
trees,
growth,
and thick
second
unbroken
At
gap chopped
out in one place.
save for a small
that
leading
from the
Cap began the narrow-footpath
the
to
grass-built
used by the
edge
shelter
water's
had to be
when the ripening
crop
night
watchers
fromthe
The pathway
wild
pigs.
protected
ended
the hut was built,
of1piles
on which
at the foot
in a circular
space covered
with
of
ashes and bits
In the middle
burnt
by the
of that
wood.
space,
(p. 165)
lay Dain.
dim fire,
The
following
passage
from
Lord
Jim
is
typical
of
Marlow's.
speech:
'An abrupt
heavy rumble
The
made me lift
my head.
noise
seemed to roll
away, and suddenly
a searching
fell
face ofdnight.
glare
on. the blind
and violent
flickers
The sustained
and dazzling
seemed to last
time.
for an unconscionable
The growl
of the thunder
increased
I. looked
distinct
him,
suddenly
while
at
of a sea
planted
upon the shores
solidly
and black,
the
At the moment of greatest
brilliance
of light.
leapt
back with
darkness
and
a. culminating
crash,
before
he vanished
my dazzled
as
eyes as utterly
though
he had been blown
to atoms.
A blustering
the
hands
furious
to
tear
passed;
sigh
seemed
at
below,
slam. doors,
shrubs,
shake the tops of the trees
break window-panes,
all along the
ding.
He stepped in, closing
the
found me bending over the table:
as to what he would say was very
fright....
(PP
"177-8)
(1914)
The opening chapter
of Victory
the
relative
the
simple
cents
density
past
of
of
the
stative
narrative
verbs
with
builthe
front
of
door behind him, and
my sudden anxiety
great,
and akin to
is
and the
passages
both
interesting
way Conrad
in
the
for
interrupts
simple
pre-
403
Tropical
liquiinto
Coal
Belt
went
company
The
is a mysterious
The world
of finance
dation.
the
fact
incredible
may
in
appear,
as
which,
world
the
First
liquidation.
precedes
evaporation
the
then
company goes
and
evaporates,
capital
These are very unnatural
phyliquidation.
into
inertia
the
for
they
but
persistent
account
sics,
laugh
there'
to
'out
used
we
at which
of Heyst,
'jnot
body
inert
inimically.
An
among ourselves
hostility,
to
harm
do
no
one,
provokes
no
any
can
be
indeed,
It
derision.
may,
is scarcely
worth
but this
not be said of
could
in the way sometimes;
MI.
Heyst. He was out of everybody's
way, as if
.
Himathe
highest
the
of
peak
he were perched
on
in
Everyone
in
layas,
5Seas
conspicuous.
a
and
him,
dwelling
knew
the
on
of
that
of
world
part
is but the top of
island.
An island
his little
it
immovably,
Heyst,
on
Axel
perched
a mountain.
the
imponderable
instead
of
was surrounded,
into
transparent
of
ocean
merging
air
and
stormy
by a tepid,
infinity,
sea; a passionless
shallow
the
the
which
embrace
waters
great
of
offshoot
His
this
nearest
neighbour
globe....
of
continents
of
I am speaking
now of things
showing
some sort
indolent
volcano
smoked
which
was
an
animation
the
its
head
just
day
faintly
above
with
all
levelled
him,
horizon,
night
at
and
at
northern
the clear
from amongst
red glow,
a dull
stars,
the
like
spasmodically
collapsing
and
expanding
intermittently
puffed
cigar
at
gigantic
end of a
(pp.
4)
3in the dark.
The
first
is
direct
to the
tinC
pr©cence
on account
one
death
further
in
word,
the
in
manner
i. e.
seen and appear.
ran,
four
transitives
in
they
the
of
verbs
in
abstract.
described
are
more
adverbial
the
tableau.
like,
clung,
except
image
Creepers
in
verbs
the
interesin
nature
which
spotthe
Although
hung,
they
in-
or
carry
leap
never
metaphorical
primarily
due
clauses
access,
descriptive
are
are
stative
relative
only
leap,
these
is
It
two are
postmodifying
and
Others
and laY.
formed
active
the
bean
like
and that
aspect
only
action
like
in
clause
Some of
participial
occurring
had lost
abounds
paccago
the
of
their
of
that
ouch as,
dicato
that
to note
light
of vorbs
of
phrases.
verbs
of
a host
intran-
of
The main
by
submerged
or-ed
density
striking
4 transitives).
virtually
result
the
for
remarkable
as against
modifying-ing
post
the
(10
sentence
each
the
passage
verbs
sitive
is
used
sense
for
the
of
404
the
of
evocation
The second
tear,
transitives:
these
none of
and parcel
part
the
focus
psychological
critical
backward
and
past
simple
striking
and
stylistic
indicative
of
rhythm
is
to passive
procedoc
poration
nouns
ning
other
into
liquidation,
Nor is
novola
of
the Malay
Eyon.
the
for
capital
in
opening
for
Archipelago
tho
it
was all
into
from
sharper
the
the
most
description,
of
into
-goes
from
the
of
produces
liquidation
lengthy
active
is
Victory
movement
was liquidated.
as a rhythmical
passion
from one of
that
overlapping
present
verbs
liquidation
the
that
deliberate
phrase,. -'
like
extracting
to servo
Conrad's
one passage
Wontern
like
fact
putting
vividness
preference
liquidation,
throughout
recurring
simple
The
phrases
way of
seemingly
the
passage
The
irony,
of
Conrad's
of
calculated
the
variety.
and concise
Conrad's
notice
the
and
terms
in
effects
tense.
time,
(underlined)
us to
fact,
the
about
with
in
forward
such
of
a series
situation.
thing
flirtation
novelist's
Despite
actual
in.
seem, which
of
technique
narrator's
The most interesting
the
in
place
nara-
intransitives.
activity
seem adverts
took
the
of
the
creating
his
in
intransitive
break.
slam,
of
10 are
speech,
relational
relational
actions
his
method
tensions
psychological
neutralises
shake,
the
verbs,
of Harlow's
in
the
sentence
penultimate
forceful
the
is
these
among
prominent
the
'',
match
17 verb-phrases
the
Of
tive.
typical
is
passage
to
atmosphere
an
atmosphere.
appropriate
combinations
We further
certain,
nouns,
evaporates;
overfamiliar
pattern
eva-
while
phrase,
that
keeps
retaigoes
on
chapter.
stative
verbs
restricted
as can be clearly
moat realistic
of hin
to
the
shown by quoting
novels:
Under
405
impression
physical
an almost
Razumov received
millions.
countless
of
and
space
of endless
the
it
to
of a_
readiness
with
He responded
inheritance
to
born
is
of space and
an
Russian
who
the
immensity
the
of
Under
sky,
sumptuous
numbers.
frozen
the
forests,
the
endless
the snow covered
immense
the
oblitercountry,
of
an
plains
rivers,
the ground,
the
landmarks,
the
of
accidents
ating
its
uniform
whiteness,
under
levelling
everything
the
blank
of
record
page
like
awaiting
monstrous
a
the passive
It
history.
inconceivable
covered
an
like
lives
its
people
land with
of countless
this
like
its
handful
of
agitators
Ziemianitch
and
foolishly.
Haldin
murdering
felt
inertia.
Razumov
It was a sort
of sacred
to
it.
A
for
cry
within
voice
seemed
respect
a
it".
It was a guarantee
touch
of
him,
$Don't
the travail
of maturing
duration,
while
of safety,
destiny
with
work not of revolutions
went on -a
their
levity
shifttheir
of
and
action
passionate
it
What
but
needed
was
ing impulses
of
peace.
but
the
a.
of
people
a
aspiration
conflicting
not
the
it
babble
of
not
wanted
one:
and
strong
will
but
and one:
a man - strong
many voices,
He
of conversion.
Razumov stood
on the point
by
its
by
its
fascinated
overpowering
approach,
was
is never
false.
For a train
logic.
of thought
deep in the necessities
lies
of exiThe falsehood
half-formed
fears
in
ambitions,
and
secret
stence,
in the secret
combined
with
a secret
confidence
the
in
the
love
hope
of
and
of ourselves,
mistrust
days.
dread of uncertain
ideas
the land of spectral
In Russia,
and disembrave
have
turned
bodied
minds
many
aspirations,
to
the
last
from
vain
conflict
endless
and
away at
fact
historical
the one great
('pp, 334)
of the land.
All
the
two
intorelatod
verbs
passing
despair.
nature
the
The first
Russian
out
teacher
of languages
to the
inner
tho
on
ment
ito
Ruccia
with
verbal
elements
that
have little
workings
"cpcctral
thus
the
present,
In
the
ideas
on the
the
simple
the
in
embarrasment
old
the
narrative
own arbitrary
judge-
of
nature
aspirations"".
general
the
encom-
the
mind and on the
stating
of
inexorable
third,
past
and disembodied
action
face
Razumov'a
to pass his
of Razumov's
the
out
second,
seem and be.
drops
in
of
the
subjects:
brings
becomokmeans of
bearing
different
paragraph
suddenly
simple
two
description
the
with
helplessness
atmosphere;
like
by verbs
brought
and retorts
to
belonging
and Razumov's
land
concerned
are
passage
states
snow-covered
of
the
in
novel.
observations
of
The
406
In
comparing
in
that
culty
Henry
man",
"The
James's
and
dialogue
or
speech
had
to
have
the
of
Classification
A-
total
author
myself
content
in
verbs
of
the
following
Good Soldier,
Jury-
"The
Galsworthy's
Future",
So
general.
with
The
Ford's
to
according
number
in
be-
(1)
Yacht".
"The
distinction
sharp
diffi-
the
with
this
Madonna
and Bennett's
we are
Ford,
faced
do we find
these
one hundred
first
the
of
I
Bennett,
like
novelists
contemporary
and
patches"
that
so indeed
count
of
none
"purple
the
tween
much
Galsworthy
James,
Henry
to
Conrad
category
intransitives
transitives
verbs
Ford
100
43%
;? %
James
100
54/
46%
Galsworthy
100
61%
39%
Bennett
100
48%
52%
Classification
B-
verbs
relational
author
trapo
the
kind
verbs
activity
intran.
trap.
to
according
of
activity
other
verba
trap,
intran..
Ford
2
39
33
16
7
James
4
27
41
14
95
Qal6worthy
5
18
52
19
4
Bennott
If
34
33
9
11
Table
A shows Ford
intransitives
respectively.
higher
number of
Ford, 1962;
Table
activity
one nearest
58%, 69% for
57% as against
Karain
(1)
to be the
Conrad's
B shows Galsworthy
verbs
James, 1962;
to Conrad
71% as against
Galsworthy,
1918;
in
intran.
--
9
his
use of
narrator
as the
49% for
Bennett,
and
one using
Ford,
55%
1924
a
407
Conrad's
that
seems
the
of his
rest
Bennett
42% for
Jamec,
for
62%
for
and
verbs
activity
in
verbs
each
the
five
novelists.
of
metaphorical
Classification
C-
total
number
of activity
verbs
author
the
when we count
of
the
verbs
tram.
it
a while
with
on a par
numerically
However,
contemporaries.
them becomes more striking
activity
are
For
Conrad.
between
contrast
of
number
deviational
activity
verbs
metaphorically
intran.
used
total
Conrad
62
11.
14
25
Ford
49
a
2
4
James
55
3
6
9
Galsworthy
71
2
1
3
Bennett
42
---
---
This
proves
use
the
of
that
has
-English
Reading
novelist
in
what light
of his
is
which
the brunt
its
reoista
(1)
(2)
is
to
this
"man is
and that
Galsworthy,
Fernandez,
sheer
one
always
spreads
is
It
the
a feeble
gleam is
1927
1960
gets
:
:
but
natural
of
task.
gleam in
everything"
160
12
word
the
the
For
the
(2).
"No writer
(1)
painting".
impression/that
far
the
"Everything
room.
For Conrad,
structure
image-making
only
of
to lengths
itself
contemporaries.
to
power
images
the
sentence
Conrad,
he
the
exceeding
that
his
Gals-
which
Conrad:
of
need of more elbow
sound.
so central
of
Conrad,
a fact
purposes,
in
in
contemporaries
when he wrote
him
constant
down on paper
sketchiness
puts
by
imagistic
relief
exceeded
a novel
is
into
put
among his
was unique
for
phrase
verb
himself
worthy
puts
Conrad
are
verb
to words
phrase
should
boar
as Ramon Fernandez
tempest,
The fact
but
that
remains
gleam
that
408
and helplessness
beauty
the
of
ence
the
of
work.
his
from
intransitive
ne uses
in
sense
phorical
the
is
that
a way
prove
verbs
interesting
More
does.
backbone
levels:
on both
contemporaries
antic.
thus
charts
the
syntactic
from
use
the
in
style
different
and
the
sem-
of
the
rest
any
he uses
apart
a, special
is
than
more
that
him
sets
Conrad
indiffer-
and
of
that
much
fact
power
through
out
the
constituting
The
the
gleam,
brought.
be only
can
elements
verbal
given
any
tempest
the
the
of
verbs
of
any
in.
a meta-
his
four
contemporaries.
the
We come now to
practice.
definition
further
He is
of
point
departure
to inquire
Conrad's
in
mistakes
proper
stage
theories
Conrad
that
the
of
our
Graham,
tells
ii
their
into
the
verbal
with
Arthur
the
but
is
the
regard
Symons,
only
to
behind
in
the
who,
in
the
why we have
reasons
elements
depar-
of
point
That
(1).
places'?
proper
is
'the
places;
proper
of poetry,
study
that
us
their
(2).
advanced
of
in.
