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By Richard Ambrosini

Joseph Conrad's reviews in regards to the interpretation of his works have earlier been brushed off as theoretically unsophisticated, whereas the serious notions of James, Woolf, and Joyce have come to form our figuring out of the trendy novel. Richard Ambrosini's learn of Conrad's fiction as severe discourse makes an unique declare for the significance of his theoretical rules as they're shaped and confirmed within the novels themselves. atmosphere Conrad's reviews during this context of variations in his narrative types, Ambrosini defines Conrad's view of fiction and the inventive excellent underlying his dedication as a author in a brand new and hard approach. Conrad's leading edge ideas as a novelist are proven within the continuity of his theoretical firm, from the early look for an inventive prose and a private novel shape, to the later dislocations of standpoint accomplished via manipulation of conventions drawn from renowned fiction. This reassessment of Conrad's severe inspiration deals a brand new viewpoint at the transition from the Victorian novel to modern fiction.

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Is not thrown over, but simply allowed to fall" (MoS, 1 4) . To use the journalist's expression is to "take a liberty with technical language" - a crime, this, "against the clearness, precision, and beauty of perfected speech" (MoS, 1 3) . Conrad's notion of sea tradition also stands behind his descrip­ tion of technical language, "an instrument,'' as he writes, "wrought into perfection by ages of experience, a flawless thing for its purpose" (MoS, 1 3) , just like an anchor. The seaman's language is absolutely denotative of direct experience.

A close reading foregrounding the dynamic relationship of images, similes and words makes possible a more coherent dis­ cussion of Conrad's ars poetica. Since the argument of the preface is organized in eleven paragraphs, it is unreasonable to expect a full answer from the first lines. Conrad simply did not write that way. 22 CONRAD ' S FICTION AS CRITICAL DISCOURSE The organization of his paragraphs and the successive qualifica­ tion 10 of his critical terms will help interpret the shift which occurs after the first sentence of the preface.

Conrad uses "ideal standard of conduct" to discuss in his non­ fictional writings issues already addressed, figuratively, in his fic­ tion. "Well Done" ( 1 9 18), in particular, illustrates the relevance that his critical tropes can have for an interpretation of LordJim. A reading of this article uncovers a sub-text for the various interpreta­ tions ofJim recollected by Marlow. Conrad starts with an explana­ tion of how a tradition is built up and gradually becomes a standard of conduct: "It may be that the noblest tradition is but the offspring of material conditions .

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