The words "Worthy of my undying regard" selected by me for the motto on the title page are quoted from the text of the book itself; and, though one of my critics surmised that they applied to the ship, it is evident from the place where they stand that they refer to the men of that ship's company: complete strangers to their new captain and yet who stood by him so well during those twenty days that seemed to have been passed on the brink of a slow and agonizing destruction. And that is the greatest memory of all! For surely it is a great thing to have commanded a handful of men worthy of one's undying regard.

J. C.

1920.



ARROW OF GOLD

FIRST NOTE

The pages which follow have been extracted from a pile of manuscript which was apparently meant for the eye of one woman only. She seems to have been the writer's childhood friend. They had parted as children, or very little more than children. Years passed. Then something recalled to the woman the companion of her young days and she wrote to him: "I have been hearing of you lately. I know where life has brought you. You certainly selected your own road. But to us, left behind, it always looked as if you had struck out into a pathless desert. We always regarded you as a person that must be given up for lost. But you have turned up again; and though we may never see each other, my memory welcomes you and I confess to you I should like to know the incidents on the road which has led you to where you are now."

And he answers her: "I believe you are the only one now alive who remembers me as a child. I have heard of you from time to time, but I wonder what sort of person you are now. Perhaps if I did know I wouldn't dare put pen to paper. But I don't know. I only remember that we were great chums. In fact, I chummed with you even more than with your brothers. But I am like the pigeon that went away in the fable of the Two Pigeons. If I once start to tell you I would want you to feel that you have been there yourself. I may overtax your patience with the story of my life so different from yours, not only in all the facts but altogether in spirit. You may not understand. You may even be shocked. I say all this to myself; but I know I shall succumb! I have a distinct recollection that in the old days, when you were about fifteen, you always could make me do whatever you liked."

He succumbed. He begins his story for her with the minute narration of this adventure which took about twelve months to develop. In the form in which it is presented here it has been pruned of all allusions to their common past, of all asides, disquisitions, and explanations addressed directly to the friend of his childhood. And even as it is the whole thing is of considerable length. It seems that he had not only a memory but that he also knew how to remember. But as to that opinions may differ.

This, his first great adventure, as he calls it, begins in Marseilles. It ends there, too. Yet it might have happened anywhere. This does not mean that the people concerned could have come together in pure space. The locality had a definite importance. As to the time, it is easily fixed by the events at about the middle years of the seventies, when Don Carlos de Bourbon, encouraged by the general reaction of all Europe against the excesses of communistic Republicanism, made his attempt for the throne of Spain, arms in hand, amongst the hills and gorges of Guipuzcoa. It is perhaps the last instance of a Pretender's adventure for a Crown that History will have to record with the usual grave moral disapproval tinged by a shamefaced regret for the departing romance. Historians are very much like other people.

However, History has nothing to do with this tale. Neither is the moral justification or condemnation of conduct aimed at here. If anything it is perhaps a little sympathy that the writer expects for his buried youth, as he lives it over again at the end of his insignificant course on this earth. Strange person—yet perhaps not so very different from ourselves.

A few words as to certain facts may be added.

It may seem that he was plunged very abruptly into this long adventure. But from certain passages (suppressed here because mixed up with irrelevant matter) it appears clearly that at the time of the meeting in the cafe, Mills had already gathered, in various quarters, a definite view of the eager youth who had been introduced to him in that ultra-legitimist salon. What Mills had learned represented him as a young gentleman who had arrived furnished with proper credentials and who apparently was doing his best to waste his life in an eccentric fashion, with a bohemian set (one poet, at least, emerged out of it later) on one side, and on the other making friends with the people of the Old Town, pilots, coasters, sailors, workers of all sorts. He pretended rather absurdly to be a seaman himself and was already credited with an ill-defined and vaguely illegal enterprise in the Gulf of Mexico. At once it occurred to Mills that this eccentric youngster was the very person for what the legitimist sympathizers had very much at heart just then; to organize a supply by sea of arms and ammunition to the Carlist detachments in the South. It was precisely to confer on that matter with Dona Rita that Captain Blunt had been despatched from Headquarters.

