Complete Works of Joseph Conrad (Illustrated) (858 page)

All these studies are on a high level of interest, though not all on the same level.  The descriptive chapters, results of personal observation, seem to me the most interesting.  And, indeed, in a book of this kind it is the author’s personality which awakens the greatest interest; it shapes itself before one in the ring of sentences, it is seen between the lines — like the progress of a traveller in the jungle that may be traced by the sound of the
parang
chopping the swaying creepers, while the man himself is glimpsed, now and then, indistinct and passing between the trees.  Thus in his very vagueness of appearance, the writer seen through the leaves of his book becomes a fascinating companion in a land of fascination.

It is when dealing with the aspects of nature that Mr. Hugh Clifford is most convincing.  He looks upon them lovingly, for the land is “very dear to him,” and he records his cherished impressions so that the forest, the great flood, the jungle, the rapid river, and the menacing rock dwell in the memory of the reader long after the book is closed.  He does not say anything, in so many words, of his affection for those who live amid the scenes he describes so well, but his humanity is large enough to pardon us if we suspect him of such a rare weakness.  In his preface he expresses the regret at not having the gifts (whatever they may be) of the kailyard school, or — looking up to a very different plane — the genius of Mr. Barrie.  He has, however, gifts of his own, and his genius has served his country and his fortunes in another direction.  Yet it is when attempting what he professes himself unable to do, in telling us the simple story of Ûmat, the punkah-puller, with unaffected simplicity and half-concealed tenderness, that he comes nearest to artistic achievement.

Each study in this volume presents some idea, illustrated by a fact told without artifice, but with an elective sureness of knowledge.  The story of Tukang Burok’s love, related in the old man’s own words, conveys the very breath of Malay thought and speech.  In “His Little Bill,” the coolie, Lim Teng Wah, facing his debtor, stands very distinct before us, an insignificant and tragic victim of fate with whom he had quarrelled to the death over a matter of seven dollars and sixty-eight cents.  The story of “The Schooner with a Past” may be heard, from the Straits eastward, with many variations.  Out in the Pacific the schooner becomes a cutter, and the pearl-divers are replaced by the Black-birds of the Labour Trade.  But Mr. Hugh Clifford’s variation is very good.  There is a passage in it — a trifle — just the diver as seen coming up from the depths, that in its dozen lines or so attains to distinct artistic value.  And, scattered through the book, there are many other passages of almost equal descriptive excellence.

Nevertheless, to apply artistic standards to this book would be a fundamental error in appreciation.  Like faith, enthusiasm, or heroism, art veils part of the truth of life to make the rest appear more splendid, inspiring, or sinister.  And this book is only truth, interesting and futile, truth unadorned, simple and straightforward.  The Resident of Pahang has the devoted friendship of Ûmat, the punkah-puller, he has an individual faculty of vision, a large sympathy, and the scrupulous consciousness of the good and evil in his hands.  He may as well rest content with such gifts.  One cannot expect to be, at the same time, a ruler of men and an irreproachable player on the flute.

A HAPPY WANDERER — 1910

Converts are interesting people.  Most of us, if you will pardon me for betraying the universal secret, have, at some time or other, discovered in ourselves a readiness to stray far, ever so far, on the wrong road.  And what did we do in our pride and our cowardice?  Casting fearful glances and waiting for a dark moment, we buried our discovery discreetly, and kept on in the old direction, on that old, beaten track we have not had courage enough to leave, and which we perceive now more clearly than before to be but the arid way of the grave.

The convert, the man capable of grace (I am speaking here in a secular sense), is not discreet.  His pride is of another kind; he jumps gladly off the track — the touch of grace is mostly sudden — and facing about in a new direction may even attain the illusion of having turned his back on Death itself.

Some converts have, indeed, earned immortality by their exquisite indiscretion.  The most illustrious example of a convert, that Flower of chivalry, Don Quixote de la Mancha, remains for all the world the only genuine immortal hidalgo.  The delectable Knight of Spain became converted, as you know, from the ways of a small country squire to an imperative faith in a tender and sublime mission.  Forthwith he was beaten with sticks and in due course shut up in a wooden cage by the Barber and the Priest, the fit ministers of a justly shocked social order.  I do not know if it has occurred to anybody yet to shut up Mr. Luffmann in a wooden cage.
{4}
  I do not raise the point because I wish him any harm.  Quite the contrary.  I am a humane person.  Let him take it as the highest praise — but I must say that he richly deserves that sort of attention.

