(100) I need not point out that I had to make material from my own life's incidents arranged, combined, coloured for artistic purposes. I don't think there's anything reprehensible in that. After all I am a writer of fiction; and it is not what actually happened, but the manner of presenting it that settles th literary and even the moral value of my work. My little vol: of autobiography of course is absolutle genuine. The rest is a more or less close approximation to facts and suggestions. What I claim as true are my mental and emotional reactions to life, to men, to their affairs and their passions as I have seen them. I have in that sense kept always true to myself.
(170614. A. T. Saunders)
(210) a work of art is very seldom limited to one exclusive meaning and not necessarily tending to a definite conclusion. And this for the reason that the nearer it approaches art the more it acquires a symbolic character. ... All the great creation of literatue have been symbolic, and in that way have gained in complexity, in power, in depth and in beauty.
(228)
- Hugh Walpole (180607)
[I don't think I learned anything from him. What he did for me was to open my eyes and arouse my emulation. one can learn something from Balzac, but what could one learn from Flaubert? He compels admiration - about the greatest service one artist can render to another.] (6-228)
[플로베르에 대해서 콘래드는 거짓말을 하고 있다. [올메이어]를 쓸 당시에 [마담 보바리]를 다시 읽었다고 PoradowskaMadame Bovary - [I have just reread with respectful admiration 1-111 Poradowska]에게 편지를 썼는데, 여기에서는 전혀 다르게 이야기를 하고 있다. 25년 이상의 시간이 지났으므로 기억에 혼돈이 일어나는 것이 당연하지만, 콘래드는 너무나도 확실한 듯이 이야기를 하고 있다.]
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