Intertextuality within Conrad: An Intratextual Reading of Under Western Eyes and ＂The Secret Sharer＂
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Abstract
Intertextuality matters when one text is read as part of another text in a single unit of meaning. Intertextual critics often discuss two works by different authors, yet we may employ the term "intratextuality" to designate the relationship between works by one and the same author. Conrad's Under Western Eyes and "The Secret Sharer" have many points between them to repay an intratextual reading. Merged together, the dyad encapsulates his whole fiction. The two stories show a thematic contrast of betrayal and loyalty. In the narrative mode, one is tragic while the other is comic. They are set on land and sea respectively. Compared with the sea story that deals with conflicts among characters on an isolated ship on the sea, a "land story" like Under Western Eyes presents actions of expansive social resonance. Viewed in terms of narrative technique, too, the two works reveal a wide difference in complexity. The contrapuntal imagery of light and darkness (or black and white) as a hallmark of Conrad's imaged style appears at key moments in both works. That he wrote the short story during a break from composing the novel epitomizes his whole fiction-writing career as it was divided between short and long genres of fiction. Intratextually considered, all these aspects reflect Conrad's insight into humanity as homo duplex. The two Conrad texts yoked together constitute a double-voiced discourse incorporating a hidden polemic between them. Their dialogic interaction carries an endless exchange of views without resolution. The intratextual coupling of the two works that occupy the middle point in the sequence of Conrad's literary production forms a capsulized version of the full gamut of his fictional art. By means of this mise en abyme or internal duplication, Conrad provides a synecdochal reflection of his entire fiction.
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