“My dear fellow, don’t — don’t you see that the ba-bare fac — the fact of your existence is off — offensive. . . . I — I like you — like . . .”
He fell forward on the table, and ended his remarks by an unexpected and prolonged snore.
Almayer shrugged his shoulders and walked back to the balustrade.
He drank his own trade gin very seldom, but when he did, a ridiculously small quantity of the stuff could induce him to assume a rebellious attitude towards the scheme of the universe. And now, throwing his body over the rail, he shouted impudently into the night, turning his face towards that far-off and invisible slab of imported granite upon which Lingard had thought fit to record God’s mercy and Willems’ escape.
“Father was wrong — wrong!” he yelled. “I want you to smart for it. You must smart for it! Where are you, Willems? Hey? . . . Hey? . . . Where there is no mercy for you — I hope!”
“Hope,” repeated in a whispering echo the startled forests, the river and the hills; and Almayer, who stood waiting, with a smile of tipsy attention on his lips, heard no other answer.
THE NIGGER OF THE NARCISSUS
A TALE OF THE FORECASTLE
This early novella is well-known for its quality compared to other works, and many critics believe it marks the start of Conrad’s major period.
Conrad prior to his first voyage
CONTENTS
PREFACE
CHAPTER ONE
CHAPTER TWO
CHAPTER THREE
CHAPTER FOUR
CHAPTER FIVE
TO
EDWARD GARNETT
THIS TALE
ABOUT MY FRIENDS
OF THE SEA
TO MY READERS IN AMERICA
From that evening when James Wait joined the ship — late for the muster of the crew — to the moment when he left us in the open sea, shrouded in sailcloth, through the open port, I had much to do with him. He was in my watch. A negro in a British forecastle is a lonely being. He has no chums. Yet James Wait, afraid of death and making her his accomplice was an impostor of some character — mastering our compassion, scornful of our sentimentalism, triumphing over our suspicions.
But in the book he is nothing; he is merely the centre of the ship’s collective psychology and the pivot of the action. Yet he, who in the family circle and amongst my friends is familiarly referred to as the Nigger, remains very precious to me. For the book written round him is not the sort of thing that can be attempted more than once in a life-time. It is the book by which, not as a novelist perhaps, but as an artist striving for the utmost sincerity of expression, I am willing to stand or fall. Its pages are the tribute of my unalterable and profound affection for the ships, the seamen, the winds and the great sea — the moulders of my youth, the companions of the best years of my life.
After writing the last words of that book, in the revulsion of feeling before the accomplished task, I understood that I had done with the sea, and that henceforth I had to be a writer. And almost without laying down the pen I wrote a preface, trying to express the spirit in which I was entering on the task of my new life. That preface on advice (which I now think was wrong) was never published with the book. But the late W. E. Henley, who had the courage at that time (1897) to serialize my “Nigger” in the New Review judged it worthy to be printed as an afterword at the end of the last instalment of the tale.
I am glad that this book which means so much to me is coming out again, under its proper title of “The Nigger of the ‘Narcissus’“ and under the auspices of my good, friends and publishers Messrs. Doubleday, Page & Co. into the light of publicity.
Half the span of a generation has passed since W. E. Henley, after reading two chapters, sent me a verbal message: “Tell Conrad that if the rest is up to the sample it shall certainly come out in the New Review.” The most gratifying recollection of my writer’s life!
And here is the Suppressed Preface.
1914.
JOSEPH CONRAD.
PREFACE
A work that aspires, however humbly, to the condition of art should carry its justification in every line. And art itself may be defined as a single-minded attempt to render the highest kind of justice to the visible universe, by bringing to light the truth, manifold and one, underlying its every aspect. It is an attempt to find in its forms, in its colours, in its light, in its shadows, in the aspects of matter and in the facts of life what of each is fundamental, what is enduring and essential — their one illuminating and convincing quality — the very truth of their existence. The artist, then, like the thinker or the scientist, seeks the truth and makes his appeal. Impressed by the aspect of the world the thinker plunges into ideas, the scientist into facts — whence, presently, emerging they make their appeal to those qualities of our being that fit us best for the hazardous enterprise of living. They speak authoritatively to our common-sense, to our intelligence, to our desire of peace or to our desire of unrest; not seldom to our prejudices, sometimes to our fears, often to our egoism — but always to our credulity. And their words are heard with reverence, for their concern is with weighty matters: with the cultivation of our minds and the proper care of our bodies, with the attainment of our ambitions, with the perfection of the means and the glorification of our precious aims.
