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- W2492663287 abstract "Conrad’s interest in shore life and politics continues, but this time the scene is Britain, London in particular. The Secret Agent is different in other ways too. It is less immediately social than Nostromo. Conrad wrote accurately: ‘It had some importance for me as a new departure in genre and is a sustained effort in ironical treatment of a melodramatic subject.’1 In Heart of Darkness, he employed an ironic method through a narrator, Marlow, but the irony of The Secret Agent is of a different quality and is deployed without a narrator and, in a way, acts as a substitute for one. In fact, not only Conrad’s fictional mode but his viewpoint too is ironic. The ’subject’ is usually the stuff of melodrama — the life of a double agent, embassy intrigue, a bomb blast, accidental death, suicide and underground revolutionists. Indeed, A. J. Guerard, invoking Graham Greene, considers The Secret Agent an ‘entertainment’.2 But it seems to me that, whereas Greene deliberately introduces the quality of ‘entertainment’, Conrad does not do so here. The ‘entertainment’ as such in The Secret Agent is incidental and a by-product of profoundly serious intentions on Conrad’s part.KeywordsPolice InformerSocial ThemeDouble AgentClass SocietySecret AgentThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves." @default.
- W2492663287 created "2016-08-23" @default.
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- W2492663287 date "1990-01-01" @default.
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- W2492663287 title "The Secret Agent: The Seeds of Evil" @default.
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- W2492663287 doi "https://doi.org/10.1007/978-1-349-21126-5_7" @default.
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