Mills got in touch with Blunt at once and put the suggestion before him. The Captain thought this the very thing. As a matter of fact, on that evening of Carnival, those two, Mills and Blunt, had been actually looking everywhere for our man. They had decided that he should be drawn into the affair if it could be done. Blunt naturally wanted to see him first. He must have estimated him a promising person, but, from another point of view, not dangerous. Thus lightly was the notorious (and at the same time mysterious) Monsieur George brought into the world; out of the contact of two minds which did not give a single thought to his flesh and blood.

This purpose explains the intimate tone given to their first conversation and the sudden introduction of Dona Rita's history. Mills, of course, wanted to hear all about it. As to Captain Blunt I suspect that, at the time, he was thinking of nothing else. In addition it was Dona Rita who would have to do the persuading; for, after all, such an enterprise with its ugly and desperate risks was not a trifle to put before a man—however young.

It cannot be denied that Mills seems to have acted somewhat unscrupulously. He himself appears to have had some doubt about it, at a given moment, as they were driving to the Prado. But perhaps Mills, with his penetration, understood very well the nature he was dealing with. He might even have envied it. But it's not my business to excuse Mills. As to him whom we may regard as Mills' victim it is obvious that he has never harboured a single reproachful thought. For him Mills is not to be criticized. A remarkable instance of the great power of mere individuality over the young.

* * * * *

Having named all the short prefaces written for my books, Author's Notes, this one too must have the same heading for the sake of uniformity if at the risk of some confusion. "The Arrow of Gold," as its sub-title states, is a story between two Notes. But these Notes are embodied in its very frame, belong to its texture, and their mission is to prepare and close the story. They are material to the comprehension of the experience related in the narrative and are meant to determine the time and place together with certain historical circumstances conditioning the existence of the people concerned in the transactions of the twelve months covered by the narrative. It was the shortest way of getting over the preliminaries of a piece of work which could not have been of the nature of a chronicle.

"The Arrow of Gold" is my first after-the-war publication. The writing of it was begun in the autumn of 1917 and finished in the summer of 1918. Its memory is associated with that of the darkest hour of the war, which, in accordance with the well known proverb, preceded the dawn—the dawn of peace.

As I look at them now, these pages, written in the days of stress and dread, wear a look of strange serenity. They were written calmly, yet not in cold blood, and are perhaps the only kind of pages I could have written at that time full of menace, but also full of faith.

The subject of this book I have been carrying about with me for many years, not so much a possession of my memory as an inherent part of myself. It was ever present to my mind and ready to my hand, but I was loth to touch it from a feeling of what I imagined to be mere shyness but which in reality was a very comprehensible mistrust of myself.

In plucking the fruit of memory one runs the risk of spoiling its bloom, especially if it has got to be carried into the market-place. This being the product of my private garden my reluctance can be easily understood; though some critics have expressed their regret that I had not written this book fifteen years earlier I do not share that opinion. If I took it up so late in life it is because the right moment had not arrived till then. I mean the positive feeling of it, which is a thing that cannot be discussed. Neither will I discuss here the regrets of those critics, which seem to me the most irrelevant thing that could have been said in connection with literary criticism.

I never tried to conceal the origins of the subject matter of this book which I have hesitated so long to write; but some reviewers indulged themselves with a sense of triumph in discovering in it my Dominic of "The Mirror of the Sea" under his own name (a truly wonderful discovery) and in recognizing the balancelle Tremolino in the unnamed little craft in which Mr. George plied his fantastic trade and sought to allay the pain of his incurable wound. I am not in the least disconcerted by this display of perspicacity. It is the same man and the same balancelle. But for the purposes of a book like "The Mirror of the Sea" all I could make use of was the personal history of the little Tremolino. The present work is not in any sense an attempt to develop a subject lightly touched upon in former years and in connection with quite another kind of love. What the story of the Tremolino in its anecdotic character has in common with the story of "The Arrow of Gold" is the quality of initiation (through an ordeal which required some resolution to face) into the life of passion. In the few pages at the end of "The Mirror of the Sea" and in the whole volume of "The Arrow of Gold," that and no other is the subject offered to the public. The pages and the book form together a complete record; and the only assurance I can give my readers is, that as it stands here with all its imperfections it is given to them complete.