It is otherwise with the artist.
Confronted by the same enigmatical spectacle the artist descends within himself, and in that lonely region of stress and strife, if he be deserving and fortunate, he finds the terms of his appeal. His appeal is made to our less obvious capacities: to that part of our nature which, because of the warlike conditions of existence, is necessarily kept out of sight within the more resisting and hard qualities — like the vulnerable body within a steel armour. His appeal is less loud, more profound, less distinct, more stirring — and sooner forgotten. Yet its effect endures forever. The changing wisdom of successive generations discards ideas, questions facts, demolishes theories. But the artist appeals to that part of our being which is not dependent on wisdom; to that in us which is a gift and not an acquisition — and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation — and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity — the dead to the living and the living to the unborn.
It is only some such train of thought, or rather of feeling, that can in a measure explain the aim of the attempt, made in the tale which follows, to present an unrestful episode in the obscure lives of a few individuals out of all the disregarded multitude of the bewildered, the simple and the voiceless. For, if any part of truth dwells in the belief confessed above, it becomes evident that there is not a place of splendour or a dark corner of the earth that does not deserve, if only a passing glance of wonder and pity. The motive then, may be held to justify the matter of the work; but this preface, which is simply an avowal of endeavour, cannot end here — for the avowal is not yet complete. Fiction — if it at all aspires to be art — appeals to temperament. And in truth it must be, like painting, like music, like all art, the appeal of one temperament to all the other innumerable temperaments whose subtle and resistless power endows passing events with their true meaning, and creates the moral, the emotional atmosphere of the place and time. Such an appeal to be effective must be an impression conveyed through the senses; and, in fact, it cannot be made in any other way, because temperament, whether individual or collective, is not amenable to persuasion. All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its highest desire is to reach the secret spring of responsive emotions. It must strenuously as
pire to the plasticity of sculpture, to the colour of painting, and to the magic suggestiveness of music — which is the art of arts. And it is only through complete, unswerving devotion to the perfect blending of form and substance; it is only through an unremitting never-discouraged care for the shape and ring of sentences that an approach can be made to plasticity, to colour, and that the light of magic suggestiveness may be brought to play for an evanescent instant over the commonplace surface of words: of the old, old words, worn thin, defaced by ages of careless usage.
The sincere endeavour to accomplish that creative task, to go as far on that road as his strength will carry him, to go undeterred by faltering, weariness or reproach, is the only valid justification for the worker in prose. And if his conscience is clear, his answer to those who in the fulness of a wisdom which looks for immediate profit, demand specifically to be edified, consoled, amused; who demand to be promptly improved, or encouraged, or frightened, or shocked, or charmed, must run thus: — My task which I am trying to achieve is, by the power of the written word to make you hear, to make you feel — it is, before all, to make you see. That — and no more, and it is everything. If I succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm — all you demand — and, perhaps, also that glimpse of truth for which you have forgotten to ask. To snatch in a moment of courage, from the remorseless rush of time, a passing phase of life, is only the beginning of the task. The task approached in tenderness and faith is to hold up unquestioningly, without choice and without fear, the rescued fragment before all eyes in the light of a sincere mood. It is to show its vibration, its colour, its form; and through its movement, its form, and its colour, reveal the substance of its truth — disclose its inspiring secret: the stress and passion within the core of each convincing moment. In a single-minded attempt of that kind, if one be deserving and fortunate, one may perchance attain to such clearness of sincerity that at last the presented vision of regret or pity, of terror or mirth, shall awaken in the hearts of the beholders that feeling of unavoidable solidarity; of the solidarity in mysterious origin, in toil, in joy, in hope, in uncertain fate, which binds men to each other and all mankind to the visible world. It is evident that he who, rightly or wrongly, holds by the convictions expressed above cannot be faithful to any one of the temporary formulas of his craft. The enduring part of them — the truth which each only imperfectly veils — should abide with him as the most precious of his possessions, but they all: Realism, Romanticism, Naturalism, even the unofficial sentimentalism (which like the poor, is exceedingly difficult to get rid of,) all these gods must, after a short period of fellowship, abandon him — even on the very threshold of the temple — to the stammerings of his conscience and to the outspoken consciousness of the difficulties of his work. In that uneasy solitude the supreme cry of Art for Art itself, loses the exciting ring of its apparent immorality. It sounds far off. It has ceased to be a cry, and is heard only as a whisper, often incomprehensible, but at times and faintly encouraging.
