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The Sea Story in the Fiction of Robert Louis Stevenson, Rudyard Kipling, and Joseph Conrad, 1881-1917

By Jonathan Dennison Nay

Abstract

Although Robert Louis Stevenson, Rudyard Kipling, and Joseph Conrad are rarely examined as writers of sea fiction, either individually or collectively, their work written during the period 1881 to 1917 was instrumental in establishing them as the pre-eminent exponents of the form in the history of British literature. The following study assesses their ability as serious maritime authors, examines their response to the artistic problems posed by the sea story, and sets their achievement against the popular nautical fiction of the late nineteenth and early twentieth centuries

Publisher: University of Leicester
Year: 1978
OAI identifier: oai:lra.le.ac.uk:2381/7942

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Citations

  1. 163: Jasper's possession of the brig and the love of Freya is described as "not exactly safe in a world like ours".
  2. 210; see also
  3. 38 and 44-45: "a mind not enslaved by narrow prejudices".
  4. 51: "A sort of shady, intimate understanding seemed to have been established between us".
  5. 62. attentions even after he fails to answer her question: "'Why do you keep on coming here? "'
  6. 99. comments to himself. He sees more than Jim whose memory is curiously selective: Jim remembers his inaction and laughs at his colleagues
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  54. (1943). Stevenson's use of Defoe's work is examined in: Watson, Coats,
  55. symbolic use. First, he shows how the ship is an ideal symbol of mankind and human society; is true is merely that the problems men face on board ship and the manner
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  74. When lying to Archbold the master-narrator thinks: "I could not I think, have met him by a direct lie, also for psychological (not moral) reasons. " (TLS,

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