I venture this explicit statement because, amidst much sympathetic appreciation, I have detected here and there a note, as it were, of suspicion. Suspicion of facts concealed, of explanations held back, of inadequate motives. But what is lacking in the facts is simply what I did not know, and what is not explained is what I did not understand myself, and what seems inadequate is the fault of my imperfect insight. And all that I could not help. In the case of this book I was unable to supplement these deficiences by the exercise of my inventive faculty. It was never very strong; and on this occasion its use would have seemed exceptionally dishonest. It is from that ethical motive and not from timidity that I elected to keep strictly within the limits of unadorned sincerity and to try to enlist the sympathies of my readers without assuming lofty omniscience or descending to the subterfuge of exaggerated emotions.

J. C.

1920.



THE RESCUE

Of the three long novels of mine which suffered an interruption, "The Rescue" was the one that had to wait the longest for the good pleasure of the Fates. I am betraying no secret when I state here that it had to wait precisely for twenty years. I laid it aside at the end of the summer of 1898 and it was about the end of the summer of 1918 that I took it up again with the firm determination to see the end of it and helped by the sudden feeling that I might be equal to the task.

This does not mean that I turned to it with elation. I was well aware and perhaps even too much aware of the dangers of such an adventure. The amazingly sympathetic kindness which men of various temperaments, diverse views and different literary tastes have been for years displaying towards my work has done much for me, has done all—except giving me that overweening self-confidence which may assist an adventurer sometimes but in the long run ends by leading him to the gallows.

As the characteristic I want most to impress upon these short Author's Notes prepared for my first Collected Edition is that of absolute frankness, I hasten to declare that I founded my hopes not on my supposed merits but on the continued goodwill of my readers. I may say at once that my hopes have been justified out of all proportion to my deserts. I met with the most considerate, most delicately expressed criticism free from all antagonism and in its conclusions showing an insight which in itself could not fail to move me deeply, but was associated also with enough commendation to make me feel rich beyond the dreams of avarice—I mean an artist's avarice which seeks its treasure in the hearts of men and women.

No! Whatever the preliminary anxieties might have been this adventure was not to end in sorrow. Once more Fortune favoured audacity; and yet I have never forgotten the jocular translation of Audaces fortuna juvat offered to me by my tutor when I was a small boy: "The Audacious get bitten." However he took care to mention that there were various kinds of audacity. Oh, there are, there are!... There is, for instance, the kind of audacity almost indistinguishable from impudence.... I must believe that in this case I have not been impudent for I am not conscious of having been bitten.

The truth is that when "The Rescue" was laid aside it was not laid aside in despair. Several reasons contributed to this abandonment and, no doubt, the first of them was the growing sense of general difficulty in the handling of the subject. The contents and the course of the story I had clearly in my mind. But as to the way of presenting the facts, and perhaps in a certain measure as to the nature of the facts themselves, I had many doubts. I mean the telling, representative facts, helpful to carry on the idea, and, at the same time, of such a nature as not to demand an elaborate creation of the atmosphere to the detriment of the action. I did not see how I could avoid becoming wearisome in the presentation of detail and in the pursuit of clearness. I saw the action plainly enough. What I had lost for the moment was the sense of the proper formula of expression, of the only formula that would suit. This, of course, weakened my confidence in the intrinsic worth and in the possible interest of the story—that is in my invention. But I suspect that all the trouble was, in reality, the doubt of my prose, the doubt of its adequacy, of its power to master both the colours and the shades.