Sometimes, stretched at ease in the shade of a roadside tree, we watch the motions of a labourer in a distant field, and after a time, begin to wonder languidly as to what the fellow may be at. We watch the movements of his body, the waving of his arms, we see him bend down, stand up, hesitate, begin again. It may add to the charm of an idle hour to be told the purpose of his exertions. If we know he is trying to lift a stone, to dig a ditch, to uproot a stump, we look with a more real interest at his efforts; we are disposed to condone the jar of his agitation upon the restfulness of the landscape; and even, if in a brotherly frame of mind, we may bring ourselves to forgive his failure. We understood his object, and, after all, the fellow has tried, and perhaps he had not the strength — and perhaps he had not the knowledge. We forgive, go on our way — and forget.
And so it is with the workman of art. Art is long and life is short, and success is very far off. And thus, doubtful of strength to travel so far, we talk a little about the aim — the aim of art, which, like life itself, is inspiring, difficult — obscured by mists; it is not in the clear logic of a triumphant conclusion; it is not in the unveiling of one of those heartless secrets which are called the Laws of Nature. It is not less great, but only more difficult.
To arrest, for the space of a breath, the hands busy about the work of the earth, and compel men entranced by the sight of distant goals to glance for a moment at the surrounding vision of form and colour, of sunshine and shadows; to make them pause for a look, for a sigh, for a smile — such is the aim, difficult and evanescent, and reserved only for a very few to achieve. But sometimes, by the deserving and the fortunate, even that task is accomplished. And when it is accomplished — behold! — all the truth of life is there: a moment of vision, a sigh, a smile — and the return to an eternal rest.
1897. J. C.
THE NIGGER OF THE “NARCISSUS”
CHAPTER ONE
Mr. Baker, chief mate of the ship Narcissus, stepped in one stride out of his lighted cabin into the darkness of the quarter-deck. Above his head, on the break of the poop, the night-watchman rang a double stroke. It was nine o’clock. Mr. Baker, speaking up to the man above him, asked: — ”Are all the hands aboard, Knowles?”
The man limped down the ladder, then said reflectively: —
“I think so, sir. All our old chaps are there, and a lot of new men has come.... They must be all there.”
“Tell the boatswain to send all hands aft,” went on Mr. Baker; “and tell one of the youngsters to bring a good lamp here. I want to muster our crowd.”
The main deck was dark aft, but halfway from forward, through the open doors of the forecastle, two streaks of brilliant light cut the shadow of the quiet night that lay upon the ship. A hum of voices was heard there, while port and starboard, in the illuminated doorways, silhouettes of moving men appeared for a moment, very black, without relief, like figures cut out of sheet tin. The ship was ready for sea. The carpenter had driven in the last wedge of the mainhatch battens, and, throwing down his maul, had wiped his face with great deliberation, just on the stroke of five. The decks had been swept, the windlass oiled and made ready to heave up the anchor; the big tow-rope lay in long bights along one side of the main deck, with one end carried up and hung over the bows, in readiness for the tug that would come paddling and hissing noisily, hot and smoky, in the limpid, cool quietness of the early morning. The captain was ashore, where he had been engaging some new hands to make up his full crew; and, the work of the day over, the ship’s officers had kept out of the way, glad of a little breathing-time. Soon after dark the few liberty-men and the new hands began to arrive in shore-boats rowed by white-clad Asiatics, who clamoured fiercely for payment before coming alongside the gangway-ladder. The feverish and shrill babble of Eastern language struggled against the masterful tones of tipsy seamen, who argued against brazen claims and dishonest hopes by profane shouts. The resplendent and bestarred peace of the East was torn into squalid tatters by howls of rage and shrieks of lament raised over sums ranging from five annas to half a rupee; and every soul afloat in Bombay Harbour became aware that the new hands were joining the Narcissus.
Gradually the distracting noise had subsided. The boats came no longer in splashing clusters of three or four together, but dropped alongside singly, in a subdued buzz of expostulation cut short by a “Not a pace more! You go to the devil!” from some man staggering up the accommodation-ladder — a dark figure, with a long bag poised on the shoulder. In the forecastle the newcomers, upright and swaying amongst corded boxes and bundles of bedding, made friends with the old hands, who sat one above another in the two tiers of bunks, gazing at their future shipmates with glances critical but friendly. The two forecastle lamps were turned up high, and shed an intense hard glare; shore-going round hats were pushed far on the backs of heads, or rolled about on the deck amongst the chain-cables; white collars, undone, stuck out on each side of red faces; big arms in white sleeves gesticulated;
the growling voices hummed steady amongst bursts of laughter and hoarse calls. “Here, sonny, take that bunk!... Don’t you do it!... What’s your last ship?... I know her.... Three years ago, in Puget Sound.... This here berth leaks, I tell you!... Come on; give us a chance to swing that chest!... Did you bring a bottle, any of you shore toffs?... Give us a bit of ‘baccy.... I know her; her skipper drank himself to death.... He was a dandy boy!... Liked his lotion inside, he did!... No!... Hold your row, you chaps!... I tell you, you came on board a hooker, where they get their money’s worth out of poor Jack, by — !...”