"language
criticism
some of
was that
Conrad and Cunningham
words
verbal
of Conrad's
Coleridge,
quoting
Lodgo
words
novel-criticism"
use of
peculiar
the
of
of
this
at
One of
most
terminus
and the
ture
Fiction,
of
theiopinion
of
implications
is-proper
prose
the
e-
ve:
Language
good
of
good
of
the
In
literary
his
work.
grammatical
comparing
said:
Conrad is a creative
Graham is a
while
artist,
but there
i
of personal
chronicler
adventure.;
in both of that
splendid
reck
something
subtle
English,
in writing
lessness
which is a singularly
quality,
exhilarating
when used as both
in the record
of life-lived
use it,
rapidly,
in the presence
(3)
of danger.
unthinkingly,
It
is
that
obvious
sistencies
to
his
Symons attributes
innate
(1)
(2)
Lodge,
Ibid.,
(3)
Symons : 1925
1966
:
p. 32-
carelessness
10
:
31
Conrad's
in
writing,
grammatical
which
incon=
Symons
409
nevertheless
confirmed
things
such
lack
the
the
the
as
he
contrary,
the
Although
any
point.
mistakes
in
Conrad
of
any
ends
aesthetic
the
On the
novels
has
hand,
other
the
verb
phrase
in
his
has
been
partly
explained
South
(1)
E. L.
Sanderson,
African
Skotcheo,
choje.;
to
deviate
to
Galsworthy's
1910.
Conrad
is
through
by
Sep.
or
achieve
at
or
his
in
Commenting
or
artistic
cons-
a more
disposal
semantic.
of
lengthy
on Mrs.
such
a casual
Besides,
his
stand-
three
description
Q7supra).
'4.
practice
remains
premeditated
on. the
in
out
literary
two
period
conscious
his
fact
on the
elements
(p.
be ruled
all
at
especially
light*on
Mrs.
early
works,
throws
much
of
the
make
no bearing
Conrad's
word-painter
himself
aware
the
from
much
the
of
verbal
the-matchless
as
can
style,
yield
seeks
the
of
On
fully
was
he wilfully
inadvertently
novelist
manipulation
cious
or
language.
adopted
Conrad
Conrad's
not
should
that
see
foreignness
alternatives
of
does
the
feature
stylistic
three
consideration
that
that
not
a
carelessness.
the
a phenomenon
such
but
sheer
of
none
objective
that
of
out
his
that
intimate
English,
of
norm
to
does
Symons
novelist's
of
grammar
being
Conrad's
with
words,
the
of
on the
seems
complexities
other
reflection
hold
a firm
of
from
In
impressionist.
keeping
in
be quite
to
finds
(1).
use
of
level,
his
friend
Conrad
letter
to
Anderson's
wrote:
have the past
Neither
French
grammars
nor Polish
perfect
like
"He had been waiting
In French,
a clause
progressive.
by the plus-que
for me" is expressed
in something
parfait
like
"I1 m'avait
On the other
hand,
has
Polish
attendu".
tense
three
forms:
future
present,
and past.
it is a highly
language
infloxional
the various
tense
forms
wherein
are
through
realised
affixes
added to the verb.
A verb like
to read,
is conjugated
I road (present);
czytao,
as czytam,
(I road:
I
czytalem
past masculine
singular);
preczytam,
read,
etc.
shall
Nor
does
have the auxiliary
grammar
oithetwould
..
for purposes
used in English
of typification.
It can thus be argued
that
for
the most likely
explanation
Conrad's
inconsistencies
grammatical
in the early
of
period
his career
is that
he had a weak hold
of
on certain
aspects
English
grammar,
a defect
which
experience
and constant
m
410
too
however,
is
harsh,
I
The general
effect,
that
the fault
I think
have asked myself,
why?
We see these
in the want of atmosphere.
lies
in
it
in
the
flesh
vacue.
were,
and,
as
people
It needs a little
more detail.
her:
he tells
later
A little
illusThe alterations
on the page are merely
that
trative
your
prose
of my saying
wants a.
For instance
A is a simple
"bracing
little
up".
the picture
of the lilies
starre-arrangement,
the
being
before
completed
etc.,
etc.,
ring,
is mentioned.
In B and D,
of surprise
effect
detract
from
I have erased
a few. words which
is a
This
the actuality
of the impression.
in which
descriptive
passage,
any suggespurely
is detrimental.
"
tion
of action
itself,
In letters
suggestiveness
-- a great
by
be
obtained
precise
must
expression.
quality
there
is "something
truly
I feel
you that
with
etc.,
etc.,
etc. ' -- but
pagan in the mystery,
in itself
To
the sentence
means nothing.
feeling
responsive
something
exact
a
awaken
(1)
be
must
said.
to
be
an artistic
seems
The letter
list's
stylistic
"The actuality
in
action
plains
beyond
any doubt
and the
is
nove-
"suggestiveness"of
Conrad's
his
pre-
declaration
that
passages",
behind
reason
the
out
on "atmosphere",
descriptive
"purely
the
spells
insistence
More important
detrimental
is
its
the'impressionºº
of
expression-'.
cise
with
strategy
that
credo
which
dependence
ex-
on stative
verbs.
us now turn
Lot
Conrad's
the
and examine
painting",
of his.
nique
to
If
we take
the human drama. enacted
length
in
of
the Malay
fortune.
him in
(1)
the
L. L.,
the
verb
like
novel
does not
pages).
-
Willems,
Archipelago
with
the
express
service
Vol.
II,
a self-styled
of
old
pp.
Hudig.
117 -8
phrase
An Outcast,
work'(368
Lingard,
the
the
of
place
a novel
in
"sheer
unequalled
a Dutch
purpose
benefactor,
That
justify
last
picks
takes
power
in
of
word
that
tech-
we find
that
the
extreme
tramp,
arrives
of making
his
him up and puts
a fancy
to
the
411
Dutchman,
young
makes
to
him
convinces
covering
him,
against
Almayer's
the
to
trance
on the
revenge
solitude
Aissa
in
the
WillemsIs
scuffle
It
the
the
ends by means of
exist
presence
in
the
sentence
Bosides,
in
most cases
to image painting
alone
with
the Pantai.
following
of
thoughts
This
typos
is
briefly
decides
to
him
to
take
rot
in
comes
end
and
his
the
when
shoots
him
dead
the
novel
is
what
dialogue
the
is
verb
the
his
Conrad
of what
consist
to
related
or-action
calls
in. an endless
other
described
them are
of
a verb
by the
on-the
some sort.
are
conducive
devices.
Willems,
to
these
of
phrase
stylistic
decides
descriptive
Still,
dependent
themselves
gamblers,
Sambir,
his
achieves
of modification.
phrases
fellow
in
mainly
of
or clause
as are
company
his
Joanna.
Conrad
i. e. most
vacuum,
boisterous
Lingard
The
seems to
novel
various
in
do not
page
that
be argued
could
tells
en-
tableaux.
descriptive
of
Almayer
to
of
enchantress,
the
two or more pages
are
Indeed,
"atmosphere".
series
every
there
the human drama,
one
as
about
jungle.
This
work
secret
by leaving
marriage
to
a native
captain
sea
Sambir
ensues.
to
Still,
about.
the
of
that
old
revolts
wife
Sambir
Aissa,
Arabs.
Dutchman
ungrateful
discovers
the
the
and
silence
and
to
river
deceit,
his
Tom Lingard's
betraying
into
Pantai
Willems's
he meets
There
On dis-
money.
go to
to
Willems,
Joanna.
Willems;
chooses
outcast
assistant.
who coaxes
of
the
and
him
dismisses
Hudig
theft,
the
finally
and
Hudig's
some of
embezzles
gambler,
a confirmed
clerk,
daughter,
half-caste
his
marry
confidential
his
him
Missing
who is
now
go on a picnic
omniscient
narrator
the
on
in
manor:
Ac he paddled
up to the point
where the Rajah4a
the nipas
stockade
came down to the river,
were
behind
left
their
leaves
rattling
over the brown
bank,
the
water,
would
and the big trees
on
appear
tall,
indifferent
in the immense solidity
strong,
life,
for ages,
to that
of their
which
short
endures
the
412
the heart
in
life
fleeting
of
man
who
and
in
their
search
shadows
amongst
painfully
crept
his
the
from
reproach
of
unceasing
of a refuge
trunks
their
Amongst
thoughts.
a clear
smooth
twining
lacets
in
time
for
brook meandered
a
into
it
before
mind to take a leap
made up its
the edge of the steep
the hurrying
over
river,
it
there
There was also
bank.
pathway
and
a
landed,
following
Willems
frequented.
and
seemed
the capricious
of the track
promise
soon found
in a comparatively
himself
clear
where the
space,
the
fell
through
tracery
of
sunlight
confused
branches
on the
overhead,
and lay
and the foliage
bright
like
in
that
easy
curve
a
shone
an
stream
the
long
feathery
dropped
amongst
and
sword-blade
Further
narrowed
on, the path continued,
grass.
the
thick
the
At
in
undergrowth.
end of
again
turning
Willems
the first
of white
saw a flash
lost
a gleam of gold like
a sun-ray
and colour,
than
darker
in shadow,
of blackness
and a vision
the deepest
He stopped,
shade of the-forest.
heard
he
had
light
footfancied
and
surprised,
looked
He
lighter
ceasing.
growing
steps
bank
the
the
The
of
grass
on
stream
around.
trembled
path of its
and a tremulous
shivering,
tops ran from the water
to the beginsilver-grey
,
67
(pp.
8)
the
thicket.
ning of
-
or intransitive,
transitive
Whether
are
passage
trees
loss,
of
sense
the
indifferent
to
their
and take
minds
and grass
the
use of
(the
words
beauty
verbs
used)
the
and
Only
nature
and exotic
reader,
our
verbal
study
rather
imago-verbs
The interplay
in
to
this
of
in
(the
imaginative
Brooks
between
readers
than
those
deviational
the
can grasp
the
And it
who are
signifier
to
such descriptions.
of
after
up
tracks;
refer
they
also
make
capricious
calculated
ideas
but
and strong
the
clash
inward
outcast's
is
hard
in
the
sheer
to
the
facts,
appeal.
concretness
of Conrad's
elements
follows
logical
signified
tall
the
in
phrases
Dutchman.
Willems
the
the
only
hapless
Reason rejects
owing
Conrad's
the
of
leaps.
trembles.
imaginative
that
fate
of reality).
world
to be not
appear
verb
To match
nature.
of a stative
the
all
modifiers
An Outcast.
and sensuousness
is
Here
also
are
a marked
two
already
feature
representative
attested
of
the
quotes:
413
by
down in the grass
himself
threw
He (Willems)
for the sound
the side
and listened
of the brook
öf her footsteps.
light
The brilliant
of day
in the high
the irregular
through
fell
opening
down, softened,
branches
and streamed
of the trees
big
trunks.
the
Here
of
and
shadows
amongst
bark
touched
the
there
rugged
sunbeam
a narrow
the
tree
on
golden
sparkled
splash,
with
a
of a
leaping
or rested
on a leaf
of the brook,
water
the
distinct,
that
on
out,
shimmering
and
stood
tints.
background
The
of sombre green
monotonous
by
his
head
blue
crossed
was
of
gap
above
clear
flight
the quick
rice-birds
of white
whose wings
the
through
it
in the sunlight,
flashed
while
the
down from the sky,
heat poured
clung
about
the
trees,
rolled
and
earth,
among
streaming
folds
the
in
Willems
odorous
u
soft
and
wrapped
the faint
blossoms
)imVy with
of
scent
of
.
(p.
74)
decaying
life.
the
of
smell
with
acrid
and
Here the
for
love
born
is
novelist
the
of
sentence
the
evoked
Although
whose
Conrad's
and
the
direct
object
followed
the
but
visual
follows
relationship
shimmering
contains
the
a verb,
between
and
third
distinct.
the
the
splash
the
by a verb,
to
the
through
a golden
that
subject
verbs
capture
the
colourful
use of
in
touch
verb
to
relation
the
appeals
sense
as well.
The
leaf
The last
and
highlights
the
sentence
two
the
and the
subject
a tree.
of
which
that
of
and tactile
visual
sparkled,
out,
attention
sense mediums
the
bark
like
styles
the
sentence
verbs
activity
is
various
rugged
auditory
stood
less
the
of
euphoria.
down are
it
be
however,
a. description
the man's
how the
the
with
phrase
for
about
with
In
mainly
immediately
to
clung
the
inclinations,
romantic
streamed
Notice
play.
are blended
adverbial
sunbeam
'and
contemporaries.
into
opening
be doubted,
familiar
already
brought
are
senses
down
poured
of a roader
through,
fell
does in
surrounding
atmosphere
that
contemporaries
would
passage
functions-cannot
imagistic
sparkled,
the
of
newly
such an incident
actually
Conrad's
rest
like
verbs
works,
Willems's
with
Conrad's
of
as Conrad
passage.
devote
him
make
sensuously
their
some of
depicted
realistically
those
With
Aissa.
we have examined
preoccupied
apparently
is
This
not
only
clause
that
intensive
modifiers,
contains
a series
of
414
poured
verbs,
the
effect
heat,
the
non,
tactile
sense
last
in.
verb
the
the
to
power
use
the
the
of
protathe
of
verbs,
the
and
complementing
later
Two paragraphs
series.
together
phrase
adverbial
phenomethe
stimulate
bringing
metaphoric
by
thermal
a
concrete
this
through
introduced
in.
the
with
desires,
implicit
sense
olfactory
the
endowing
sexual
gonist's
it
wrapped
and
among
rendering
or
solidifying
of
rolled
about,
clung
out,
have
that
we read:
day, when they met and she stood
a
Day after
to
holding
his
listening
little
words,
way off,
the undefined
terror
her look,
of the
him with
the
blurred
like
faint
became
and
new conquest
the
distinct,
dream,
certitude
grew
of
and
a
memory
to
like
the
eome
visible
eyes
and
convincing,
and
deep
It
in
full
thing
was
sunlight.
a
material
that
tangible
joy,
seemed
sweetness
pride,
a
a great
He lay
the taste
to leave
of honey on her lips.
knew
he
her
feet
for
moving,
without
at
stretched
how a slight
from experience
of his could
movement
days of their
first
her away in those
frighten
the ardour
He lay very
intercourse.
quiet,
with
all
his
in
in
desire
his
voice
shining
ringing
and
of
death
body
like
his
his eyes,
still,
was
whilst
And he looked
itself.
standing
above him,
at her,
in the shadow of broad
her head lost
and graceful
her cheek;
the slender
touched
that
leaves
while
down from
orchids
green
streamed
of pale
spikes
black
hair
boughs
the
the
mingled
with
and
amongst
those
that
framed her face,
claimed
as if
all
plants
her for their
own - the animated
and brilliant,
that
life
born in
flower
exuberant
of all
which,
struggles
gloom,
impact
The full
brought
verb
the
phrases.
and the
with
first
woman's
white
look.
fear
and
ultimate
and
grow,
which
almost
movements
There
follows
their
power
a description
nature
by
the
admit
is
as by the
transitives
hold,
]tea and struggle.
