By Daniel R. Schwarz (auth.)
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Additional info for Conrad: The Later Fiction
Conrad is ambivalent to those whose love takes place in remote settings and unusual situations and whose love thus challenges the validity of traditional manners and mores. Typical is Real's sudden kissing of Arlette's hand, which he fastidiously interprets as a violation not only of decorum but also of morality. He excoriates himself for the kiss; a man of 'pedantic conscience', Real thinks of that kiss as if it had been a rape. That so much is made of Rita's reputation and her illicit relationship with Henry Allegre, and that jose Ortega and then Blunt become her nemesis as if in response to her passion for George, testify to the fastidious conscience of the author.
185). Allegory depends upon the artist's wishing to create a fable to illustrate a moral vision. Conrad's later novels do not dramatise an ethical system. Throughout his career, Conrad's focus is on the psychic needs, motives and eccentricities that separate one man from another. The representative aspect of his novels derives not from the situation but from the character's archetypal aspirations. Jim wants to be a courageous hero and Razumov needs public recognition as an intellectual figure. Gould wishes to be a powerful figure who uses material wealth in the service of progress..
III. 'THE PLANTER OF MALATA' (1914) Written between Chance and Victory, 'The Planter of Malata' vacillates between psychological study and allegorical romance. The opening tale and the most ambitious of the Within the Tides volume, it traces the downfall of Geoffrey Renouard, who lives on an island removed from society, pursuing his agricultural experiments. His 30 Conrad: The later fiction values conflict with the commercialism and banality of urban life. As Jim does on Patusan, Renouard sees himself as the creator and master of a place which he seeks to dominate by the force of his personality: 'Malata was himself.