It is difficult to describe, exactly as I remember it, the complex state of my feelings; but those of my readers who take an interest in artistic perplexities will understand me best when I point out that I dropped "The Rescue" not to give myself up to idleness, regrets, or dreaming, but to begin "The Nigger of the Narcissus" and to go on with it without hesitation and without a pause. A comparison of any page of "The Rescue" with any page of "The Nigger" will furnish an ocular demonstration of the nature and the inward meaning of this first crisis of my writing life. For it was a crisis undoubtedly. The laying aside of a work so far advanced was a very awful decision to take. It was wrung from me by a sudden conviction that there only was the road of salvation, the clear way out for an uneasy conscience. The finishing of "The Nigger" brought to my troubled mind the comforting sense of an accomplished task, and the first consciousness of a certain sort of mastery which could accomplish something with the aid of propitious stars. Why I did not return to "The Rescue" at once then, was not for the reason that I had grown afraid of it. Being able now to assume a firm attitude I said to myself deliberately: "That thing can wait." At the same time I was just as certain in my mind that "Youth," a story which I had then, so to speak, on the tip of my pen, could not wait. Neither could Heart of Darkness be put off; for the practical reason that Mr. Wm. Blackwood having requested me to write something for the No. M. of his magazine I had to stir up at once the subject of that tale which had been long lying quiescent in my mind, because, obviously, the venerable Maga at her patriarchal age of 1000 numbers could not be kept waiting. Then "Lord Jim," with about seventeen pages already written at odd times, put in his claim which was irresistible. Thus every stroke of the pen was taking me further away from the abandoned "Rescue," not without some compunction on my part but with a gradually diminishing resistance; till at last I let myself go as if recognizing a superior influence against which it was useless to contend.

The years passed and the pages grew in number, and the long reveries of which they were the outcome stretched wide between me and the deserted "Rescue" like the smooth hazy spaces of a dreamy sea. Yet I never actually lost sight of that dark speck in the misty distance. It had grown very small but it asserted itself with the appeal of old associations. It seemed to me that it would be a base thing for me to slip out of the world leaving it out there all alone, waiting for its fate—that would never come!

Sentiment, pure sentiment as you see, prompted me in the last instance to face the pains and hazards of that return. As I moved slowly towards the abandoned body of the tale it loomed up big amongst the glittering shallows of the coast, lonely but not forbidding. There was nothing about it of a grim derelict. It had an air of expectant life. One after another I made out the familiar faces watching my approach with faint smiles of amused recognition. They had known well enough that I was bound to come back to them. But their eyes met mine seriously as was only to be expected since I myself felt very serious as I stood amongst them again after years of absence. At once, without wasting words, we went to work together on our renewed life; and every moment I felt more strongly that They Who had Waited bore no grudge to the man who however widely he may have wandered at times had played truant only once in his life.

J. C.

1920.



NOTES ON LIFE AND LETTERS

I don't know whether I ought to offer an apology for this collection which has more to do with life than with letters. Its appeal is made to orderly minds. This, to be frank about it, is a process of tidying up, which, from the nature of things, can not be regarded as premature. The fact is that I wanted to do it myself because of a feeling that had nothing to do with the considerations of worthiness or unworthiness of the small (but unbroken) pieces collected within the covers of this volume. Of course it may be said that I might have taken up a broom and used it without saying anything about it. That certainly is one way of tidying up.

But it would have been too much to have expected me to treat all this matter as removable rubbish. All those things had a place in my life. Whether any of them deserve to have been picked up and ranged on the shelf—this shelf—I cannot say, and, frankly, I have not allowed my mind to dwell on the question. I was afraid of thinking myself into a mood that would hurt my feelings; for those pieces of writing, whatever may be the comment on their display, appertain to the character of the man.

And so here they are, dusted, which was but a decent thing to do, but in no way polished, extending from the year '98 to the year '20, a thin array (for such a stretch of time) of really innocent attitudes: Conrad literary, Conrad political, Conrad reminiscent, Conrad controversial. Well, yes! A one-man show—or is it merely the show of one man?