On the other hand I would not have him unduly puffed up with the pride of the exalted association.  The grave wisdom, the admirable amenity, the serene grace of the secular patron-saint of all mortals converted to noble visions are not his.  Mr. Luffmann has no mission.  He is no Knight sublimely Errant.  But he is an excellent Vagabond.  He is full of merit.  That peripatetic guide, philosopher and friend of all nations, Mr. Roosevelt, would promptly excommunicate him with a big stick.  The truth is that the ex-autocrat of all the States does not like rebels against the sullen order of our universe.  Make the best of it or perish — he cries.  A sane lineal successor of the Barber and the Priest, and a sagacious political heir of the incomparable Sancho Panza (another great Governor), that distinguished littérateur has no mercy for dreamers.  And our author happens to be a man of (you may trace them in his books) some rather fine reveries.

Every convert begins by being a rebel, and I do not see myself how any mercy can possibly be extended to Mr. Luffmann.  He is a convert from the creed of strenuous life.  For this renegade the body is of little account; to him work appears criminal when it suppresses the demands of the inner life; while he was young he did grind virtuously at the sacred handle, and now, he says, he has fallen into disgrace with some people because he believes no longer in toil without end.  Certain respectable folk hate him — so he says — because he dares to think that “poetry, beauty, and the broad face of the world are the best things to be in love with.”  He confesses to loving Spain on the ground that she is “the land of to-morrow, and holds the gospel of never-mind.”  The universal striving to push ahead he considers mere vulgar folly.  Didn’t I tell you he was a fit subject for the cage?

It is a relief (we are all humane, are we not?) to discover that this desperate character is not altogether an outcast.  Little girls seem to like him.  One of them, after listening to some of his tales, remarked to her mother, “Wouldn’t it be lovely if what he says were true!”  Here you have Woman!  The charming creatures will neither strain at a camel nor swallow a gnat.  Not publicly.  These operations, without which the world they have such a large share in could not go on for ten minutes, are left to us — men.  And then we are chided for being coarse.  This is a refined objection but does not seem fair.  Another little girl — or perhaps the same little girl — wrote to him in Cordova, “I hope Poste-Restante is a nice place, and that you are very comfortable.”  Woman again!  I have in my time told some stories which are (I hate false modesty) both true and lovely.  Yet no little girl ever wrote to me in kindly terms.  And why?  Simply because I am not enough of a Vagabond.  The dear despots of the fireside have a weakness for lawless characters.  This is amiable, but does not seem rational.

Being Quixotic, Mr. Luffmann is no Impressionist.  He is far too earnest in his heart, and not half sufficiently precise in his style to be that.  But he is an excellent narrator.  More than any Vagabond I have ever met, he knows what he is about.  There is not one of his quiet days which is dull.  You will find in them a love-story not made up, the
coup-de-foudre
, the lightning-stroke of Spanish love; and you will marvel how a spell so sudden and vehement can be at the same time so tragically delicate.  You will find there landladies devoured with jealousy, astute housekeepers, delightful boys, wise peasants, touchy shopkeepers, all the
cosas de España
— and, in addition, the pale girl Rosario.  I recommend that pathetic and silent victim of fate to your benevolent compassion.  You will find in his pages the humours of starving workers of the soil, the vision among the mountains of an exulting mad spirit in a mighty body, and many other visions worthy of attention.  And they are exact visions, for this idealist is no visionary.  He is in sympathy with suffering mankind, and has a grasp on real human affairs.  I mean the great and pitiful affairs concerned with bread, love, and the obscure, unexpressed needs which drive great crowds to prayer in the holy places of the earth.

