Floating Words: Sea as Metaphor of Style in "Typhoon"

Author(s): Amar Acheraïou

Source: The Conradian , Spring 2004, Vol. 29, No. 1 (Spring 2004), pp. 27-38
Published by: Joseph Conrad Society UK

Stable URL: https://www.jstor.org/stable/20873510

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Floating Words:
Sea as Metaphor of Style in "Typhoon"
Amar Acheraiou
Paris

THE STORM IS A RECURRENT and evocative symbol in Conrad's fiction.

It is not only a force of destruction or a test to the seaman but also a
central aesthetic motif. In other words, it stands for a metaphor of
artistic creation, as this article shall demonstrate. If Conrad suggests that
to know the sea in a storm and to be able to measure its might and
destructiveness afford insight into the mysterious world of origins, he
equally implies that to experience a storm at sea enables one to appre
ciate the disruptive act of creation, whether metaphysical or artistic.
More than just "a means to present the storm as a global disaster"
(Kozak, 1999: 188), the intense, excessively descriptive style to depict the
sea's rage in "Typhoon" epitomizes a mode of thought and writing based
on rupture and disruption. Indeed, if we assume that no writer is cut off
from his surroundings and unaffected by the philosophical and artistic
preoccupations of his time, there is then good reason to contend that
Conrad does more than re-enact through the storm the genesis of
Creation.
Haunted by the myth of the Fall and death of God, he revisits
deluge imagery without however going as far as to succumb to the
nihilism of many artists of his generation. Unlike many of them, Conrad
believed that hope is possible as long as art is preserved and given
prominence. His reactivation, or re-actualization, of the images of the
Apocalypse in "Typhoon", mirror the sweeping scientific, ideological,
and economic changes of Conrad's era. They indicate a desire to stretch
the possibilities of art and make established canons open up rather than
an invitation to submit to pessimism and despair. If he reiterates in
"Typhoon" the deluge metaphors with so much force and energy, it is
certainly less to ruminate on the wretchedness of the human condition

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28 Acheraiou

than to give the same images fresh, renewed impetus and make them
stand for the very symbol of poetic expression.
For Conrad the implications of the hurricane, often interpreted as
an agent of evil, extend in time and space well beyond the moral plane.
They demonstrate close connections between the thematics and the nar
rative, as well as the global aesthetic preoccupations at stake. Interest
ingly, more than an apocalyptic event with sharp moral significance, the
hurricane is a privileged trope through which Conrad stages artistic
preoccupations that can be labelled Modernist, even postmodernist. The
status of language as vehicle of power and ideology is disturbed;
similarly, narrative omniscience is called into question.
The typhoon is a supreme force, a sort of absolute. It is stylistically
rendered by hyperbole, dramatic irony, and metaphor. Among these
principal tropes, which structure and sustain "Typhoon's" hyperbolic
narrative, metaphor occupies the central role. Prevalent to the point of
becoming the very essence of the text, it partakes of an ontological, ideo
logical, and artistic quest that not only permeates the short story but is
also widely diffused in Conrad's ceuvre.
Umberto Eco establishes close links between metaphor and
metonymy, stating that "each metaphor can be traced back to a subjacent
chain of metonymic connections which constitute the framework of the
code upon which is based the constitution of any semantic field, whether
partial or (in theory) global" (1981: 68). In traditional usage, as Jeremy
Hawthorn points out, metonymy is a figure of speech in which the name
of one object is given to another associated by contiguity to it. Metaphor,
in contrast, relies on similarity rather than contiguity (1994: 210).
Defined as a relation based on contiguity, that is of literally touching or
adjoining, metonymy is analogous to the Freudian concept of displace
ment in that it relies to some extent on relations of contiguity. Metaphor,
on the other hand, corresponds to the Freudian concept of identifica
tion, which involves distribution and mutual reflection. David Lodge
argues that in a Freudian interpretation of dreams, "condensation" and
"displacement" refer to metonymic aspects of the dream-work, and
"identification" and "symbolism" to the metaphoric (1976: 483).
The above theoretical discussion is especially relevant to examining
"Typhoon", for it helps to trace the aesthetic intentions at work in the
novella, and reveals the author's positioning within the general literary
canon. In that regard, Conrad's reliance more on metaphor than