The only thing that will not be found amongst those Figures and Things that have passed away will be Conrad "en pantoufles." It is a constitutional inability. Schlafrock und pantoffeln! Not that! Never! I don't know whether I dare boast like a certain South American general who used to say that no emergency of war or peace had ever found him "with his boots off"; but I may say that whenever the various periodicals mentioned in this book called on me to come out and blow the trumpet of personal opinions or strike the pensive lute that speaks of the past, I always tried to pull on my boots first. I didn't want to do it, God knows! Their Editors, to whom I beg to offer my thanks here, made me perform mainly by kindness but partly by bribery. Well, yes! Bribery. What can you expect? I never pretended to be better than the people in the next street and even in the same street.

This volume (including these embarrassed introductory remarks) is as near as I shall ever come to deshabille in public; and perhaps it will do something to help towards a better vision of the man, if it gives no more than a partial view of a piece of his back, a little dusty (after the process of tidying up), a little bowed, and receding from the world not because of weariness or misanthropy but for other reasons that cannot be helped: because the leaves fall, the water flows, the clock ticks with that horrid pitiless solemnity which you must have observed in the ticking of the hall clock at home. For reasons like that. Yes! It recedes. And this was the chance to afford one more view of it—even to my own eyes.

The section within this volume called Letters explains itself though I do not pretend to say that it justifies its own existence. It claims nothing in its defence except the right of speech which I believe belongs to everybody outside a Trappist monastery. The part I have ventured, for shortness' sake, to call Life, may perhaps justify itself by the emotional sincerity of the feelings to which the various papers included under that head owe their origin. And as they relate to events of which everyone has a date, they are in the nature of sign-posts pointing out the direction my thoughts were compelled to take at the various crossroads. If anybody detects any sort of consistency in the choice, this will be only proof positive that wisdom had nothing to do with it. Whether right or wrong, instinct alone is invariable; a fact which only adds a deeper shade to its inherent mystery. The appearance of intellectuality these pieces may present at first sight is merely the result of the arrangement of words. The logic that may be found there is only the logic of the language. But I need not labour the point. There will be plenty of people sagacious enough to perceive the absence of all wisdom from these pages. But I believe sufficiently in human sympathies to imagine that very few will question their sincerity. Whatever delusions I may have suffered from I have had no delusions as to the nature of the facts commented on here. I may have misjudged their import: but that is the sort of error for which one may expect a certain amount of toleration.

The only paper of this collection which has never been published before is the Note on the Polish problem. It was written at the request of a friend to be shown privately, and its "Protectorate" idea, sprung from a strong sense of the critical nature of the situation, was shaped by the actual circumstances of the time. The time was about a month before the entrance of Roumania into the war, and though, honestly, I had seen already the shadow of coming events I could not permit my misgivings to enter into and destroy the structure of my plan. I still believe that there was some sense in it. It may certainly be charged with the appearance of lack of faith and it lays itself open to the throwing of many stones; but my object was practical and I had to consider warily the preconceived notions of the people to whom it was implicitly addressed and also their unjustifiable hopes. They were unjustifiable, but who was to tell them that? I mean who was wise enough and convincing enough to show them the inanity of their mental attitude? The whole atmosphere was poisoned with visions that were not so much false as simply impossible. They were also the result of vague and unconfessed fears, and that made their strength. For myself, with a very definite dread in my heart, I was careful not to allude to their character because I did not want the Note to be thrown away unread. And then I had to remember that the impossible has sometimes the trick of coming to pass to the confusion of minds and often to the crushing of hearts.

Of the other papers I have nothing special to say. They are what they are, and I am by now too hardened a sinner to feel ashamed of insignificant indiscretions. And as to their appearance in this form I claim that indulgence to which all sinners against themselves are entitled.

J. C.

1920.

THE END