Having matured in the surroundings and under the special conditions of sea life, I have a special piety toward that form of my past; for its impressions were vivid, its appeal direct, its demands such as could be responded to with the natural elation of youth and strength equal to the call. There was nothing in them to perplex a young conscience. Having broken away from my origins under a storm of blame from every quarter which had the merest shadow of right to voice an opinion, removed by great distances from such natural affections as were still left to me, and even estranged, in a measure, from them by the totally unintelligible character of the life which had seduced me so mysteriously from my allegiance, I may safely say that through the blind force of circumstances the sea was to be all my world and the merchant service my only home for a long succession of years. No wonder, then, that in my two exclusively sea books — ”The Nigger of the Narcissus,” and “The Mirror of the Sea” (and in the few short sea stories like “Youth” and “Typhoon”) — I have tried with an almost filial regard to render the vibration of life in the great world of waters, in the hearts of the simple men who have for ages traversed its solitudes, and also that something sentient which seems to dwell in ships — the creatures of their hands and the objects of their care.
One’s literary life must turn frequently for sustenance to memories and seek discourse with the shades, unless one has made up one’s mind to write only in order to reprove mankind for what it is, or praise it for what it is not, or — generally — to teach it how to behave. Being neither quarrelsome, nor a flatterer, nor a sage, I have done none of these things, and I am prepared to put up serenely with the insignificance which attaches to persons who are not meddlesome in some way or other. But resignation is not indifference. I would not like to be left standing as a mere spectator on the bank of the great stream carrying onward so many lives. I would fain claim for myself the faculty of so much insight as can be expressed in a voice of sympathy and compassion.
It seems to me that in one, at least, authoritative quarter of criticism I am suspected of a certain unemotional, grim acceptance of facts — of what the French would call secheresse du coeur. Fifteen years of unbroken silence before praise or blame testify sufficiently to my respect for criticism, that fine flower of personal expression in the garden of letters. But this is more of a personal matter, reaching the man behind the work, and therefore it may be alluded to in a volume which is a personal note in the margin of the public page. Not that I feel hurt in the least. The charge — if it amounted to a charge at all — was made in the most considerate terms; in a tone of regret.
My answer is that if it be true that every novel contains an element of autobiography — and this can hardly be denied, since the creator can only express himself in his creation — then there are some of us to whom an open display of sentiment is repugnant.
I would not unduly praise the virtue of restraint. It is often merely temperamental. But it is not always a sign of coldness. It may be pride. There can be nothing more humiliating than to see the shaft of one’s emotion miss the mark of either laughter or tears. Nothing more humiliating! And this for the reason that should the mark be missed, should the open display of emotion fail to move, then it must perish unavoidably in disgust or contempt. No artist can be reproached for shrinking from a risk which only fools run to meet and only genius dare confront with impunity. In a task which mainly consists in laying one’s soul more or less bare to the world, a regard for decency, even at the cost of success, is but the regard for one’s own dignity which is inseparably united with the dignity of one’s work.
And then — it is very difficult to be wholly joyous or wholly sad on this earth. The comic, when it is human, soon takes upon itself a face of pain; and some of our griefs (some only, not all, for it is the capacity for suffering which makes man August in the eyes of men) have their source in weaknesses which must be recognized with smiling com passion as the common inheritance of us all. Joy and sorrow in this world pass into each other, mingling their forms and their murmurs in the twilight of life as mysterious as an over shadowed ocean, while the dazzling brightness of supreme hopes lies far off, fascinating and still, on the distant edge of the horizon.
Yes! I, too, would like to hold the magic wand giving that command over laughter and tears which is declared to be the highest achievement of imaginative literature. Only, to be a great magician one must surrender oneself to occult and irresponsible powers, either outside or within one’s breast. We have all heard of simple men selling their souls for love or power to some grotesque devil. The most ordinary intelligence can perceive without much reflection that anything of the sort is bound to be a fool’s bargain. I don’t lay claim to particular wisdom because of my dislike and distrust of such transactions. It may be my sea training acting upon a natural disposition to keep good hold on the one thing really mine, but the fact is that I have a positive horror of losing even for one moving moment that full possession of my self which is the first condition of good service. And I have carried my notion of good service from my earlier into my later existence. I, who have never sought in the written word anything else but a form of the Beautiful — I have carried over that article of creed from the decks of ships to the more circumscribed space of my desk, and by that act, I suppose, I have become permanently imperfect in the eyes of the ineffable company of pure esthetes.
As in political so in literary action a man wins friends for himself mostly by the passion of his prejudices and by the consistent narrowness of his outlook. But I have never been able to love what was not lovable or hate what was not hateful out of deference for some general principle. Whether there be any courage in making this admission I know not. After the middle turn of life’s way we consider dangers and joys with a tranquil mind. So I proceed in peace to declare that I have always suspected in the effort to bring into play the extremities of emotions the debasing touch of insincerity. In order to move others deeply we must deliberately allow ourselves to be carried away beyond the bounds of our normal sensibility — innocently enough, perhaps, and of necessity, like an actor who raises his voice on the stage above the pitch of natural conversation — but still we have to do that. And surely this is no great sin. But the danger lies in the writer becoming the victim of his own exaggeration, losing the exact notion of sincerity, and in the end coming to despise truth itself as something too cold, too blunt for his purpose — as, in fact, not good enough for his insistent emotion. From laughter and tears the descent is easy to snivelling and giggles.