In
are
noun
of
him
rendering
realised
very
grew,
the
75
lover
white
of modification
abstract
animate
man's
by
the
(pp.
sunshine.
her
over
types
became,
endows
victory
triumph
the
among these
intransitives
hold
towards
various
prominent
concrotesand
the
ever
s final
Aissa!
Most
sentence
the
terms
of
the
by
much
as
out
touched
for
of
two
of
her
phrase
in
curbing
the
slave
physical
of
Aissa's
initial
process
verbs,
being
look
followed
the
become
by
6)
415
and
modifiers;
by
of
a string
the
of
verb
to
the
by its
feelings
woman's
leave,
impact
negative
the
of
it.
The
verbs
evocation
as of
evasion
(we
are
sweetness
was).
is
The last
sentence
that
of
natural
of
look
forces
that
and
Aissa
as "the
tion,
its
of
"claimed
(both
touch
metaphorically
animated
grammars
its
sheer
would
beauty
The
use
of
the
and
evasion
is
symbolic
the
for
used
in
used,
culminates
and
sensuous
a striking
accept
modifiers,
the
prose
girl
the
the
for
their
flower",
that
use
same effects.
lead
qualities
own".
sense)
a rhythmic
novelist's
standing
in
here
flower
different
to
imagistic
a literal
brilliant
call
and
her
that
ability
phrases
whose
of
sentelce
in
of
Malay
nature
of
third
reminiscent
verbs
lexical
the
gives
appositive
in
abounds
portrait
which
for
or
the
lay
its
of
owing
as much
agents
what
that
fact
sentence
touch
lovely
is
(other
fourth
prepositional
certain
up to
the
a rhetorical
and
quality
of
in
repetition
the
on account
preferred
ostensibly
its
from
Apart
complex
seem on the
become
told
the
nature
obfuscation,
verb
thus
not
of
second
the
however,
a touch
followed
the
tone,
Here,
relational
follows
that
verb
in
copula
authoritative
adds
is
verb
each
The
triumph.
of
to
seemed
got:
adjectives.
defining,
at
phrase,
we actually
what
predicative
aims
sentence
is
this
and
in
the
The interplay
down,
streamed
description
of
an appositive
a substantive)
midst
phrase
remarkable
appeal.
types
feature
of
verb
of
for
purposes
The Nigger,
of
famed
evocafor
nature.
About half-past
seven the pitchy
obscurity
round
us turned
a ghastly
grey,
the sun
and we knew that
had risen.
This
unnatural
daylight,
and threatening'
in which we could
see one another's
wild
eyes and
drawn faces,
was only
an added tax on our endurance.
The horizon
seemed to have come on all
sides
within
length
Into
arm's
that
of the ship.
narrowed
circle
furious
in,
seas leaped
struck,
and leaped
out.
(pp.
55
6)
-
416
leaped,
turned,
the
the
struggle
tiona.
(1)
The
feature
to
against
of
paragraph
is
come,
which
description
the
forces
and
to
this
quality
of
the
magnify
hyperbolic
evasion
is
is
the
passage
image
an element
adds
to
nature
of
to
evasive
a bid
in
evocation
of
that
there
A representative
Jim.
proper-
a marked
opening
III.
chapter
of
have
the
dramatise
As opposed
way.
the
power
same verbal
Lord
to
modi-
accepts
three
remaining
verbs,
intransitives,
first
The
out.
evocative
most
seemed
mystery
ship's
the
these
of
phrase,
or
obscurity
it,
the
function
verb
and
after
sea in
angry
evocative
of
struck
leapt
the
by
realised
are
passage
immediately
fiers
of
in
images
The
the
the
world,
and
A marvellous
pervaded
stillness
the serenity
together
of their
the stars,
with
the
the
to
upon
earth
assurance
shed
seemed
rays,
The
young moon;. - resecurity.
of everlasting
like
in
the
low
west,
was
a
and shining
curved,
bar
from
thrown
up
of gold,
a
shaving
slender
the
to
the
Arabian
cool
eye
smooth
and
sea,
and
its
level
ice,
like
extended
perfect
of
a sheet
(p.
dark
horizon.
17, )
to the perfect
of
circle
a
Although
verbs
quietness
that
shed
but
as Jim's
into
a short
feelings
initial
the
be
to
meant
Even in
ical
ironic
Nostrorao
features
of
the
by the novelist's
power of
(1)
the
verbs
the
we learn
later
of
the
the
to
narrator's
fictitious
romanticism
the
that
safety
fine
of
as well
'ý;ate
end.
of
the
Costaguana
shows up in
to
weather
and peace"
catastrophic
the
first
the
of
the
of
seemed
description
description
republic
which
phrase
nature
whole
"unbounded
prologue
verb
spurious
and that
time,
the
Patna',
question
a few pages
for
statement,
the
image
us a vivid
giving
aim at
pervade
surrounded
calls
soon
lasted
like
the
topographis
coloured
evocative
used.
to know that critics
Conrad was very much infuriated
the "lack
in The Nigger.
Cf. L. C. p.
of incident"
deplored
61
417
higher
the body of clouds
At night
advancing
the whole quiet
below
gulf
up the sky smothers
darkness,
impenetrable
in
the
which
with
an
begincan be heard
showers
sound of the falling
here,
there.
now
now
ning and ceasing
abruptly
these
Indeed,
cloudy
nights
with
are proverbial
the who]co west coast
the seamen along
of a great
land
Sky,
together
and sea disappear
continent.
the
out of the world
when the Placido
as
saying
is - goes to sleep
its
black
The
under
poncho.
left
below
the seaward
few stars
frown
of the
feebly
the mouth of a black
vault
shine
as into
In its
floats
vastness
your
cavern.
ship
unseen
feet,
her sails
flutter
invisible
under your
6(pp.
head.
7)
your
above
Both
the
very
semantic
the
of
It
rich
of
verbal
to
for
the
is
too
Boyle
it,
(1),
is
part
for
"camora
void
Costaguana,
attempt
the
past
the
the
whole
roving
American.
republic
the
life
first
the
justify
action
in
his
what
claim
novel
histories
on the
example
the
fabulously
of
Boyle, 1965, :
P. R., p. 100.
1?.S
is
which
who,
of
as Ted
the
picturesque
Instead,
describing
we
unmista-
a host
of Nostromo,
of it.
and there
of
much
pay
novel,,
hero's
Conrad's
the
history
seems to be a deliberate
that
there was not a single
brick,
stone or grain of
(Costaguana's)
I had not placed
sand of its
soil
in position
with my hand... (2)
(1)
(2)
direct
and
with
of
the
private
part
here
attention
story
of
to
for
presence
Still,
various
and present,
by Conrad to
novel,
the
Jim
action
latter
adventurers.
of any indication
keeps
sleep.
are
Lord
with
to
attracts
with
"unites
almost
eye"
south
like
novels
the
In
due mainly
and American
concerned
in
much preoccupied
a whole
supposedly
clauses,
the
of
and go to
smother
underlined
that
descriptions.
dimensions,
puts
two verbs
virtue
element.
San Tome mine, which
European
by
personified
are
other
be contended
a setting
epic
Placido
the
as in
Conrad
attention
kable
nature
could
Nostromo
have
the
here,
The images
result
and
clouds
of
41D
Even the
with
his
part
of
use
all
the
tragic
to
tion
Of the
is
of
"irony
by which
speech
the
terms
of
trated
by the
ironic
treatment
irony
ironic
following
of
is
one
the
the
all
hero
thing
and
verb
in
is
the
there
that
form
understand
a particular
as can be clearly
from The Secret
book.
(I),
to
gyveth
the
of
means
fact
propor-
by Sedgwick
simply
subject
done,
of
the
of
part
out
which
connotations
a serious
background
alleged
a certain
examples
an integral
and
are
more
than
novel
is
said
defined
grammar"
use of
the
themselves
details
a man "sayth
can have its
context
of
Thus the
contrary".
in
not
are
Nostromo,
of
in
is
which
as an illuminating
descriptive
story
novel,
purposes,
When all
seven meanings
he
what
but
the
tense
of
serve
enacted.
these
that
in
imagistic
that
book,
being
tragedy
remains
for
verbs
the
in
action
human
the
of
device
manipulation
descriptions
the
the
to
Conrad's
with
concerned
time-shift
complex
Agent
illus-
wherein
the
main
ambitbön:
novelist's
The door of the shop was the only
means of
to the house in which Mr. Verloc
entrance
carried
on his business,
of a seller
of shady
his vocation
wares,
exercised
of a protector
his
domestic
of society,
and cultivated
(p. 5)
virtues.
among the
Prominent
phrases
used in
the
passage
nature
betrays
the
ironic`
whose literary
cultivated
hind
verb
it.
For it
is
domestic
vation
of
of his
body and the
Verloc's
regard"
what Mr.
wifely
(pp.
two lines
virtues
peace
6)..
Vorloc
what he was bound to reap:
"wifely
(1)
attentions"
SedSwick,
of
his
However,
cultivated
in:
"He found
conscience,
the
Vorloc'c
mothers
deferential
the
himself
upon.
culti-
with
hic
at
this
be-
together
totally
murder
verb
at home the
knotiis in
reader
the
intentions
we know what
was something
he prided
1948 :5
that
consisted
and Mrs.
attentions
5-
later
is
hands
Mrs.
due course
different
of
the
ease
that
from
wife
whose
419
On the
the
of
other
verbal
for
marked
are
the
used in
elements
of Comrade Ossipon
physique
ironic
the
hand,
description
their
implicit
reference:
hair
topped
his red
A bush of crinkr
yellow
face,
freckled
nose and
with
a flattened
in the rough
mouth cast
mould of
prominent
type.
His almond-shaped
the negro
eyes
languidly
leered
over the high
cheek-bones.
the
Although
ation
it
women;
him to
to endear
also
explains
him for
in
his
underlined
the
man's
stealthy
leering
this
the
quality
Verlod
after
killing
The repetition
of
from
example
the
her
in
why Mrs.
a conglomeris
sentence
of
making
advances
to
Mr.
his
of
eyes
Verloc4s
that
eyes
he lives
extremities
her
44)
habit
about
some women .. -. whose income
salvation
following
for
through
painted
underpins
way
is
It
Winnie.
wife,
the
paves
mainly
leer
verb
It
significance.
special
at
the
modifiers,
of
is
portrait
man's
(p.
seems
It
off.
turn
should
to
husband.
form
passive
of
the
Eyes is
Under Western
verb
conducive
the
in
phrase
to irony
and
suspense.
to be the son of an
Mr. Razumov was supposed
by a distinArchpriest
and to be protected
his
nobleman
guished
perhaps
of
own distant
But his outward
province.
appearance
accorded
badly
Such &descent
origin.
with
such humble
It was, indeed,
was not credible.
suggested
that
Mr. Razumov was the son of an Archpriest
's
daughter
pretty
of course
would put
- which,
a different
The irony
implicit
when tho
narrator
the
ligible
other
words,
would
have it
daughter
tells
protection
the
novel..
-
us that
of
the
becomes quite
repetition
this
last
distinguished
subject
Razumov was the
or
son of
C.; )
theory
"rendered
nobleman's
subjects
the
clear
of
(p.
the
intel).
_C:
in
rumour
Archpriostts
pretty
unnamed nobleman.
The evocative
later
verbal
unidentified
that
by the
this
in
(p.
on the matter.
complexion
po.. 3r of
The
Arrow
of
the
verbs
Gold
is
(1919)
by no means abated
boars
witness
to
in
this
the
fact:
420
in the hall
was still
The feeble
gas flame
had
been
it
though
duty,
never
there,
as
on
hall
the
last
I
turned
at
crossed
off
since
the
to
to
the
in.
half-past
go
evening
eleven
had watched
flame
The small
harbour.
me letting
the
of
same size,
now,
exactly
out;
and
myself
(there
tongue
was
the poor little
of light
that
burner)
me
with.
watched
wrong
something
had
done
it
in
indeed
letting
many
as
myself
(p. 230)
before.
times
The
speaker
The
objects
mate
beings.
image
nal
flesh
of
in
In
the
first
of
the
flame
the
throws
time)
purposes
the
to
his
of
his
choice
of words
hances
the impression.
With
auxiliary.
that
the
function
a considerable
that
this
of
change
this
in
origi-
a. sentinel
is
(a
continued
one
this
would
for
lexical
auxiliary
in
in
the
sentence,
up to
novels
on precision
(p. 410
have aimed
at
characteristic
E. Stegmaier
reader's
the
Anderson
this
and
is
use of
to
Stetmaior,
1972 :
517
en-
achieving
goes so far
Nostromo
careful
supra)
the
as to
"bring
attitude",
From taking
in one
up an imaginative
stance
he is made to withdraw
to a
particular
moment,
he can survey
from which
vantage
point
an unOr, to be
number of similar
specified
events.
the reader's
is both inside
more precise,
stance
the scene:
inside
because
the 'would
and outside
in form,
because
remains
scone'
scenic
outside
this
form strictly
no longer
speaking,
stands
for an actual
(1)
fictional
and unique
present.