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 Acheraiou 29

metonymy confirms Roman Jakobson's claim that "whereas the meta

phoric process is primary in Romanticism and Symbolism, metonymy is
predominant in Realism" (1971: 91-2). There is no denying that 'Typhoon"
is, among many other things, a reaction against realism, and we should
accordingly "expect to find it tending toward the metaphoric pole of
Jakobson's scheme" (Lodge, 1976: 484). The novella's title and its
organization in a mostly metaphoric mode are indicative of Conrad's
symbolist bias. The recurrence of words and expressions such as "like,"
"as if," and "as though" (24, 29, 39, 42, 44) shows that the narrative
works constandy on a metaphoric pattern, comparing and establishing
relations of similarity and interlocking connections between the sea, ship,
and man. To give but a few examples, the ship is likened to "an
exhausted creature driven to its death" (26); the sea is personified,
becoming a human being endowed with passion and speech: "There was
hate in the way in which she was handled, and a ferocity in the blows
that fell. She was like a living creature thrown to the rage of a mob" (47).
Ship, sea, and man see thus some of their features migrate in mutual
reflection to other destinations, establishing dialogic relations with one
another. In this process of migration and distribution, metaphor con
stitutes a synchronizing link as a figure based on similarity and identi
fication that concentrates objects and their meaning. Like the storm,
which can be defined both as centre and means of decentring, metaphor
is a symbol of totalization that fuses and confuses the signifier and
signified, the object and the thing it is compared to. In this case the sea
symbolizes both elemental and human evil; the ship is at once a floating
object and a living creature suffering the pangs of pain, fear, and death.
Judging from its ability to establish similarity and closeness between
objects, metaphor might be said to provide a means for Conrad to suture
the fragmented world of his characters and assign a certain ontological
hopefulness to human existence. Viewed within a general conceptual
frame, metaphor stands for a connective tissue stringing together objects
and blending their features. Yet its association with order and coherence,
enhanced so far, soon fade as we focus on the text's most cogent
metaphor - the storm - which is a site of disruption and disorder. It is,
in other words, a powerful agent of disintegration whose effect shatters
forever Mac Whirr's illusion of harmony and coherence. Emblematic of
Conrad's love of paradox and irresolution, this double bent reveals on a
much deeper ontological level the fundamental contradiction of existence,

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30 Achermou

expressed throughout his fiction in the characters' split between hope

and despair, a striving for unity and awareness of prevalent fragmen
tation, a search for meaning and constant confrontation with the absurd.
In this sense the typhoon is a real test that brings to the fore the
contradictions of the human psyche and precariousness of existence. The
typhoon's might threatens the Nan-Shan and the characters' lives, show
ing the insignificance of man's endeavours in a hostile natural world.
A mega-event, the typhoon demands a supra-narrative that, like the
everyday eloquent facts the China seas are filled with, speaks with
eloquence and hyperbolic precision. Conrad's insistence on "tangled
facts" (15), such as islands, sand-banks, rifts, swift and changeable
currents, elevates the hurricane to an excessive figurative medium that
stages the crisis of representation and dissolution of the subject. Working
within a symbolic frame, he associates storm with style or language of
the most extreme kind; it prefigures a poetics that disrupts the spatial
and temporal order, in the process unsettling narrative continuity and
reading coherence. The act of narration is put to a severe test and
seriously challenged, for within the gales, clouds, and heavy swells flood
ing the ship, voice and gaze are reduced to their simplest. The men on
board can hardly see and hear each other, and when the sounds of their
shipmates' voices reach their ears they come to them in fragments:

On the bridge a knot of men, indistinct and toiling, were making

great efforts in the light of the wheel-house windows that shone
mistily on their heads and backs. Suddenly darkness closed upon one
pane, then on another. The voices of the lost group reached him
after the manner of men's voices in a gale, in shreds and fragments of
forlorn shouting snatched past the ear. (37)

Like MacWhirr, who can barely grasp the meaning of the voices reaching
his ears, the narrator often finds himself unable to make us see and hear,
which testifies at least in part, to the failure of his narrative enterprise.
The implied information deficit, due mainly to the failure of the gaze to
perceive more than faint glimpses, the occasional fluctuation of the
narrative voice, and the feeling that the act of reading is occasionally
suspended, are many indications of a fragmented narrative perspective
dwelling on partial truths. It is tempting to call "Typhoon" impres
sionistic, because of the dense visual emphasis, rich scenic presentation,
and the endorsement of moment-by-moment impact of events upon the

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 Acheraiou 31

observer's senses. These devices symbolize a fractured universe, and

testify to the failure of traditional representation and the breakdown of
referentiality. The narrator's narrative reads almost like a confession of
his impossibility to represent satisfactorily the events unfolding before
his eyes. For want of words strong and precise enough to render the
hurricane's ferocity, the narrator seems to content himself with imitating
the language of the sea, mimicking its violence and excess. Represen
tation becomes, in turn, subject to the law of the sea; everything floats
and drifts in an unbounded way. The typhoon "disrupts the sounds and
meaning of human voices, splits the community of the ship into separate
hostile groups" (Pagetti, 1988: 64) and generates a chaotic environment
of abundant swearing, shouts, and quarrels. It threatens the initial
harmony and breaks down all coherence of thought and action. Jukes is
confronted by the force of the hurricane "which made the very thought
of action utterly vain" (51). MacWhirr who fights with the typhoon to
give meaning to his collapsing world comes to realize that words are
"worn-out things, and of a faded meaning" (15).
This statement offers insight into the might of the storm as a
hyperbolic language that unsettles representation and destabilizes the
very notion of centrality on which it rests. MacWhirr's interrogation
"Where's his centre now?" demonstrates that the Captain's former world
of harmony and peace, symbolized by the Nan-Shan, has undergone a
radical change. The ship, the only real centre and stable reference on an
ever-changing sea, is now subject to wild currents, her movements
becoming extravagant. The centre she represents can no longer hold, and
she drifts along undecidedly. So, too, do words, which seem to originate
from everywhere and nowhere at the same time, flowing in all directions.
On the forepart of the bridge, Jukes speaks with a "blank" and "forced"
voice that "seemed to flow away on all sides into darkness, deepening
again upon the sea" (87). Words have thus constantly to fight their way
through the heavy gales that overwhelm the characters' voices:

The spell of the storm had fallen upon Jukes. He was penetrated by
it, absorbed by it; he was rooted in it with a rigour of dumb attention.
Captain MacWhirr persisted in his cries, but the wind got between
them like a solid wedge. (53)

While the storm metaphorically speaking is associated with language, it

ontologically entails a transgressive process of de-centring whereby signi

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32 Acheratou

fixation is radically unsettled. For MacWhirr fails not only to trace the
centre of the hurricane following the instruction of old Captain Wilson
but also fails to grasp the meaning of the same author's storm strategy:

"But the truth is that you don't know if the fellow is right, anyhow.
How can you tell what a gale is made of till you get it? He isn't
aboard here, is he? Very well. Here he says that the centre of them
things bears eight points off the wind; but we haven't got any wind,
for all the barometer falling. Where's his centre now?" (33)

As the centre is destabilized, the distinction between signifier and

signified, word and symbol blur; as does the distinction between self and
other. The characters become indistinct to each other, and the ship is
lost in the mist; everything seems to melt and dissolve in the chaos
caused by the storm:

The wind has thrown its weight on the ship, trying to pin her down
amongst the seas. They made a clean breach over her, as over a deep
swimming log; and the gathered weight of crashes menaced
monstrously from afar. The breakers flung out of the night with a
ghosdy light on their crests - the light of sea-foam that in a
ferocious, boiling-up pale flash showed upon the slender body of the
ship the toppling rush, the downfall, and the seething mad scurry of
each wave. Never for a moment could she shake herself clear of the
water: Jukes, rigid, perceived in her motion the ominous sign of
haphazard floundering. She was no longer struggling intelligendy. It
was the beginning of the end; and the note of busy concern in
Captain MacWhirr's voice sickened him like an exhibition of blind
and pernicious folly. (53)

The imagery of sinking and impending death is mobilized in this

statement to show that the Nan-Shan is on the verge of destruction. She
is threatened with the "toppling rush" that anticipates her "downfall" as
a stable reference point or centre to MacWhirr and his crew.
Inquiries into the dialectics of centre and signification yield funda
mental discoveries both about Conrad's attitude towards representation
and his notion of identity. First, it is commonplace to state that Conrad
prefigures a postmodernist outlook that endorses interpretative contes
tation and multiple signification; second, at the same time he fosters
dialogic relations and multiple reading, he constructs a "multi-dynamic,

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 Acheraiou 33

that is to say, postmodern, subject, thereby obviating the humanist

notion of a unified, fixed mode of identity" (Smith, 2001: 309). In this
light, the storm is an excessive image, operating to deride the humanist
notion of man embedded in a coherent pattern evolving within a fixed
centre based on unity of place, time, and action. Conrad not only
challenges the Enlightenment concept of man through the storm motif,
but he also questions via the same image the status of language that
carries a dialectics of openness and closure. It is characterized by closure
as regards signification and by openness when it comes to poetic expres
sion and imagination. In other words, language as a system that assigns
and codifies meaning, fixes and tabulates, has multiple dynamic uses in
creative combinations in "Typhoon."
Conrad's overall project in this novella tends to disturb the lin
guistic structure. He manifestly privileges the verb, characterized by a
dynamic impulse, over the substantive, which, like signification, is prone
to fixity and categorization, as the following passage illustrates:

The Nan-Shan was being looted by the storm with a senseless,

destructive fury: trysails torn out of the extra gaskets, double-lashed
awnings blown away, bridge swept clean, weather-cloths burst, rails
twisted, light-screens smashed - and two of the boats had gone
already. (44)

The storm's violence and swiftness match the sharpness and dynamic
nature of the verbs here, where most of the verbal constructions seem
activated to become action itself rather than mere descriptive tools. By
so overhauling the dynamism of the verb, Conrad obviously aims to
reinvigorate the word and enliven its poetic expression, the ultimate goal
being to free language and art from ontological and ideological absolutes.
Given this challenging project, it is no wonder that language in "Typhoon"
is used less to describe as to go beyond description and reach out to that
realm of imagination that Conrad takes to be "the supreme master of art
as of life" (A Personal Record, 25). For he seems less concerned with
rendering the world as it is ? in any case a hopeless task given the failure
of referentiality - than creating an evocative atmosphere that appeals to
the reader's interest and demands his collaboration. As he states in the
"Author's Note":

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 34 Acheraiou

As in most of my writings I insist not on the events but on their

effect upon the persons in the tale. But in everything I have written
there is always one invariable intention, and that is to capture the
reader's attention, by securing his interest and enlisting his sym
pathies for the matter in hand, whatever it may be, within the limits
of the visible world and within the boundaries of human emotions.
(vii-viii)