These may seem selfish considerations; but you can’t, in sound morals, condemn a man for taking care of his own integrity. It is his clear duty. And least of all can you condemn an artist pursuing, however humbly and imperfectly, a creative aim. In that interior world where his thought and his emotions go seeking for the experience of imagined adventures, there are no policemen, no law, no pressure of circumstance or dread of opinion to keep him within bounds. Who then is going to say Nay to his temptations if not his conscience?
And besides — this, remember, is the place and the moment of perfectly open talk — I think that all ambitions are lawful except those which climb upward on the miseries or credulities of mankind. All intellectual and artistic ambitions are permissible, up to and even beyond the limit of prudent sanity. They can hurt no one. If they are mad, then so much the worse for the artist. Indeed, as virtue is said to be, such ambitions are their own reward. Is it such a very mad presumption to believe in the sovereign power of one’s art, to try for other means, for other ways of affirming this belief in the deeper appeal of one’s work? To try to go deeper is not to be insensible. A historian of hearts is not a historian of emotions, yet he penetrates further, restrained as he may be, since his aim is to reach the very fount of laughter and tears. The sight of human affairs deserves admiration and pity. They are worthy of respect, too. And he is not insensible who pays them the undemonstrative tribute of a sigh which is not a sob, and of a smile which is not a grin.
Resignation, not mystic, not detached, but resignation open-eyed, conscious, and informed by love, is the only one of our feelings for which it is impossible to become a sham.
Not that I think resignation the last word of wisdom. I am too much the creature of my time for that. But I think that the proper wisdom is to will what the gods will without, perhaps, being certain what their will is — or even if they have a will of their own. And in this matter of life and art it is not the Why that matters so much to our happiness as the How. As the Frenchman said, “Il y a toujours la maniere.” Very true. Yes. There is the manner. The manner in laughter, in tears, in irony, in indignations and enthusiasms, in judgments — and even in love. The manner in which, as in the features and character of a human face, the inner truth is foreshadowed for those who know how to look at their kind.
Those who read me know my conviction that the world, the temporal world, rests on a few very simple ideas; so simple that they must be as old as the hills. It rests notably, among others, on the idea of Fidelity. At a time when nothing which is not revolutionary in some way or other can expect to attract much attention I have not been revolutionary in my writings. The revolutionary spirit is mighty convenient in this, that it frees one from all scruples as regards ideas. Its hard, absolute optimism is repulsive to my mind by the menace of fanaticism and intolerance it contains. No doubt one should smile at these things; but, imperfect Esthete, I am no better Philosopher.
All claim to special righteousness awakens in me that scorn and danger from which a philosophical mind should be free. . . .
I fear that trying to be conversational I have only managed to be unduly discursive. I have never been very well acquainted with the art of conversation — that art which, I understand, is supposed to be lost now. My young days, the days when one’s habits and character are formed, have been rather familiar with long silences. Such voices as broke into them were anything but conversational. No. I haven’t got the habit. Yet this discursiveness is not so irrelevant to the handful of pages which follow. They, too, have been charged with discursiveness, with disregard of chronological order (which is in itself a crime), with unconventionality of form (which is an impropriety). I was told severely that the public would view with displeasure the informal character of my recollections. “Alas!” I protested, mildly. “Could I begin with the sacramental words, ‘I was born on such a date in such a place’? The remoteness of the locality would have robbed the statement of all interest. I haven’t lived through wonderful adventures to be related seriatim. I haven’t known distinguished men on whom I could pass fatuous remarks. I haven’t been mixed up with great or scandalous affairs. This is but a bit of psychological document, and even so, I haven’t written it with a view to put forward any conclusion of my own.”
But my objector was not placated. These were good reasons for not writing at all — not a defense of what stood written already, he said.
I admit that almost anything, anything in the world, would serve as a good reason for not writing at all. But since I have written them, all I want to say in their defense is that these memories put down without any regard for established conventions have not been thrown off without system and purpose. They have their hope and their aim. The hope that from the reading of these pages there may emerge at last the vision of a personality; the man behind the books so fundamentally dissimilar as, for instance, “Almayer’s Folly” and “The Secret Agent,” and yet a coherent, justifiable personality both in its origin and in its action. This is the hope. The immediate aim, closely associated with the hope, is to give the record of personal memories by presenting faithfully the feelings and sensations connected with the writing of my first book and with my first contact with the sea.
In the purposely mingled resonance of this double strain a friend here and there will perhaps detect a subtle accord.