(1)
owing
and redundance
in
emphasis
technique
the
a highly
were
adverbials
Conrad might
mind,
the
auxiliary
through
in
it
superfluity
to Mrs.
letter
effects
stylistic
use of
the
human
focus.
as his
as well
in
watch
frequency
of
manipulation.
(1919),
verb
smacks of
certain
to
personification
sharper
peculiar
typification
constant
certain
into
as if
inani-
endow
peculiar
effects
copula
of
the
where
image
presence
The Rescue
standing
on duty
Conrad's
Although
of
the
days.
Marseilles
they
way
qualities
with
process
the
of
the
for
sentence
The
sentence
second
young
flame
gas
blood.
and
the
the
like
Conrad
remarkable
are
elements
verbal
the
M. George,
is
say
about
421
}
What
on the
to
fails
Stegmaier
his
of
reader
withdrawal
survey
the
example
from
he cites
"a
of
number
an unspecified
can
to
that
we will
to his
attitude
taking
place
he is
actions
the
only
uqe
in
For it
between
went
him up for
old
the
listic,
sage that
nagging
and emotional
Giorgio
would
follow
drops
is
puts
the auxiliary
into
Ibid,
the
it
wife
he really
is,
character.
up with,
would
by
these
"Peace
the
not
the
dark,
thing
for
is
in
Teresa.
highly
temperaIt
the
tells
reproachful
remarks,
simple
Signorats
us that
he
Murmur,
verb
shows
or idea-
romantic
he would
has
instance,
which
spotlighting
the
that
would-phrase
When Conrad
for
a. series
manner
difference
also
perceives
with
occur,
Signora
woman...
and opts
would-phrase
but
that
though
while
the
With
The
the
relief
an action.
economical
does
in
related
who suddenly
action,
fact
that
is
the
would-phrase.
and his
the simp1o past or pro teri te,
ilk
he
we take
If
story.
of
most
and experienced,
be provoked
this
the
passage;
Giorgio
wise
in
the
of
one
he murmured
clause,
reporting
significant.
not
the
the
attention,
with
shown
attention
twice
which
represents
which
onslaught
reader's
or
occurs
the
critical
presented
eluded
in
the
concerned
Stogmaier's
point
stance"
moment in
occurs
peculiar
from
the saint
himself,
he was.
whose patron
by her side,
the chair
reproachful
and dishe murmured
woman...
'Eh
retort
panting
what of the woman
sentence
no longer
this
through
first
there
effect
events".
"imaginative
reader's
the
ultimate
Nostromo,
one particular
at
rivets
which
of
to
sentence,
second
that
the
vantage
similar
She was not then invoking
but calling
upon Nostromo,
And Giorgio
on
motionless
by these
would be provoked
''Peace,
tracted
appeals.
in the dark;
and She would
Duty
I have no patience.
(1)
'
who...
find
the
is
however,
clarify,
does
but
phrase
This Dimply means that. although
using
422
Giorgio
was apt
her
to
to
willing
counselled
her
answered
the
with
plaints
Stegmaier
recurrence
scarcity
in
Lord
(Costaguana).
page"
phrase
figures
Jim
in. Lord
of
the
or
518).
However,
it
few
does
Nostromo..
Besides,
in
the
above
is
essay
only
to
more
give
highlights
this
short
stic
feature
of
Towards
the
essay
the
Conrad's
end of
example
And later
verbal
on,
the
which
story
like
quoted
what
or
credit
importance
of
wouldthai
"Karain"
the
use
Nostromo
be
history?
eventful
where
appear
way can
from
passage
of
why the
us
in
"the
country
actually
tell
not
is
number
endless:
its
On the
than
is
due
convincing.
to
say
that
lingui-
a significant
practice.
four
chapter
of
the
against
this
of
attention-catching
credit
com-
(1)
scene'
vastness
a short
largeness
country's
whether
her
of
(as
'would
glimpses
Stegmaier
each
Nostromo
an almost
even
is
representative
the
prominently
Stegmaier's
whole
the
more
the
of
that
in
would-phrase
indicative
the
behind
(p.
on the
phrase
suggesting
that
no patience".
in
fact
follows.
that
clear
up
he
mark when he attributes
the
importantly,
and more
details
and
would
the
have
I
of
wide
of
means
follow
"Eh!
the
to
Jim)
would
quite
always
occasion
clause
it
much heed
is,
one
reporting
makes
she
shoots
of
appropriate
events
not,
exclamation
frequent
most
would)
or
also
the
about
paying
that
On that
this.
but
auxiliary
of
He was not,
over
be quiet,
to
the
(containing
Giorgio
with
argue
her
her
habit
the
outbursts.
emotional
petty
complaints
woman's
in
he was not
negligence,
Nostromo's
the
by
be provoked
to
in. Lord
would-phrase
many
times,
in
in
Jim we come across
this
distant
novel.
parts
of
the world,
Marlow showed himself
to remember.
willing
in detail
Jim, to remember him at length,
and audibly.
dinner,
Perhaps it would be after
on a veranda
(1)
.
do not obscure the
however,
Such interpretations,
the would-phrase
is of a more stative
than active
since it tends to aum up a series
of characteristic
tioo in a phrase of just
two words.
fact that
natura,
activi-
a
423
foliage
in motionless
draped
and Cro mcd with
b2f fiery
in the deep dusk speckled
flowers,
bulk
The
of each caneelongated
cigar-ends.
listener.
then
harboured
Now
a
and
silent
chair
red glow would move abruptly,
and expana small
hand,
ding light
of a languid
up the fingers
part
crimson
in
flash
face
or
repose,
profound
a
of a
of pensive
eyes overshadowed
gleam into
a pair
forehead;
by a fragment
of an unruffled
and with
body,
Marlow's
the very
first
exword uttered
in the seat,
tended
would become very
at rest
his
had
though
its
winged
spirit
way
stillras
the lapse
back into
of time and were speaking
(p. 33, ')
his lips
through
from the past.
The
is
phrase
the
in
of
notion
maintained
first
use
of
Such
listeners'
of
the
book,
events
to
would-phrases
events
here
bound to make the
led
the
he is
hints
that
iarlow
feel
Coleridge's
shooting
of
the
ancient
seek psychological
relief
stories
to
It
right
their
guests.
when he tells
us that
This
explains
verb
room or appear
his
continuous
which
also
the
foreground
following
reader
those
really
or
need
through
'say that
quite
mania
their
Marlow
is
bewilderment
are
the
with
events
that
ancient
respective
quite
Jim.
understood
elements
the
the
elements
the
with
telling
to verbal
the
of
Marlow. and the
shows that
resort
at
experience
as obsessed
Both
such
a story
of Marlow
mariner
he has never
betray
his
such verbal
albatross.
mariner
and
in,
is
verb
Marlow's
nature
that
the
with
be more logical-to
I believe
the
through
second-hand
a
not
Indeed,
follow-
a novel
the loquacious
at
reader
reading
reliving
Would it
of Jim as is
to
he is
raconteur?
preposterous
story
that
the
theory.
the
to
not
phrase
Stegmaier
revealed
he is
would
no verb
notion
from
does
is
connection
lines
that
But
that
in
events
reader
depicted?
phrase
would
times
the
of
this
this
elicit
518).
know
or
remove,
second
the
(p.
the
use
There
heralds
similar
along
the
remind
directly"
many
behind
presence
the
undermine
however,
passages,
"references
remark,
to
passage
phrase
adverbial
showed.
ing
the
of
in
way through.
or otherwise
sentence
the
the
all
past
simple
the
implicit
repetitiveness
like
the
lack
and
of
424
certainty.
theory
This
fun
poking
similarity
the
at
of
the
used in
those
third
advanced
Marlow's
verbal
In
Mitchell.
the
by
out
used on such occasions
to Captain
the
Conrad
about
borne
is
obsession
elements
Ilostromo,
of
chapter
previous
incurable
relation
part
the
in
with
ten
chapter
of
remarks:
narrator
he
that
Office
the Harbour
It would be into
(Mitchell)
passenger
would ]lead some privileged
in his own boat,
he had brought off
and invite
he signed
for a moment while
him to take a seat
Mitchell,
And Captain
seating
a few papers.
himself
would keep on talking
at his desk,
(p. 474)
hospitably---
the
Obviously
pompous
nature.
pose.
It
is
for
the
here
He is
a
an fond
that
he
cannot
just
in
of modifiers
this
had to bear
with
that
fool
impression
set
context
of
talking
keep
his
with
connection
unperceptive
enhance
this
in
would-phrases
for
protege,
is,
and sheer
his
as
Nostrono,
showshim
the
phrases
would
and make us sympathise
the monotony
pur-
no apparent
And just
quiet.
he really
Mitchell's
off
of
up
those
with
stagnation
use
the
who
whole
thing.
The ironic
where it
Victory
the
of
sea-captain
the
Portugelso
Morrison's
function
is
of
used in
whom Axel
the
connection
Heyst
authorities.
misplaced
is
would-phrase
the
with
more striking
hapless
rescues
from
This
how Conrad
is
the
Morrison,
malicious
satirizes
generosity:
through
He (Morrison)
would often
sail
awfully
dangerous
up to some miserable
channels.
settleto find
ment,
only
a very hungry
population
for rice,
clamorous
and without
so much 'produce'
between
them as would have filled
Morrison's
Amid general
he would land
suitcase.
rejoicings
the rice
the same) explain
to the people
all
that
it
that
they were in debt
was an advance,
to him now; would
to them energy
preach
and
industry,
note in a. pocketand make an elaborate
diary
he always
which
carried;
would
and this
be the end of the transaction.
Morrison
thought
soy but the
I don't
villagers
in
know if
had no
designs
425
doubt
it.
about
Whenever
village
a coast
sighted
begin
to beat all
its
it
brig
gongs
would
its
hoist
its
girls
streamers,
and
all
all
and
in their
hair
and the crowd
would put flowers
bank,
line
the
river
would
and Morrison
would
this
through
bean and glitter
excitement
at all
intense
his single
gratification.
eyeglass
with
lantern-jawed,
tall
and clean-shaven,
was
and
ne
like
his
who had thrown
a barrister
and looked
(i
1O--11}
dogs.
to
the
p.
wig
the
is
It
noteworthy
the
would
narrative
to by the
referred
the
about
leave
Morrison's
Nostromo,
such
manifestations
of
through
dangerous
nothing
for
beam and
to
was content
the
native
be paid
glitter"
at
the
in
the
passage
The would-phrases
treatment
he
is
why,
natives
"would
sail
he
gets
although
he
on credit,
natives
excitement
"would
his
at
r
The irony
the
follow
is
when his
litter
white
conduct
brought
further
in
the
last
time
calling".
of
back
he never
to
"squeeze
which
declaration,
and snap the
elastic
on. with
squeezing.
a more economical
way of
" (p-j
poking
ironic
Morrison
U)..
fun
connotations
tells
It
foolish
put
the
would
inflexible
at
his
at
'the
'.
us that
"would
natives
that
verbs
him as to
with
the
1-1
lexical
Conrad
quotation,
After
began the
the
highly
generosity,
promise
and
air'$,
the
remonstrated
colleagues
and self-destructive
knowing
by
out
from
Apart
auxiliary.
of beam and
gine
for
often
coming.
pencil
of
is
It
words.
that
the
of
sight
the
ironical
fine
And this
he provides
rice
Teresa.
adulation
channels".
my theory
shows him to be a man, who
It
nature.
philanthropic
tenor
activity
case of
Conrad's
always
whole
corroborates
in, the
about
the
characteristic
and Signora
k
ofLdoubt
like
adverbials
so that
This
such adverbials
shadow
like
the
with
accord
time
verbs
past
simple
Giorgio
about
no
here
uses
would-phrases.
of
absence
from Nostromo
here
Conrad
those
with
and whenever
of
that
first
the
stick
but
finality;
is
hard
the man than
on a
to ima
this
426
device
syntactic
I
would plusslexical
of the auxiliary
consisting
verb.
Tense in
tion
the
in
short,
that
flow
the
of
Conrad's
novels
the
of
dominant
he seems to do it,
poraries.
technique.
his
puppets
of
the novel
The same happens
death
the
in
the
same
quite
discursive
with
showman manipulating
such practice
us is
when Thackeray
of Jos Sedley
is
instance,
the
of
which
is
contem-
preterite
of
this
his
hand of
Typical
Vanitatum!
"'Vanitas
humour after
the
betray
or characters.
" .
world!
the
or
any one of
for
Fair,
long
about
Coned-indulged
Vanity
of
that
passages
authorial
before
novelists
passages,
significant
more than
the way he interrupts
for
notorious
What is
interrup-
recurrent
with
preterite
perhaps,
The author
by the
marked
present.
simple
Other
is
happy
the
in
this
end
way to his
gives
and young
is
arch
Osborne:
However much you may be mourned, your widow will
to have weeds neatly
like
made; the cook will
the survivor
send or come up to ask about dinner,
over the
soon bear to look at your picture
will
685)
(p.
mantelpiece.
Conrad'a
to
the
the
of
There
arc
narrative
preterite
who spent
more than
at.
function
the
tapose
east
in
eternal
the
interrupts
tho
the
far
of
with
east,
the
present
cimplo
directly
speak
discursive
the
at
into
passages
the
undermining
mention
the
of
the-east
of
his
this
is
life
temporal.
to
introduce
from
the
For
sea.
a-man
as a seaman wandering
something
in.
