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This paper attempts at tackling the episode of adventure of the self for proving existence. It tests Conrad's quest to carry impressionism for a flex of sensations gazing towards the space between mental and biological death. Conrad's preface to Nostromo reflects the moral alienation for political suicide," … He is a Man of the People, their own unenvious force disdaining to lead but ruling from within." Nostromo is Conrad's masterwork where his perspectives are largest, and where his essential originality in the representation of human blindness and consequent human affections, is at its strongest. Perhaps, Nostrono is the only persuasive instance of the natural sublime in the twentieth-century hero of fiction, "… dies, betrayed, he hardly knows by what or by whom." Nostromo, himself is the imaginative center of the book. He is unique among Conrad's personae, and no a Conradian man whom we could have expected. The centrality of vision has enabled the basic of greatness that lies in his character .Greatness has so many images in the individuality of Nostromo as the Man of the people. Critics found it easy to denote Conrad’s repeated references to Nostromo as" The Man of People". Though he is of the people, Nostromo loves leadership and reputation for making him another ideal for enhancing a pure" Homeric throwback". Thus, the function of individuality is to give permanent objective reality or truth in the sense of one's consciousness matured enough to realize that order and the future were the result of self-assertion. Conrad could test the oppression of individuality in pessimistic vision of continual uncertainty about himself. In writing Nostromo, Conrad attempts at creating art so great that he sacrifices some of Nostromo's anxiously meditations to clarify secrets of privacy and the motives of self-disguise.
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