This attempt to capture the reader's attention and goad him into active
collaboration partakes of a much larger aesthetic preoccupation with
representation, and one of the central issues in "Typhoon." The battling
of the Nan-Shan against the fury of the ocean is a "fit metaphor for the
struggle of the artist, in search of a new language, of a new definition"
(Pagetti, 1988: 62). MacWhirr's wrestling with the typhoon symbolizes
the struggle between "worn out" words and "eloquent" facts that "can
speak for themselves with overwhelming precision" (9). The dynamism
of facts is overhauled; their expressiveness is in turn enhanced to the
extent that facts take on the aspect of a "clear and definite language"
(15). Ian Watt points out that "'Typhoon' stands out in the Conrad
canon partly because its values are so completely dedicated to the
triumph of fact" (1988: 54). The tension between language and fact in
the novella enacts Conrad's acute awareness of the difficulty of repre
sentation. He seems to have a strong sense of what Modernists came to
recognize as the unrepresentable, which accounts for the insistence in his
fiction on the narrators' constant confrontation with the realm of the
unnameable and unsayable. The narrator who presents the fierce and
devastating storm is, to some degree, in the same position as Marlow
who tries to relate Kurtz's deeds and penetrate his dark self. Both experi
ences challenge human nature and morals as well as language. They bring
into the open man's limits and the limits of the linguistic medium that
are paradoxically expressed through the pervasive hyperbole. The
narrator's comment is a telling example:

They were all on the bridge when the real force of the hurricane
struck the ship ... They held hard. An outburst of unchained fury, a
vicious rush of the wind absolutely steadied the ship; she rocked
only, quick and light like a child's cradle, for a terrific moment of
suspense, while the whole atmosphere, as it seemed, streamed furi
ously past her, roaring away from the tenebrous earth. (46)

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 Acherawu 35

Hyperbole is an excessive medium betraying an intrinsic lack; to put

it in an oxymoronic way, it is a figure of excess that lacks as much as it
exceeds. A privileged mode whereby Conrad expresses the fluctuation of
representation and inconsistency of life, the ambiguity of hyperbole
corroborates so well that of the storm, which is both a composite sym
bol of destruction and regeneration, and also of writing and erasure. The
hurricane literally sweeps away almost everything; it most significandy
erases the graphs already in place, as is suggested by Captain MacWhirr's
writing instruments ? pen and paper ? that the waters and winds washed
away.
Overlooked by critics, this episode is of great significance. Unlike
Jukes, who "never wrote letters," Captain MacWhirr and Solomon Rout
are great letter-writers who correspond regularly with their wives.
Through their regular correspondence MacWhirr and Solomon Rout
enact a mise-en-abyme structure where they occupy the part of surrogate
authors, their respective spouses standing for implied readers or nar
ratees. MacWhirr's writing in particular deserves special notice, for it
illuminates the ways in which "Typhoon" is a subversive text aiming to
disrupt absolutes and established truths. Yet, as a first step towards a
better understanding of the character under examination, let us, before
pondering his writing, probe his personality. Conrad gives a compelling
portrait of MacWhirr both as seaman and letter-writer: he stresses his
"plain" language and "ordinary," "unruffled" physiognomy, limited
imagination, ignorance of immoderate and passionate weather, dislike of
images in speech, attachment to harmony and safety, constant quest of
certitude, reliance on minute details and linear sequencing of events, and
total dependence on the literalism of facts.
Metaphorically, MacWhirr is a caricatured realist bent on a linear
depiction of the smooth surface of existence. As never before, his
dependence on harmony and order is severely challenged by the fierce
storm assaulting the Nan-Shan. He can now, to his great dismay, "feel the
disorder of that place where he used to live tidily" (83). A destructive
force, the hurricane, which "had broken in upon the orderly arrange
ments of his privacy" (85), may, on the symbolic plane, be assimilated to
a creative impulse that calls order and continuity into question. Like
every effort of creation, the hurricane is a long-maturing and disorderly
process that goes through various turns and twists before materializing.
There is, first, the fall of the barometer; then, the swell increases