In
one
he
of which
narrative
and the
simple
the
preterite
not
case and without
course
two decades
the
his
Conrad
present:
simple
of
waters
The
in
to change
to the
he does
disbelief.
of
two themes
hesitates
on the
with
suspension
willing
reader's
never
the
that
in
incorporates
he simply
reader;
texture
different
is
practico
cases
such
"Youth""
such
to
not
6
is
to
jux-
Marlow-ofton
passage
prooent:
be wondered
about
the
427
again
from
the
through
crowd
passed
A wave of movement
heads,
the
the
swayed
to
along
and, passed
end
the
like
jetty
on
the
ripple
a
bodies , ran along
field
breath
and
on
like
a
wind
of
water,
the
it
wide
sweep
now
see
was
still
.I
all
the
of
the
bay,
wealth
the
sands,
glittering
of
and varied....
green infinite
them
looked
a sound.
East
without
at
The
...
I have
fascination
"I have known its
since;
the
the
water,
the
still
shores,
mysterious
seen
Nemesis
brown
stealthy
where
lands
a
nations
of
(p. 41)
in wait...
lies
On the
dropping
one
the
of
deep
begins
because
its
of
larger
scale
the
dominating
its
full
sea and its
similar
occasions,
lighted
through
natural
forces.
In
with
desired
of
the
this
Sometimes
the
forth
one of
"The Return"
another
Alvin
man.
power:
the
or
painful
Harvey
At this
on a
Here,
to
preterite
that
the
preterite
a whole
paraby
justice
the
as elsewhere
the
on
z. s: high7,
durability
simple
of
present
of human existence.
sad facts
narrator
the
its
in
them and the
discovers
the
occur
of human actions
nature
perhaps
sea,
"On men reprieved
etc. "
between
Chapter
sweet
with
sea confers
unrest....
the
keeps
ends with
begins
uncanny
from
the
three
four
evanescent
shift
outside
chapter
contract
The
but
as
"
grave.
interruptions
Such
imziortal
the
mercy
privilege
bodies
while
scene,
disdainful
the
Chapter
Niger.
the
the
about
graph
servants'
in
"
soul.
the
present:
simple
roughens
saltiness,
its
the
in
solid
safe;
as
Chapter
Islands.
quite
discreet
as an abyss;
a. sentence
with
of
kernel
deep
-
He saw hin
sentence:
the
of
Conrad's
behind
force
motive
An Outcast
in
preterite
the
with
ends
hills;
two
other
the
sea is
the
hand,
hic
tells
wife
has eloped
us,
like
the first
He stood
naked and afraid,
alone,
day of evil.
There
man on. the first
are in life
that
rlimnses,
events,
contacts,
seem brutally
to
to bring
the past
There is a
close.
all
_a
flung
to behind
chock and a crash,
as of a gate
hand of fate.
Go and seek
one by the perfidious
There is a
fool
paradise,
or sage.
another
moment of dumb dismay,
must
and the wandering
begin
again...
428
He came to himself
and
start
with a slight
desobecame aware of an oppressive,
crushing
(p.
134)
feeling...
It
lation.
was only a
Conrad
however,
Here,
like
novelists
previous
sing
himself
dise,
fool
the
to
The
sage".
were
scarcity
of
stories
the
"Go and
such
which
addres-
criticised:
severely
in,
reader
of
on account
mistake
sane
Thackeray
directly
or
the
makes
seek
them
makes
slips
para-
another
of
significance.
slight
In
of
most
the
in
function
overall
the
is
example
time
a universal
spotlights
present
such
Marlow
the
simple
book.
Lord
6-Tho shadow (Stein's)
prowling
amongst
boisterously.
laughed
butterflies
of
the
has a symbolic
the
of
from
quotation
of
that
statement
pattern
structural
following
onslaught
One
Jim:
the
graves
thing
this
terrible
is.
Very funny
A man
'"Yos!
into
falls
is born
that
a dream like
a man who
to climb
If he tries
the sea.
into
falls
out
the air. as the inexperienced
into
people
endeavour
to do, he drowns
wahr?
- nicht
;
1o' I tell
you the way is to the destructive
and with the exertion
element submit yourself,
the
in
hands
feet
water make the
your
and,
of
deep, deep sea keep you up.... (p. 2.14),
is
The speaker
thing
The important
speech.
the
of man in
role
God's
passage
rise
opinions
on the
relevance
the
fate:
his
Many,
that
in
Patusan
stood
see in
critics
in
inability,
is,
the
to
direct
Conrad's
chain
to Jim's
a succinct
to
the
of
"deep,
favourito
that
the
on direct
chapter
stein's
assessment
in
the
of
critical
above
tragedy.
.
explanation
dream of
and ultimate
result
the
that
words
himself
failure
the
endless
words
submit
of inverting
as articulated
Stein's
Stein's
way of making
The preterite,
is
universe
of
see Jim's
to be the
to note
to a seemingly
has given
of
habit
whose characteristic
has been commented upon in
word order
normal
of
5toin
his
of
of
Jim's
life.
self-inflicted
lack
Most
exertion
death
which
deep sea keep him up".
tense
form,
is
used by the
429
for
novelist
the
ting
In
purposes.
life
of
continuity
actions.
of
a variety
the
Victory
transitory
the
and
the
is
It
second
human
of
nature
of
paragraph
contras-
means of
9 reads:
chapter
the cold
was an
After
gust of wind there
thunderThe
the
of
air.
stillness
absolute
the
low,
beyond
hung
unbroken
mass
charged
darkening
the twilight.
headland,
ink-black
displayed
the sky at the zenith
By contrast,
delicate
the
of
a
sheen
clearness,
pellucid
the
bubble
of air
movement
merest
which
glass
left,
between
to
the
little
A
shatter.
might
the
headland
the
of
the black
of
and
masses
day
by
feather
the volcano,
forest,
of
smoke
a
its
took
first
night,
at
cigar-glow
and a
breath
Above. i'ý. a.
fiery
of the cn;;
expanding
like
out
an expelled
spark
came
star
reddish
bosom of the earth,
enchanted
from the fiery
by the mysterious
of
into
spell
permanency
frozen
spaces.
full
In front
already
of Heyst the forest,
like
deepest
the
stood
a wall.
shades,
of
its
But he lingered,
edge especially
watching
bushes,
line
the
it
of
masking
ended at
where
(p. 056)..
the land ends of the jetty.
The passage
occurs
he realises
that
three
brings
The preterite
indifference
described
used in
the
next
displayed,
continuity
of
tals.
'
In
short,
without
criptive
of nature
which
the
passages
darken,
preterite
power
the
the
contrast
shatter,
is
and sheer
the
form
and bringing
striking
way.
sensuous
tableaux
It
entered,
the
with
which
happens
tonso
same.
Heyst's
man.
sharply
most
be the
splendour
turned,
evoking
not
and Pedro.
came out
of what
of
Ricardo
lingered,
such as,
human
evil
on Samburan
white
of
novelist's
would
Jones,
the
of
irrespective
the
in
fate
paragraphs
life
Conrad's1stupendous
forces
the
to
Mr.
of
world
arrival
detail
vivid
by verbs
hung,
verbs
in
out
the
by the
plain.
evil,
of nature
movements
stared
of
emissaries
from
valueless
moment
'the
on Samburan has availed
existence
withdrawal
has been rondored
beings
the
his
and that
him nothing,
the
hermit-like
his
life:
in. Heyst's
stage
at a critical
underline
to petty
that
the
mor-
bodies
to life
is
active
forth
the
tense
and lifelike
form
des-
430
is
The preterite
also
the
In
psychological.
both
occurs
the
preterite
the
character's
following
in
form
the
human activities:
two temporal
contrasting
tense
dominant
the
Under
and the
Eyes
Western
as in
as well
sentences
narrative
passages
physical
from
excerpt
in
monologue:
narrated
to sorrow
and
Ziemianitch's
surrender
passionate
le.
the
him.
That
baffled
had
peep
was
consolation
beaten
he
had
Razumov
Russian
true
glad
was
man!
A
the
the
"bright
brute
that
of
other.
soul"
the people
Hero they were:
and the enthusiast.
Be vtreen the two he was done for....
It was a sort of terrible
childishness.
had their
masters.
children
And indeed,
conhis rooms,
it'was
(pp. 3
2
t)
way.
..
and slower.
n
slower
walked
in
he
had
the
guest
sidering
on the
no wonder he lingered
Although
ances
other
of
position
like,
the
activities
In
ing
In
forms
are
in
preterite
brought
between
sentences
like,
he walked
the
his
with
Conrad's
or backgrounding
An Outcast
slower,
the
preterite
certain
aspects
one such tableau
in
monologue
that
fusing
juxtautterand in
the
bring5out
the
man's
physical
trepidations.
psychological
hands
the
is
two he was done for
as a means of
preterite
it
play,
narrated
the
were,
of
into
Razumov's
Here they
descriptive
importance
tense
But
be a means of
could
in
the
descriptive
foregroundtableau.
reads:
the tree
On the left
seemed to step out to meet
them,
high,
vaguely,
motionless
appearing
and
plaint
of'Linnumarable
patient;
with
a rustling
drop of water
through
leaves
tore
which
every
haste.
its
And then,
cruel
way with
separate
the house surged
to the right,
up in the mist,
the quick
with
very black,
and clamorous
patter
high-pitched
roof
of rain
on its
above the
the
of the water
running
steady
splash
off
loading
Down the plankway
to the door
eaves.
flowed
a thin
and pellucid
stream,
and when
began his ascent
it
Willems
broke over his
foot as if he were
the bad of a rapid
Although
the
preterite
is
tho
going up a steep ravine
11os7
torrent.
sY
"an&
only
tense
form in
the
in
(pp.
"..
284-5)
passage,
we
431
notice
ground
phrase
surged
the
a sense,
active
the
of
of
by
the
house
is
On the
other
flowed
a thin
the
of
up in
tableau
to
the
seem in
of
the
described
hand,
the
as
the
the hand of a master
the
first
subject
out,
house
and the
assigning
tree.
who know quite
well
tree
to
the
robust
a fact
black
complex
the
the
house.
rendered
quite
in
All
whereas,
clamorous,
and
the
In
the
vaguely,
it
backverb
neutralises
backgrounded
stream,
the
of
appearing
very
is
of
sentence
step
surging
use
description
the
phrase,
and pellucid
after
to
intransitive
postmodifying
the
relegates
sentence
relation
seem in
verb
relational
as opposed
picture,
use
the
first
the
force
explicit
of
use
of
phrase
verb
the
the
that
third
etc.
sentence,
a. third
place
this
indicative
is
what he was out
achieve.
/ý
in
to
432
IX
Chapter
CONCLUSION
I
the
.covered
ideal
style
in
propounded
proach
majority
of
on the
basis
cases,
founded
by Charles
feature
in
of
signs
the
'?structural
Ac such,
of its
terms
work of
my approach
is
art
is
eclectic
the
cases,
functioning
within
its
from
"genetic
ob-
stylis-
the
relationship
on the
the
For while
tenets
Praguo
pro-
stylistic
"descriptive
of
by the
of
owes as much to Bally
of investigating
founded
chosen
concept
Apart
of
the
In
signs
Jakobson.
based
ap-
were
all
other
thesis
functional
stylistics"
-
school
school
that
Bally,
In
and identifying
the
from
study.
works.
this
like
this
"hunch"
and his
in
stylistic
the
the
of
the
discussion
with
dis-
describe
as a sign,
Conrad's
of
defining
borrowed
is
features
harmony
to
for
was treated
followed
coos of delimiting,
or
of
respectively.
to structuralists
door
chapter
to Spitzer
the method
as it
in
do is
down in
theory
Fowler
but
to
laid
have
investigation
stylistic
features
"click"
indebtedness
tics",
opening
framework
structural
vious
the
examined
isolation,
in
lines
to
chapters,
attempted
the
Roger
feature
stylistic
the
to
stylistic
the
of
and Dr.
Spitzer
the
along
foregoing
have
I
What
Conrad's
the
approach
prose-fiction.
not
in
make no claim,
stylistics"
the
stylistic
with
the
of
the
Linguistic
but
and subjoctive,
other
school
of
Circle.
mainly
prnrmatic.
is
It
seven
his
eclectic
features
stylistic
reference
is
not
only
because
of. Conrad's
style,
strategy
in
relation
made to
only
one short
it
but
focuses
also
to other
story
attention
because,
in
contemporary
or novel
on
discussing
novelists,
by each of
the
433
last-mentioned
practitioners.
conviction.
possible
every
its
with
even a life-long
that
describe
counterpart
is
of
its
work
in
with
the
or
the
as
message
on the
instead
in
question
on the
I have
then
the
in
the
the
feature
to
proceeded
other
interim
the
use of it
for
certain
aesthetic
was dictated
listing
of linguistic
of little
To our
work.
underlying
Conrad's
titivenooe
as a virtue
purposes,
peculiar
the
use of
process,
has boon unavoidable.
or a flaw
in
the
the
stylistics
examined,
cons-
and
be the
cannot
least
at
the
remains
be
design
have been of
this
mere
might
', how" and the
a certain
17hether
approach,
feature
artistic
language
however,
advantage
Such a procedure
ends.
overall
a
its
of
premeditated
both
with
examination
the
volu-
(50 pages
corpus
some of which
in
or no significance
In
that
featured
novelist's
importance.
bolief
by my firm
Conrads
each chapter
of
novelist's
approach,
feature
has had the
This
the
the
of
of
a limited
density
unquestionable
other
a brief
novels.
of
representative
begun
in
impact
linguistic
with
the
most part
in
highlighting
judge.
forthe
the
thinking
myself.
nature
about
one or
the
but
pragmatic
Conrad's
mode of
in.
other
question
concerned
much more
speaker's
my argument
from
in
with
interested
at length
of
and
pinpointing
cious
all
the
none
the
is
gleaned
average)
who is
who is
interpretations
familiar
reader
mainly
and illustrating
manifestations
of
been
contemporaries.
feature
stylistic
of
description
detailed
the
it
compare
and
as the
so far
in
a reflection
theorising
of
novels,
minous
of his
Bally
of
carefully
examples
works
Unlike
receiver
Most important
for
entire
of
have
I
milieu,
message
style
as a critical
entirety.
social
Conrads
subjective
my own views
would
to
be sufficient
not
of
connotations
semantic
reflect
the
my deep-seated
fron
stems
study
aspect
in
The approach
the
This
degree
is
for
of
the
of
"why"
equal
repo-
to be regarded
the
reader
to
434
While
the
relevant
two
nd
ground.
to which
on his
three
the
of
the
In
style.