A little fellow, called Craik and nicknamed Belfast, abused the ship violently, romancing on principle, just to give the new hands something to think over. Archie, sitting aslant on his sea-chest, kept his knees out of the way, and pushed the needle steadily through a white patch in a pair of blue trousers. Men in black jackets and stand-up collars, mixed with men bare-footed, bare-armed, with coloured shirts open on hairy chests, pushed against one another in the middle of the forecastle. The group swayed, reeled, turning upon itself with the motion of a scrimmage, in a haze of tobacco smoke. All were speaking together, swearing at every second word. A Russian Finn, wearing a yellow shirt with pink stripes, stared upwards, dreamy-eyed, from under a mop of tumbled hair. Two young giants with smooth, baby faces — two Scandinavians — helped each other to spread their bedding, silent, and smiling placidly at the tempest of good-humoured and meaningless curses. Old Singleton, the oldest able seaman in the ship, set apart on the deck right under the lamps, stripped to the waist, tattooed like a cannibal chief all over his powerful chest and enormous biceps. Between the blue and red patterns his white skin gleamed like satin; his bare back was propped against the heel of the bowsprit, and he held a book at arm’s length before his big, sunburnt face. With his spectacles and a venerable white beard, he resembled a learned and savage patriarch, the incarnation of barbarian wisdom serene in the blasphemous turmoil of the world. He was intensely absorbed, and as he turned the pages an expression of grave surprise would pass over his rugged features. He was reading “Pelham.” The popularity of Bulwer Lytton in the forecastles of Southern-going ships is a wonderful and bizarre phenomenon. What ideas do his polished and so curiously insincere sentences awaken in the simple minds of the big children who people those dark and wandering places of the earth? What meaning can their rough, inexperienced souls find in the elegant verbiage of his pages? What excitement? — what forgetfulness? — what appeasement? Mystery! Is it the fascination of the incomprehensible? — is it the charm of the impossible? Or are those beings who exist beyond the pale of life stirred by his tales as by an enigmatical disclosure of a resplendent world that exists within the frontier of infamy and filth, within that border of dirt and hunger, of misery and dissipation, that comes down on all sides to the water’s edge of the incorruptible ocean, and is the only thing they know of life, the only thing they see of surrounding land — those life-long prisoners of the sea? Mystery! Singleton, who had sailed to the southward since the age of twelve, who in the last forty-five years had lived (as we had calculated from his papers) no more than forty months ashore — old Singleton, who boasted, with the mild composure of long years well spent, that generally from the day he was paid off from one ship till the day he shipped in another he seldom was in a condition to distinguish daylight — old Singleton sat unmoved in the clash of voices and cries, spelling through “Pelham” with slow labour, and lost in an absorption profound enough to resemble a trance. He breathed regularly. Every time he turned the book in his enormous and blackened hands the muscles of his big white arms rolled slightly under the smooth skin. Hidden by the white moustache, his lips, stained with tobacco-juice that trickled down the long beard, moved in inward whisper. His bleared eyes gazed fixedly from behind the glitter of black-rimmed glasses. Opposite to him, and on a level with his face, the ship’s cat sat on the barrel of the windlass in the pose of a crouching chimera, blinking its green eyes at its old friend. It seemed to meditate a leap on to the old man’s lap over the bent back of the ordinary seaman who sat at Singleton’s feet. Young Charley was lean and long-necked. The ridge of his backbone made a chain of small hills under the old shirt. His face of a street-boy — a face precocious, sagacious, and ironic, with deep downward folds on each side of the thin, wide mouth — hung low over his bony knees. He was learning to make a lanyard knot with a bit of an old rope. Small drops of perspiration stood out on his bulging forehead; he sniffed strongly from time to time, glancing out of the corners of his restless eyes at the old seaman, who took no notice of the puzzled youngster muttering at his work.
Complete Works of Joseph Conrad (Illustrated) Page 51