But I like his conception of what a “quiet” life is like!  His quiet days require no fewer than forty-two of the forty-nine provinces of Spain to take their ease in.  For his unquiet days, I presume, the seven — or is it nine? — crystal spheres of Alexandrian cosmogony would afford, but a wretchedly straitened space.  A most unconventional thing is his notion of quietness.  One would take it as a joke; only that, perchance, to the author of
Quiet Days in Spain
all days may seem quiet, because, a courageous convert, he is now at peace with himself.

How better can we take leave of this interesting Vagabond than with the road salutation of passing wayfarers: “And on you be peace! . . . You have chosen your ideal, and it is a good choice.  There’s nothing like giving up one’s life to an unselfish passion.  Let the rich and the powerful of this globe preach their sound gospel of palpable progress.  The part of the ideal you embrace is the better one, if only in its illusions.  No great passion can be barren.  May a world of gracious and poignant images attend the lofty solitude of your renunciation!”

THE LIFE BEYOND — 1910

You have no doubt noticed that certain books produce a sort of physical effect on one — mostly an audible effect.  I am not alluding here to Blue books or to books of statistics.  The effect of these is simply exasperating and no more.  No! the books I have in mind are just the common books of commerce you and I read when we have five minutes to spare, the usual hired books published by ordinary publishers, printed by ordinary printers, and censored (when they happen to be novels) by the usual circulating libraries, the guardians of our firesides, whose names are household words within the four seas.

To see the fair and the brave of this free country surrendering themselves with unbounded trust to the direction of the circulating libraries is very touching.  It is even, in a sense, a beautiful spectacle, because, as you know, humility is a rare and fragrant virtue; and what can be more humble than to surrender your morals and your intellect to the judgment of one of your tradesmen?  I suppose that there are some very perfect people who allow the Army and Navy Stores to censor their diet.  So much merit, however, I imagine, is not frequently met with here below.  The flesh, alas! is weak, and — from a certain point of view — so important!

A superficial person might be rendered miserable by the simple question: What would become of us if the circulating libraries ceased to exist?  It is a horrid and almost indelicate supposition, but let us be brave and face the truth.  On this earth of ours nothing lasts. 
Tout passe, tout casse, tout lasse
.  Imagine the utter wreck overtaking the morals of our beautiful country-houses should the circulating libraries suddenly die!  But pray do not shudder.  There is no occasion.

Their spirit shall survive.  I declare this from inward conviction, and also from scientific information received lately.  For observe: the circulating libraries are human institutions.  I beg you to follow me closely.  They are human institutions, and being human, they are not animal, and, therefore, they are spiritual.  Thus, any man with enough money to take a shop, stock his shelves, and pay for advertisements shall be able to evoke the pure and censorious spectre of the circulating libraries whenever his own commercial spirit moves him.

For, and this is the information alluded to above, Science, having in its infinite wanderings run up against various wonders and mysteries, is apparently willing now to allow a spiritual quality to man and, I conclude, to all his works as well.

I do not know exactly what this “Science” may be; and I do not think that anybody else knows; but that is the information stated shortly.  It is contained in a book reposing under my thoughtful eyes.
{5}
  I know it is not a censored book, because I can see for myself that it is not a novel.  The author, on his side, warns me that it is not philosophy, that it is not metaphysics, that it is not natural science.  After this comprehensive warning, the definition of the book becomes, you will admit, a pretty hard nut to crack.

But meantime let us return for a moment to my opening remark about the physical effect of some common, hired books.  A few of them (not necessarily books of verse) are melodious; the music some others make for you as you read has the disagreeable emphasis of a barrel-organ; the tinkling-cymbals book (it was not written by a humorist) I only met once.  But there is infinite variety in the noises books do make.  I have now on my shelves a book apparently of the most valuable kind which, before I have read half-a-dozen lines, begins to make a noise like a buzz-saw.  I am inconsolable; I shall never, I fear, discover what it is all about, for the buzzing covers the words, and at every try I am absolutely forced to give it up ere the end of the page is reached.

The book, however, which I have found so difficult to define, is by no means noisy.  As a mere piece of writing it may be described as being breathless itself and taking the reader’s breath away, not by the magnitude of its message but by a sort of anxious volubility in the delivery.  The constantly elusive argument and the illustrative quotations go on without a single reflective pause.  For this reason alone the reading of that work is a fatiguing process.