The advocates
is
prose
French
language.
to his
first
items
tive
language
supporters
evidence
interference
is
this
to bear
The trouble
the
final
analysis
such inevitable
(1)
The question
there
of
something
of
whore
are
theory
with
do not
to
confusion
is
is
discussed
Conrad
that
items
lexical
or
the
from
indebtedness
lexical
where
was
ele-
fact
on the
Conrad's
those
French
indica-
mistakes
who would
in
tongue
in
belief
in
one's
it
to dig
each other
the
the
Here,
find
hard
that
un-
adopted
the
also,
up enough
(1)
is
out.
way Conrad
detail
Conrad's
attribute
be helped.
two approaches
cancel
years.
formulative
grammatical
contention.
these
that
translation
that
native
cannot
their
out
fifty
past
French
with
influence
ono'c
that
the
three
occur.
to Polish
deviations
linguistic
conscious
hand,
over
conscious
thinking
way of
other
view
is
and unconscious
a French
On the
the
language
foreign
question,
a literal
betray
They hold
are used,
of
that
this
capitalise
and there
as
impact
greatest
by any other
than
in
well
speculations
who maintain
theory
here
sprinkled
mistakes
grammatical
those
are
this
of
forward
put
by French
much more influenced
ment.
been
there
one hand,
On the
his
attempt
have
theories
different
to answer
The
prose.
wrote
and
had the
forces
formulative
back-
on his
to wild
rise
mainly
are
linguistic
who spoke
has given
other
These
on.
influences.
.
various
was a multi-lingual
and English
French
Polish,
the
of
nature
Conrad
that
fact
the
thesis,
Conrad's
regarding
points
controversial
touched
lightly
has been
style
this
of
contention
been
have
questions
Conrad's
of
analycis.
and major
concern
prime
the
descriptive
the
in
that
they
A signal
uses
the
Chapter
tend
oxamplo
verb
II
in
re
supra.
of
ret
435
discussed
on page
an unambiguous
is
the
"remained
opinion
a vital
force
throughout
influence
his
a considerable
Bucza's
thing
the
influence
the
with
life,
of
background
in
fact,
exerted
Conrad's
of
aspect
from
Pole,
*Unfortunately,
the
of
question
far
French
the
Busza,
(2)
literary
prose
force
and,
writing".
the
prose.
and literary
his
leaves
that
on his
Polish
of
over
is
main concern
background,
Conrad's
attested
that
formulative
linguistic
that
on.
already
maintains
(1). Andrzej
background",
"cosmopolitan
the
of
and literary
done
on Conrad's
thesis,
doctoral
linguistic
dominant.
Conrad's
is
his
in
extremes
influences
linguistic
foreign
two
the
as
more
theses
two
the
So far
of
is
a
it
regard
would
The problem
French.
representatives
Houvouet,
while
Frenchman
a
level.
literary
to
regard
For,
to
are
subject
with
indebtedness
this
Coleman sees in
study.
while
on the
striking
this
of
influence,
Polish
definite
the
4f
linguistic
Nor
settled.
Polish
that
will
it
be authorLatively
question
Polish
undertakes
the
novoliat"a
indebtedness
his
The third
French
group
himself,
their
of
critics,
tend
summed up in
F. R. Leavic's
and of it.
(1)
(2)
(3)
the
three
and English
degree
elements
to do.
" (3)
The view
'in'
It
is
this
Ilouvouot,
1971
: 22
Buozu, 1964
: 11
Loavio,
1962
: 17
whom the
writer
influence
of
background;
importance
relative
"significantly
with
deny the
linguistic
two theories
being
the
French
of
the
making
up
I.-,
does not
on Cdnrad's
emphasize
of both
of underlining
to each of
day comes when a
background.
linguistic
associates,
task
enormous
the
until
a good knowledge
with
scholar
resolved
as the
of
tradition.
neglect
this
either
neither
adherents
third
declaration
well-known
the
but
of
(English
the
of
this
Polish
do they
of
the
other
can be
about
Conrad's
of
in
this
or
over-
group
tradition)
influence
thesis
43 6
on Conrad's
tradition
in
dulge
one
of
other
or
Hardy
Woodlanders
to
applies
senses
Ford's
use
Conrad
way
as
same
directly
borrowing
reserved
for
for
target
Conrad,
such
on his
the
uses it.
used in
This
the King
of Conrad's
foreignness
that
used
the
same verb
(1)
In
The
to,
in
(2)
the
much
no
Ford
or
of
usually
are
him
renders
same,
Still,
Hardy
charges
in
The
times.
works.
Such
French.
influence
the
interim
either
accused
critics
overlook
to say that
from,
(3)
would
the
Bible
in
Biblical
by J. A.. Macy as far
that
ever
the
Thus,
restrain
extensively
some of
attri-
the
ten
his
of
in
sensible
adjective,
in
to
Conrad.
than
influence
an appropriate
speculations.
English.
verb,
more
whose
Conrad's
Besides,
verb
has
from
by
in-
Stewart
instance,
arrest
had
Hardy
it
it
uses
verb
given
the
of
as I know,
far
as
one,
the
uses
for
forgetting
like
novelists
the
the
of
the
about
arreter,
equivalent
English
true-born-
use
like
critics
Stewart,
style.
excessive
French
its
makes
generalisations
novelist's
Conrad's
butes
prose
sweeping
on the
French
of
those
that
be misleading,
in
Macy also
English.
Bible
believed
the
Bible
from
the
French
for
prose
At that
the
of
same sense
Conrad's
back as 1906.
of
influence
borrowed
Conrad
much the
strain
James Version
the
time
was the
the
is
verb
as Conrad
was pointed
Macy held
earliest
out
the
view
source
that,
Approaching
our language as an adult
foreigner,
he (Conrad)
goes deep to thederivative
meanings of words, their
powerful first
intentions,
has
which familiarity
disguised
from us native-born
(If)
to English.
The same view
mictakinS
(1)
(2)
(3)
(4)
the
was shared
influence
by }iuneker
of
the
who believed
English
Bible
on
that
c0nr a
"there
prose
is
no
style.
Soo p.
3).
66. s upra. See, also, Hardy
275ß.
31f-i.
1075:
3J6
(CL.
"'
,
73
Soc p.
69 supra.
Soe p.
Macy,
supra.
1906
:
701
437
He is
saturated
prose
has its
some forms
denied
strongly
he
to
write
works
often
than
not
case.
the
fact
of
literature
in
English
Conrad
Such
varieties
speech
that
overbefore
for
things,
other
among
Dickens,
and Scott,
presentation
that
in
influence
to Flaubert's
instance,
himself
a. suggestion
read,
passage
from
in
libre
Conrad
on Conrad,
Jane Austen,
of
his
in
indirect
style
had
Mr.
influenced
that
(2).
English
attributed
for
Take,
speech,
despite
like
the
is
Conrad
like
critics
eminent
{le.
allegations.
such
in
abound
that
reported
of
of novelists
works
(1)
stopped
suggesting
influence
the
started
the
not
by Flaubert,
particular)
looks
has
from
Jones
of
use
surge
rhythms,
elemental
puissant
and undertow".
however,
This,
Charles
its
with
his
and
whose
are more
Conrad's
Dickens's
Dombey and
Son (3):
her that
the motion
he told
Presently
of the
him to rest.
boat upon the stream
was lulling
the banks were now, how bright
the
How green
the rushes!
flowers
on them,
growing
and how tall
Now the boat was out at sea, but gliding
smoothly
him.
Who
And now there
on.
was a , shore before
(p.
the
bank
267)
on
stood
--
the
opening
"lo
form of
fied
of
the
from
Apart
this
method
dialogue.
chapter.
indirect
(4)
of
On the
speech"
Are we then
speech
other
hand,
to assume that
done?
As such a hypothesis
from
Flaubert
1922
Iluneker,
:
See p. 64 s upra.
1911
Dickona,
1972
nage,
:
:
of
all
Vol. I
130 - 40
of'the
the
type
the
is
identi-
already
in
the
markers
fifth
shows. "free
of Jane Austen's
both
Jane Austen
just
as Conrad
absurd,
i
linguistic
discussed
feature
takes
passage
Norman Page clearly
to be a salient
art
rest
preseatation
their
(3)
(14)
bears
It
learned
(1)
(2)
libro"
indirect
style
as reported
the
sentence,
the
prose.
and Dickens
is
said
to
most reasonable
have
438
is
conclusion
of
piques
that
the
Conrad
stylistic
his
medium
whom he borrowed
from
authors
by the
techof
expres-
English.
lion,
been
Much has
(1)
painting.
before
long
said
What
chapter
be
should
Dombey
of
unique
that
wordEnglish
other
degrees
the
Take
scene.
of
power
varying
intensity
of
opening
paragraph,
(2)
Son:
and
is
stressed
power with
came on the
Conrad
XXXI
Conrad's
about
this
possessed
novelists
of
was influenced
blank
face steals
its
Dawn, with
passionless
lies
beneath
to
the
which.
church
shivering
Paul and his mother,
the dust of little
and
It is cold
in at the windows.
looks
and dark.
broods
the
Night
upon.
pavement,
and
yet,
crouches
the
in
heavy,
of
and
corners
nooks
sombre and
building.
The steeple-clock,
up above
perched
from beneath
the houses,
of
another
emerging
in the tide
the countless
of time that
ripples
the
break
on
eternal
shore,
roll
and
regularly
beacon,
like
is greyly
recorda
stone
visible,
doors,
dawn,
ing how the sea flows
on; but within
that
first,
night,
only
peep
and
can
at
see
at
(p. 2)
is there.
it
the
The majority
of
metaphorical
sense,
tory.
in
passages
of
cription
London
is
in
The
IlThe Lagoon"
sentimental
strain
in
the
(especially
Lena's
in
Victory)
On the
ence.
not
be minimiized.
Macbeth's
soliloquy
Other
Mnrryat
(1)
(2)
hand,
other
possible
that
influences
and Stevenson,
same city
in
Bleak
of
of
II
introducby
works
in. many
House,
desto
ways
the
while
characters
Dickensian
influence
influ-
on Conrad
Haldin. 's
with
their
Conrad's
Conrad's
a marked
soliloquy
ghost
canrecalls
Banquo.
from
to name but
See p. 407 supra.
Dickono,
1911 : Vol.
some of
betrays
the
of
that
similar
Shakespeare's
Razumov's
with
knowledge
is
speech
used in
are
and many other
Agent
Secret
the
of
passage
reminiscent
commonplace
it
description
Dickens's
the
highly
a practice
"Karain'19
Besides,
Conrad.
in
verb. phrases
Richardson,
a few of
Scott,
those
Thackoray,
whose works
439
is
Conrad
to
are
reported
full
the
grasp
have
to
read,
of
extent
English
tradition.
Such
an ambitious
outside
the
this
thesis,
as its
an investigation
such
in.
out
purpose.
sole
On the
books,
of
his
of
sources
shawls
required
rendered
thus
sulted,
range
from
one
in
speech
the
about
origin
quoted
by Professor
as the
origin
of
plot
Conrad
skeleton
to
fact.
of
Inspector
from
"
that
the
reasons
behind
of Nostromo)
(2)
stylistic
Conrad
the
Venezuela
its
tells
passages
(regarded
counterpart
The Sunday following,
the scene was repeated,
but on this
it
occasion
was the acting
president who gave the breakfast.
the meal
At last
its
termination,
reached
and the president,
Curle,
(2)
Crankshaw, 1963
1958
:
12
:
98
us
My
novel.
(1)
con-
narrow
strategy.
one of{ the
with,
the
of
part
he virtually
Eastwick's
to
Heat or Tom Lingard
sources
Conrad's
Crank-
begin
English
works,
the
could
justify
"could
actual
when wo contrast
Sherry
the
Sherry
the
Conrad's
of
become clear
will
Conrad's
verbatim
highlighting
direct
of
nothing
point
almost
proto-
Professor
manages to prove
Nostromo,
the
with
Curle,
of
like
characters
In
as with
imagination
a springboard
by
sources.
he manages
Indeed,
Sherry
a doubt
as well
merest
Conrad's
Professor
Although
of
before
that
it
function
speech
(1)
of
life,
actual
the
"from
travel
concerned
Richard
litera-
to
on Conrad's
mainly
in
Like
anI edifice".
claim
is
characters
that,
believe
to
ceems
'elaborate
construct
books
classic
plots.
shadow
slightest
Sherry
Professor
Conrad's
the
his
in
indebtedness.
Conrad's
beyond
put
Sherry
Professor
types
hand,
other
been
has
ture
is
and
have
would
which
study
a separate
his
of
scope
be carried
only
can
lies
however,
endeavour,
we
the
to
indebtedness
Conrad's
if
be overlooked
not
should
in
440
looked round the table,
his glass,
and
filling
'Brindo
then at me, and said,
al Senor qui nos
to
drink
'
'I
libras.
treinte
ha llevado
mil
thousand
us thirty
the gentleman who has brought
(1)
'
pounds.
its
is
And here
from
counterpart
Nostromo:
he (Sir
to speak',
is'going
Montero
'General
immediately
added,
John)
and almost
whispered,
to propose
he's
'Heavens!
in comic alarm,
going
believe.
