Abstract

F. R. Leavis is recognised as being one of the greatest literary critics of the 20th Century. His litmus test for greatness in any literary work is its moral seriousness. But what happens when moral seriousness in literature collides with moral seriousness in life? The litmus test fails. When it comes to moral seriousness, life trumps art. This is persuasively demonstrated by the claims Leavis makes in favour of Conrad as a literary artist of moral seriousness, particularly in respect of his short story, The Secret Sharer’, and Conrad’s own performance as a bit part player in the Casement affair.

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