J. C. K.
I
Books may be written in all sorts of places. Verbal inspiration may enter the berth of a mariner on board a ship frozen fast in a river in the middle of a town; and since saints are supposed to look benignantly on humble believers, I indulge in the pleasant fancy that the shade of old Flaubert — who imagined himself to be (among other things) a descendant of Vikings — might have hovered with amused interest over the docks of a 2,000-ton steamer called the Adowa, on board of which, gripped by the inclement winter alongside a quay in Rouen, the tenth chapter of “Almayer’s Folly” was begun. With interest, I say, for was not the kind Norman giant with enormous mustaches and a thundering voice the last of the Romantics? Was he not, in his unworldly, almost ascetic, devotion to his art, a sort of literary, saint-like hermit?
“‘It has set at last,’ said Nina to her mother, pointing to the hills behind which the sun had sunk.” . . . These words of Almayer’s romantic daughter I remember tracing on the gray paper of a pad which rested on the blanket of my bed-place. They referred to a sunset in Malayan Isles and shaped themselves in my mind, in a hallucinated vision of forests and rivers and seas, far removed from a commercial and yet romantic town of the northern hemisphere. But at that moment the mood of visions and words was cut short by the third officer, a cheerful and casual youth, coming in with a bang of the door and the exclamation: “You’ve made it jolly warm in here.”
It was warm. I had turned on the steam heater after placing a tin under the leaky water-cock — for perhaps you do not know that water will leak where steam will not. I am not aware of what my young friend had been doing on deck all that morning, but the hands he rubbed together vigorously were very red and imparted to me a chilly feeling by their mere aspect. He has remained the only banjoist of my acquaintance, and being also a younger son of a retired colonel, the poem of Mr. Kipling, by a strange aberration of associated ideas, always seems to me to have been written with an exclusive view to his person. When he did not play the banjo he loved to sit and look at it. He proceeded to this sentimental inspection, and after meditating a while over the strings under my silent scrutiny inquired, airily:
“What are you always scribbling there, if it’s fair to ask?”
It was a fair enough question, but I did not answer him, and simply turned the pad over with a movement of instinctive secrecy: I could not have told him he had put to flight the psychology of Nina Almayer, her opening speech of the tenth chapter, and the words of Mrs. Almayer’s wisdom which were to follow in the ominous oncoming of a tropical night. I could not have told him that Nina had said, “It has set at last.” He would have been extremely surprised and perhaps have dropped his precious banjo. Neither could I have told him that the sun of my sea-going was setting, too, even as I wrote the words expressing the impatience of passionate youth bent on its desire. I did not know this myself, and it is safe to say he would not have cared, though he was an excellent young fellow and treated me with more deference than, in our relative positions, I was strictly entitled to.
He lowered a tender gaze on his banjo, and I went on looking through the port-hole. The round opening framed in its brass rim a fragment of the quays, with a row of casks ranged on the frozen ground and the tail end of a great cart. A red-nosed carter in a blouse and a woollen night-cap leaned against the wheel. An idle, strolling custom house guard, belted over his blue capote, had the air of being depressed by exposure to the weather and the monotony of official existence. The background of grimy houses found a place in the picture framed by my port-hole, across a wide stretch of paved quay brown with frozen mud. The colouring was sombre, and the most conspicuous feature was a little cafe with curtained windows and a shabby front of white woodwork, corresponding with the squalor of these poorer quarters bordering the river. We had been shifted down there from another berth in the neighbourhood of the Opera House, where that same port-hole gave me a view of quite another soft of cafe — the best in the town, I believe, and the very one where the worthy Bovary and his wife, the romantic daughter of old Pere Renault, had some refreshment after the memorable performance of an opera which was the
tragic story of Lucia di Lammermoor in a setting of light music.
I could recall no more the hallucination of the Eastern Archipelago which I certainly hoped to see again. The story of “Almayer’s Folly” got put away under the pillow for that day. I do not know that I had any occupation to keep me away from it; the truth of the matter is that on board that ship we were leading just then a contemplative life. I will not say anything of my privileged position. I was there “just to oblige,” as an actor of standing may take a small part in the benefit performance of a friend.
As far as my feelings were concerned I did not wish to be in that steamer at that time and in those circumstances. And perhaps I was not even wanted there in the usual sense in which a ship “wants” an officer. It was the first and last instance in my sea life when I served ship-owners who have remained completely shadowy to my apprehension. I do not mean this for the well-known firm of London ship-brokers which had chartered the ship to the, I will not say short-lived, but ephemeral Franco-Canadian Transport Company. A death leaves something behind, but there was never anything tangible left from the F. C. T. C. It flourished no longer than roses live, and unlike the roses it blossomed in the dead of winter, emitted a sort of faint perfume of adventure, and died before spring set in. But indubitably it was a company, it had even a house-flag, all white with the letters F. C. T. C. artfully tangled up in a complicated monogram. We flew it at our mainmast head, and now I have come to the conclusion that it was the only flag of its kind in existence. All the same we on board, for many days, had the impression of being a unit of a large fleet with fortnightly departures for Montreal and Quebec as advertised in pamphlets and prospectuses which came aboard in a large package in Victoria Dock, London, just before we started for Rouen, France. And in the shadowy life of the F. C. T. C. lies the secret of that, my last employment in my calling, which in a remote sense interrupted the rhythmical development of Nina Almayer’s story.
Complete Works of Joseph Conrad (Illustrated) Page 658