'
I
health,
own
my
had risen
of
Montero
General
with
a jingle
his,
on
of
glitter
and a ripple
scabbard
steel
heavy
breast;
sword-hilt
a
gold-embroidered
table.
the
the
his
of
edge
side above
at
appeared
his bull
In this
neck,
with
gorgeous
uniform,
bluetip
the
his hooked nose flattened
upon
a
on
like
he looked
black,
dyed moustache,
a. disguised
his
drone
The
voice
of
vaquero.
and sinister
He
had a strangely
ring.
soulless
rasping,
through
lowering,
floundered,
a few vague senthis
big
head
then
raising
and
ences;
suddenly
burst
together,
his voice
out harshly:
the
in
the
hands
is
the
of
'The honour
country
of
it.
to
'
be
faithful
I
I
you
shall
assure
army.
his roaming
till
He hesitated
eyes met Sir John's
he fixed
face,
glance;
a lurid
sleepy
upon which
loan
lately
the
the
figure
negotiated
of
and
lifted
his
'I
He
into
his
glass.
mind.
came
to the health
drink
us a,
of the man who brings
(2)
half
'
pounds.
million
and a.
The purpose
of
by, a South
important
visitor
on the
same word,
their
in
apart
criptive
the
from
respective
Eastwick
uttered
by the
almost
verbatim
manipulating
his
the
Sherry,
Ibid.,
that
narrative
1971
:
P" 174
the
is
latter's
are
worlds
sharply
end
des-
that
words
the
version.
notorious
contrasts
173
both
absent
Eastwick's
followed
They
an
completely
fact
of modification.
method
of
The second
types
v'rious
own, something
scientific
(1)
(2)
by Conrad,
the
in
toasting
two authors
passage
Despite
president
the
strategy.
Conrad
version.
acting
the
stylistic
the
in
same:
dignitary.
American
Still,
pounds.
paragraph
the
is
two passages
the
is
with
by Eastwick.
the
are
rendered
technique
of
something
quite
bare
and quasi-
Hence it
could
441
that
be said
tradition
fleshing
against
like
novelists
the
difference
rather
than
shown
degree
than
to
long
sentences
the
of
any
in
innovator
the
tiona
of
the
in
lists
and
sometimes
from
Hilda
Lessways
and
overthe
much
suspension
being
Conrad's
the
an:
overindulging
conven-
stylistic
"draw
of
for
influenced
peculiar
on the
use
way of
in
The
The Man of
is
in
unless
that
his
use
literature
genius
discredits
of
reported
which
(which
is
all
matches,
be
can
clearly
Bennett's
The importthe
assumption
by
speech
other
hardly
Conrad,
nove-
Galsworthy
and
Property.
it
that
other
Ambassadors.
we assume that
by Flaubert
the
a way that
This
is
speech
Bennett
it.
of
of
part
James,
James's
wo have to admit
from English
of reported
speech
Conrad's
an investigation
example,
varieties
reported
Galsworthy's
or
circumstances)
that
for
in
he was merely
Indeed,
of
was influenced
were equally
in
and Wells
fondness
from
of
various
James
dashes
far
parcel
and
an investigation
such
Flaubert's
to
be a question
semi-colons
of
that,
indulgence
exceeds,
shown
Conrad
the
use
various
forms
the
words,
the
use of
various
use
the
was part
same practice.
that
use of
of punctuation,
the
of
his
commas and
Wells's
by a similar
ance
in
closer
Forster
age.
Conrad's
paralleled
to
be
with
and
Conrad
James's
impression
art
that
im a practice
use
while
the
enhances
to
Ford
and
novelists.
him
makes
Bennett,
them
Thus,
seems
other
same way as Conrad,
points
kind.
Conrad
marks
punctuation
between
own making.
Comparisons
age.
Galsworthy,
James,
Henry
his
of
most
has been investigated
his
of
English
Conrad's
was of
style
background
linguistic
the
for
"skeleton"
Conrad's
the
of
writers
bones
the
of
out
the
with
way through,
the
All
and other
Conrad
provided
works,
of
while
the
have
Eastwick
in
novelists
tenable
Leavis's
under
own
what he needed,
and learnt
is
from
so different
imitation.
442
And for
us,
who have him as well
as the
part
the
a constitutive
questionably
full
the
Even Conrad's
that
attack
types
of
the
tives,
their
fact
of his
On the
other
his
(especially
use of
to Flaubert's
buted
influence
Flaubert's
undoubted
but's
and,
and his
Conrad
as Conrad's
an overdependence
which
his
true
it
that
is
Conrad's
continual
(1)
and
to
types
some of
of modifiers
tex-
the
into
his
connectives
has been attri-
the
of
Ford's,
same technique.
the
in
and his
this
Althoudi
with
respect,
particular
had before
contemporaries
Bible
part
philosophy
part
its
use of
profuse
Ford
professed
power
with
18
the
on those
evoking
interplay
in
of impressionism
almost
of
however,
ways,
moderately
novelists
:
of
be excluded
on his
stupendous
1962
with
sentences
by James's,
the
preoccupation
L©avic,
overlong
adjec-
connectives.
contemporary
James
his
paralleled
Conrad
to
tated
of
postpositiom
is
contemporaries
adherence
James's.
and of
authority
and other
to
which
resort
that
various
transition
cannot
one has to remember
them the
use
influence)
and Bennett's
Galsworthy's
the
be mustered.
Conrad's
the
naturalised
as many details
cramming
as. could
hand,
his
of
and other
clauses
of
method
narrative
favour
come under
not
many respects.
that
however,
of relative
Conrad's
recalls
in
use
number
a great
as has
lavish
does not
latter
has
modifiers
similar
remains,
multitudes.
ture
is
the
that
of
occasionally
contains
Galsworthy
Conrad's
Besides,
modification
true
is
use
excessive
friend.
English
It
his
for
Jurjman""
Still,
has proved
of modifiers
contemporaries
"The
modifiers.
postposed
of
his
some of
Galeworthy's
in.
indulged
"
in.
belonging
tradition,
manipulation
notorious
be a practice
to
un-
(1)
"
sense.
of
he is,
there
others,
in.
indulged
It
same tenets,
atmospheres
of
necessiconventions
stylistic
the
so far
the
various
and
is
still,
his
sense
443
the
in
mediums
that
sions
His
recording
It
sketchiness.
with
preoccupation
logical
too
been
to
have
seem
they
Galsworthy,
problems
social
or exuberant
for
pezsable
their
The Secret
part
it
like
Russia,
East
and West,
in
either
Spain,
that
the
France
the
of most
worth
for
the
most
for
while
on the
far
away places
seas between
high
Conrad's
of
is
It
or in
somewhere
action
atmospheres
two have England
and Chance;
Archipelago
or
with
of
settings.
only
novels,
Malay
and
seem to have been indis-
that
Agent
Bennett
evocation
and exotic
Conrad's
of all
setting,
is
themes
Conrad's
that,
noting
things
descriptions,
psycho-
much preoccupied
the
much for
too
to care
overpowering
characters'
As for
backgrounds.
or philosophical
Ford's
with
sharply
of his
depths
the
plumbing
contemporaries.
him from James's
distinguishes
also
his
of
rest
impres-
characters'
contrasts
of word-painting
power
sheer
the
from
him apart
set_
own, or his
of his
takes
novels
place.
the
Although
Conrad's
the
uniqueness
distinctive
stamp of his
adjectives
in somo of his
interspersed
between
with
behind
effort
betrays
Conrad
the
a constant
the
stylist
use of
seeks
Seven
investigation
ouch
foatureß
of
mannerisms
and's
that-with
they
which
way he: turns
and Bennett's
works,
which
might
style
all
the
bear
the
use postposed
be
might
and butts;
the
difference
the
the
conscious
one or other
with
of
latter
the
stylistic
some artistic
features
end which
to achieve.
prime
concern
some major
have
the
and his
Conrad
to
Galsworthy
preoccupation
We now come to the
tivo
into
genius.
is
between
from
stems
introductory
them and Conrad
degree
common tradition
conventions
stylistic
acquired
in
highlights
contemporaries
belong,
difference
been
of
features
examined:
this
study:
of
Conrad's
punctuation,
the
descrip-
style.
direct
cpoech,
444
I
pages,
shall
the
of
the
sum up
verb
reached
conclusions
in
punctuation
Conrades
the
use of
the
for
aimed at malting
of
the novelist.
When Conrad wrote
elicited
the
and see"
his
purpose
from one of
his
earliest
the
Conrad began in
simplify
the
style.
his
writing
the
critics
of his
phase
the
in
complex
the
late
than
under-
mind
that
development
to
this
in
to
in
the
are
in
marks
sentences
they
to
before
all
punctuation
has shown Conrad's
novels
of
stylistic
of
count
first
meaning
this
that
remark
was with
instance,
reader
novels,
he must
It
the
he wanted
that
and see"
A rough
and less
shorter
second
and late
early
in
and
the
to understand
reader
meaning. " (1)
the'novelist's
his
feel
"hear,
could
reader
stand
easy
grammatical
and comma, for
full-stop
it
feel
to
retard
with
function:
a double
has
Conrad
is
"hear,
following
the
In
phrase.
of
features.
seven
rhetorical.
the
and
connectives
uncertainty,
each
adjectives
speech,
reported
modifiers,
other
and
lexis
the
be
early
period.
have
are
On the
other
proved
to
dramatic
intensity
apology
hic
to
the
grammatical
these
of
is
marks
his
certain
occupation
with
transcribe
the
question.
reader
for
of
(1) Macy
1906
those
everyday
graphic
: 699
into
relief
speech
symbols.
the
heighten
where
them
nature
of
is
realistic
cases,
all
These
style.
uses
also
important
a more
points
especially
disconnected
puts
punctuation
manupulation
the
In
speech.
of
early.
They
Conrad
More
towards
nuances
the
situations,
structures.
characters'
of
and suspension
purposes.
in
as an aid
,.
hallmark
rhetorical
of
crisis
emotional
of
for
dashes
Conrad's
be a salient
used
mainly
hand,
Conrad's
rendering
Conrad's
an
by
some of
use
of
of
some
constant
his
keen
through
this
way
desire
careful
preto
445
1
the
Despite
accusations
constant
of
speech
to represent
try
The qualified
English
in
Chester
protagonists
have
In
posal.
the
the
The
to
mands of linguistic
direct
Conrad
in
succeeded
his
. speech
however,
charac-
tension
in
up to
the
measure
much
de-
on. the
fundamental
that
Conrad's
their
attacks
in
is
his
of
the novelist's
with
justified
hic
touch
range
of
main
German,
small
the
catch
variety
the
like
on a very
that
the
Although
limited
not
could
languages
represented
novels
Travers
some may be tolerated
while
has shown,
rendering
works.
some other
with
them do not
dis-
critics
on. his
speech.
Although
in
their
Mrs.
emotional
major
seem to
at
most
most
his
Jim)
direct
still,
the
and
and
between
high
of
totally,
not
Marlow
language
important
characters
however,
characters'
tallies
speech
if
the
most of
The study
are partially,
dialogues
situations
realism,
their
intentions.
the
More
As such,
same way.
everyday
figures
minor
terms,
of
charac-
educated
most
general
of
Rescue,
literary.
to react
grounds that
as. in
educated
Major
Victory.
exception
repertoire
in
too
tend
tern
with
in
for
own
Besides,
English
With
the
between
(perhaps
and Tom Lingard
strikingly
or
cases,
in
due to his
whom standard
reserved
are
Ricardo.
speech.
most
to
all,
after
dialects.
class
study
English.
of
largely
and
dialects
did,
Conrad
varieties
is
the
style,
expression.
fluctuate
limited
a very
of
Speaking
of
colloquial
are
foreigners
Jim
and Marlow
Jim
with
regional
means
Lord
the
here
he met with
class
and
that
some of
works
natural
±egional
like
his
characters
the
is
like
in
success
his
of
ters,.
Conrad has revealed
familiarity
precarious
most
in
what
against
literary
Conrad's
called
G. B. Shaw, among others,
direct
levelled
scale
of
regional
local
colour
note
of
interference
of
is
Spanish,
Malay
his
and
laid
essential
and
Arabic
These,
dialects
for
scale
on French,
novels.
class
he
uneducated,
on a large
emphasis
in
the
the
give
reader's
are
together
his
446
these
cases,
suspension
willing
sustained
varieties
viduate
and typify
as they
make of
English
of
the
them the butt
in
concerned,
the
of
majority
of
help
indi-
languages
and other
characters
the
In
disbelief.
of
novelist's
much the
same way
irony
or
even
with
the
caricature.
The main
(1)
reason
forms
various
of
reported
level,
languages.
of
It
forma
some seven
of
treated
is
concerned
by stylistieians
is
the
free
rendering
that
shown
Conrad's
some forms
of interior
between
the
dialogue
of
mastery
or
monologue
and hic
character
term
enabled
interior
own self,
are
indirect
still
the
former
while
the
latter
has been
It
conversation.
into
monologue
"style
thoughts,
technique
the
of
The
distinguished
features;
of inner
reporting
level.
are narrated
the
under
made him use
that
thus
him to
turn
dialogue
narrated
i. e.
literary
teacher
old
stylistic
forms
same linguistic
the
the
with
on the
The two forms
on- the
and the
same desire
seven
impersonality.
for
creation,
Kennedy
speech
among these
desire
the
Dr.
that
reported
They share
libro^.
was his
Marlow!
dialogue.
and reported
experimentation
prompted
was also
two most prominent
usually
that
like
of narrators
Conrad's
speech
factor
was that
It
behind
some form
of interior
crocs-examination.
Conrad ucen the
forms
coven
of irony,
authorial
detachment,
stylistic
variety.