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36 Acheraiou

gradually before the advent of the "real thing," which cleared, among
other things, MacWhirr's "rulers, his pencils, the inkstand ? all the things
that had their safe appointed places" (85). The storm washes away the
instruments of measuring and writing, the symbols of established
meaning. It simultaneously dismandes the captain's control over his
smooth, steady life and unsettles the order of language and the dominant
canons on which this order rests. Revealingly, Conrad intimates through
the raging storm an attack on the polished and policed surface of life and
language, in an effort to bring to light the irrational and hidden depths
that realistic representation has refined away. However, more than
launching an outright condemnation of realism, he seems most intent on
widening its horizons, in much the same way as the hurricane seems to
have "enlarged [MacWhirr's] conception of what heavy weather could be
like" (84). Contrary to what some critics have said, Ian Watt notes that
"MacWhirr also learns something from the typhoon, if only that he is
mortal and may go down with the ship" (1988: 55).
A universalist writer, Conrad resists easy classification, for he is at
once realist, romantic, Modernist, and postmodernist. He is constandy
borrowing from various sources, always processing and mixing them so
as to extend their possibilities, making his art thus plural and potentially
hybrid. His outlook defies easy categorization and the bulk of his art
argues for an aesthetics that transcends arbitrary classifications within a
particular literary genre or cognitive mode. Wanting to impose a single
thought or meaning on Conrad's texts is just as misleading as to attempt
to tie him to a definite literary label: "I have no charm, no flow of wit or
of facetiousness or mere patter to fill in chinks with. ... I have no literary
tradition even which will help to spin phrases. ... I am not a 'Sedulous
Ape'" (CIA 21). In line with this fundamental credo, he elaborates a
fiction concerned with much larger meanings, intent on rendering the
precariousness of existence, the flux of life, and man's inconsistent
motives. His narrative structure based on disrupted chronology, devia
tion from horizontal sequencing, constant shifts and ruptures indicates
the pulse of poetic creation and the mind's genius that is fluctuating and
periodic.
"Typhoon"'s narrative structure eloquently illustrates Conrad's en
dorsement of plurality and variation on both a thematic and structural
plane. To hint at one more instructive analogy, Jukes performs a task
similar to that of the Privileged Man in Lord Jim who is charged with

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 Acheraiou 37

continuing Jim's story after Marlow's voice has ceased. His letter, which
relates the devastating consequences of the typhoon brings an "important
variation in a narrative that at times appears somewhat monotonously
authorial" (Lothe, 1989: 115), and serves to moderate the narrative
voice's propensity to omniscience. Indeed, in much the same way as the
storm comes to challenge the monotony of sailing on a calm, serene sea,
Jukes's letter brings a narrative variation that challenges the prominence
and monotony of the authorial voice, giving the text an uneven and
polyphonic undertone. As well as encouraging narrative variation and
polyphony, Conrad fosters multiple reading, for Jukes, who is ultimately
in charge of relating the event to the reader from the position of a
privileged eyewitness, is a fallible narrator. In fact, he not only lacks the
authorial omniscient power to generalize but also the capacity to under
stand "outside the routine of duty ... more than half what you tell him"
(17)
Conrad's choice of an unreliable narrator to operate the link
between the narrative and meta-narrative unsetdes the omniscient voice
and destabilizes the reader. The latter, who has initially been taken up by
a seemingly confident and reassuring narrator, is ultimately abandoned to
an unreliable source of enunciation. He is placed in the uncomfortable
position of being unable to dismiss Jukes's narration with a pinch of salt,
but having instead to interrogate the text and make sense of it unaided.
This typically Conradian device consists in combining an omniscient nar
rative voice with an unreliable source of enunciation, revealing two im
portant things: one, partial and fragmented nature of knowledge, and
second the provisionality and multiplicity of all reading and meaning.

Acknowledgement

An earlier version of this paper was presented at the Joseph Conrad Society
(UK) conference "Joseph Conrad and the Sea/ Joseph Conrad and London,"
4-6 July 2002.

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 38 Acheraiou

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