Conrad's
and the
from
Vorlocs
the
fact
fun at hic
reported
(1)
of his
that
it
characters,
utterances
Soo p. 197 cpra.
novels
is
not
but
give
of reported
for
speech
brevity
character-portrayal,
irony
at
derives
the
rather
the
the
thom away.
Almayerc,
much of its
omniscient
the
and
Willemses
effectiveness
narrator
characters
purposes
that
themselves
pokes
whose
447
On tho
direct
speech.
Conrad
themselves,
detachment,
and
of
rendering
keeping
detachment
The two main
they
sparsely
are
under
used in
the
novels
The linguistic
to be mainly
tived
is
which
is
which
in
(narrated
monologue
the
of
usedii;
the
of
novels,
Eyes.
Western
late
the
And although
they
period,
appositive
tion,
the
phrase,
highest
almost
all
rate
the
condone
all
with
Although
types
It
is
these
uses
It
adjectives
of
modifica-
is
the
it
Indeed,
with
in
is
while
have always
the
type
constituent
modifiers.
yoking
the
from
Thirdly,
they
adjec-
clause,
types
the major
in
heavily
most important
modification.
notorious
prepositional
relative
of modification,
novelist's
Conrad
of
the
main reasons.
Conrad's
among
other
the
types
other
clause,
to be the
frequency:
of
controversial
three
for
standpoint
post-modifying
Of all.
clause.
has proved
adjective
stylistic
the
*the post-modifying
adjectival
has shown them
modifiers
participial
post-modifying
supplementive
fault
of
all
distance.
Conrad's
of
analysis
made up of adjectives,
the
phrase,
most
his
compare
philosophy
speech
like
objective
can
situation,
as densely
are
impartiality
disappear.
never
the
reported
others
as in
period
which
or aesthetic
of
dialogue)
and reported
early
forms
the
he
for
speak
of
with
impressionistic
Conrad's
the main one of
of
views
treated
Blancos
ambition.
with
the
self-importance
characters
reader
perspectives
characters'
with
the
providing
multiple
other
own or
his
declared
his
maintains
while
way the
By letting
depicted.
of
sense
the
at
resentment
s secret
mainly
are
Willems's
nature,
that
speech
reported
their
than
them
portraying
through
mainly
imaginative
Nostromo!
and
him,
is
It
of
means
in
is
speech
reported
characters'
effective
a more
Almayrer's
in
hand,
other
some cases
the
the
critics
found
of adjectives.
a variety
of
positions
it
4 48
that
the
attracted
shown,
In
haphazardly.
proved
best
be the
to
by attributive
which
On the
stantial.
tendency
Conrad's
his
through
intensive
verbs
which
is
Although
help
is
of
large
happened.
and
abstractions
modifiers.
of
three
sensation.
adverbials,
verbs
as
has
by modifiers,
to be in
with
his
telling
the
reader
than
rather
Conrad's
harmony
the
cases,
have been proved
modifiers
ironic
they
of
partly
perceptions,
realised
or
scenery
in
hic
to be of
symbolic
are mainly
characters
way he uses
spiritual
are
of
in
and recorded.
of natural
host
on the
significance
In most
were received
tableaux
extent
of
circum-
stringing
of
I
in. such a way as to underline
the order
Conrad's
variegated
sensuous
of
showing,
the novelist's
achieving
Lmeans
that
of orocatioa
as
the
or
the
in
share
followed
stylistic
in
descriptive
be mainly
intransitive
of using
has shown it
aims at
effected
impressions
which
the
of
what or how things
adjectives
to
in. the. place
to being
use of modifiers
impressionism
quali-
ti
An investigation
notorious
effected
On the
and sphere
been noted.
also
usually
proved
all.
nature
to use adjectives
susceptible
inherent
and supplementive
they
method
is
relief.
level,
characteristic
the
into
have
has
adjectives
between
sharp
done
not
non-inherent
postpositive
of kind,
is
temporary,
adjectives
characteristics
general
the
throw
semantic
of
has
analysis
adjectives
(which
object
and
predicative,
attributive,
critics.
postposition
described
Conrad's
The
of
adjectives
postposed
distinguishing
of
postpositives
level,
syntactic
the
means
adjectives)
the
use of
manipulation
cases
the
of
characteristics
ties
this
most
his
of
attention
that
however,
the
in
to overindulge
tendency
was his
his
modifiers.
the
through
fusion
this
Conrad's
remarkable
works
-
it
purposes,
used..
and his
great
depend,
portraits
to
a
The interplay
of
concretions
and
of
clover
manipulation
449
The study
On the
his
Lord
following
novels
the
contrary,
practice
though
the
in
sheer -insignificance.
the
for
him
with
remains
characteri-
obtrusive
into
pales
never
as a novelist,
career
active
it
,
Conrad's
although
to be less
tends
insistence
adjectival
stic
that,
shown
has also
degrees
varying
with
of
rest
of
intensity.
Conrads
of
the
than
the
in
gation
the
up by his
technique
moditated
of
The main items
are like
in
its
of
crucial
issues
are
obfuscation.
investi-
under
Marlow
characters,
or
such comparisons
abyss,
darkness,
part
and parcel
the mystery
func-
main
ana-
shades
and
a pre-
of
the
surrounding
described.
lexis
the
of
that
of uncertainty
function.
of
or
adjective
Conrad
uses
the
adverbial,
M1
correlative
realised
an if
as...
as.
through
the
havo boen classified
and ophoro
of
of Conrad's
rathor
On. the
items
various
the
of
to
the
lexis
analogies
of uncertainty
theme,
sourco,
a6 and the
adverbial
level,
semantic
according
has shown that
was not
style
to be auch more concerned
the
world
asý means of
The Niger,
It
with
around
uncertainty
Lord
Jim,
the
in
early
form
pattern,
the
war, with
evasion
the
invectiCation
him that
this
period,
so much a means of
evocation.
ono of
phonomona. of
the
and as though,
oonoation.
The study
like
the
graves,
analogies
syntactic
two subordinators
viewed
case is
use of
increasing
or episodes
characters
to the
over
the
I believe
Among Conrad's
the images
conjured
the
of
novels.
various
Still,
ghosts
Conrad's
clarification
one most given
logies.
but
in
heading,
the
under
with
because
is
This
such comparisons
rather
is
comparisons
of Uncertainty".
I'Lexis
tion
have been dealt
time
and mystification,
Noe=,
Under Weetern
or uncertainty,
Conrad
of
him analogies
feature
the
began
recondite
came to be
i. e. in
novels
Fires and Victory.
450
An investigation
been
has
purposes
Most
of
cases
sentence
or
creasing
of
item
for.
the
of
author
characters
of
purposes
but,
concessive
of
to
finally,
and
of
isolating
structural
the
from
from
or
one
present
syntactic
include
connectives
ellipsis
parallelism,
a
de-
of
past
final
in
transition
fictional
The other
emphasis.
pro-forms,
the
the
clause
order
the
Conrad's
adding
a change
highlighting
be
is
final
in.
indicating
of
of
the
sentence.
to
striking
arranged
phrases
participle,
past
the
or
for
proved
as a means
linking
of
importance,
the
fictional
one
of
tableau,
clauses
rising
to
preterite
the
other
More
and
It
phrase
have
linked
thus
co-ordinator
explicit
to
clause
apposition.
split
a descriptive
to
touch
or
triple
or
noto-
results.
co-ordinators
asyndetic
triple
his
connecting
interesting
yielded
phrases
and
expanded
the
of
use
clauses
of
method
uses
the
connecting
the
of
has
Conrad
that
proved
of
of
sentences
sprawling
rious
Conrad's
and
repetition.
Here,
of
an investigation
again,
Conrad's
to make the
of his
desire
him.
For Conrad,
" (1)
sentences.
phrases,
to
love
much in
"too
his
hardly
(2)
that
and's
(1)
See p. 355su
been
of
it
and buys
ra.
that
to
shown
his
constant
bespatter
his
was
balanced
carefully
play
that
of
style.
shown
connectives.
in
a part
which
giving
he was always
Marlow's
recurrence
his
of
rhythm
cadence, has been
towards
has transpired
hear
noticed)
and the
use
conscious
and parcel
and especially
producing
with
touch
colloquial
without
See p. 366 supra.
method
also
Indeed,
be credible
sound of words
on the
to be part
ha-s, rightly
preoccupation
have
tory
(2)
the
dependent
style
reader
Conrad's
Connectives
striving.
with
'see
feel,
significance
stylistic.
has shown it
as many a critic
constant
be largely
Conrad's
practice
connective
the
of
to
style
the
Connectives
would
introduchave
451
been
also
the
of
to
proved
play
use
of
tense,
of
of
would
the
in
for
preterite
style
From the
to
proved
philosophy.
"actuality
of
tigation
of
the
impression",
in
modifiers
to his
relation
detracting
from
to be in
accord
(1)
fool
the
man's
with
his
and scoff.
Soo p. 243
supra.
behind
is
precise
this
that
inquiry
statistical
of
acknowledged
declared
of
aspect
become agents
contemporaries,
novelist
the
both
this
Such a conclusion
actions.
our
impressionistic
of
inves-
has shown him to be a. novelist
practice
of
has
"atmosphere",
force
motive
still
results
of
practice
"suggestiveness
More important.
than
rather
the
thus
verbal
invariables
his
of
The verbs
strategy.
to be the most pictorial
"hoar,
be the
to
proved
his.
of
verbal
with
preoccupation
and
or
as a novelist.
tenets
the
with
accord
level
with
past
simple
the
of
state
is
past
reporting
Conrad's
standpoint,
by the
corroborated
be one
career
constant
descriptions
and
of
on. the
simple
the
the
active
transitive
while,
of
his
Conrad's
of
practice
use
proved
and evasion.
evocation
his
narration
His
stylistic
his
of
the
to
be in
has
expression"
of his
of
stylistic
verbs
interrupting
of
have
throughout
for
of
present,
purposes
fondness
typification;
habit
simple
their
feature
his
shown
over
A striking
purposes
speech,
characters'
also
for
his
has
practice
verbs
shown
also
action.
Conrad's
passages
his
has
It,
than
his
sentences,
verbal
intransitive
for
counterparts.
Conrad's
of
preference
rather
in
especially
passages.
The investigation
marked
together
linking
the
in
role
Conrad's
of
constituents
various
descriptive
the
an important
the
which
group.
worth,
ambition
further
into
Conrad4s
has shown him
(1)
this
is
Far
from
conclusion
of making
the
reader
seems
452
The study
Chapters
VI9
is
that,
pect
the
nature,
VII
and
metonymic
ning
it,
as in
past
experiences
hood.
it
sideration
yield
bis
imagery
strain
in
fact
to
is
hoped
in
any
that
those
that
it
one
most
of
derived
such
indirectly
mainly
shows
from
subsequent
interesting
is
his
dealt
in
their
treatment
with
this
to
the
another
way
adjoitheir
relate
immediate
if
resin
metaphorical
characters
an assumption,
detailed
as much as
up as much in
sphere
from
in
be stressed
to
The point
sensations
the
been
has
which
IX.
although
transposes
Conrad
might
imagery,
Conrad's
regards
to comprehensiveness
makes no claim
taken
of
the
neighbourinto
con-
subject,
results.
/
in
453
CONRAD'S WORKS
CHRONOLOGY OF
date is of initial
First
composition;
systematic
book
form.
in
final
first
is
of
appearance
second
95
1889 -
Folly
Almayer's
1894 - 96
An'Outcast
of
the
Islands
97
The Nigger
of
the
"Narcissus"
1896 -
1896 - 1920
The Rescue
98
1896 -
Tales
1898
1896;
of Progress",
1900
1902
-
(Typhoon,
Foster",
1901;
The
1903
-
Romance
1905
08
-
1905
(or6)-7
1896;
Outpost
"Karain",
1897)
("Youth",
1898;
t'The End of the
Typhoon
1901
-
1903 - 01+
1904 - 06
"An
Jim
Youth
1898?;
1900 - 02-03
1896;
Idiots",
"The Lagoon",
Return")
"The
Lord
("The
Unrest
of
1897;
1898
(1)
1900;
(with
of
"Falk",
Darkness
1902)
1901;
'19
"Amy
1902)
"Tomorrow",
Inheritors
(with
"Heart
Tether",
Ford)
Ford)
Nostromo
The Mirror
of
the
Sea
("The
1905;
Brute",
"Gaspar
Ruiz",
A Set of Six
1905;
1905;
1905;
"An Anarchist",
"The Litformer",
1907;
"The Duel",
"I1 Conde",
1907 - dates
approximate)
The Secret
Agent
1907 - 11
1908 - 12
Under
1909
Twixt
1909;
Land and Sea ("The
Secret
Sharer",
1910;
"A Smile
"Freya
of Fortune",
of the Seven
1910)
Isles",
Western
A Personal
12
-
Eyes
Record
1906 - 13
Chance
1910
("The
the Tides
Within
1910;
Partner",
"Because
of
the Dollars",
1912;
"The Inn of the'Two
Witches",
1912;
""The Planter
1913 - dates
of Malta")
probable)
15
-
1911(or
12)-15
1914 - 17
1917 - 19
1921
Victory
The Shadow Line
The Arrow
-
21
Notes
-
23
The Rover
of
on Life
Gold
(with
24
1920 - 25
The Nature
1911
("Prince
Tales
of Hearsay
soul, ', 1916;
"'the Tale",
1922 - approximate
dates.
(Reprints)'
Last
Essays
(1)
Suspense
-
25
-
1926
Cf.
Wright,
1966
:
(Reprints)
and Letters
of a Crimo
(unfinished)
213 - 4.
Ford)
1911;
"The Warriors
Roman",
1916;
Mate")
"The Black
Cf. 1886)
454
;",
BIBLIOGRAPHY
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mat
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r
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