He had an 驚くべき／特命の／臨時の old 損なう with such long ears that you took her for a mule. She was called Nancy. And a 黒人／ボイコット wickerwork chaise. And he cared for these things with the lively passion of a man; what he had must be shipshape: reins, bit, headstall, 料金d...I remember once in an inn yard at Winchelsea an enormous, fat, six-feet-two, lousy, greyish scoundrel of a stableman; leaning 支援する against a 塀で囲む he was, his 直面する quivering, the colour of billsticker's paste. He panted, "I've heard tell of the British liaon; but 保護する me from the Rooshian 耐える..." ロシアの 存在 as 近づく as he could get to ポーランドの（人）. Conrad had been talking to him; he had been stealing the 損なう's 料金d of oats...

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With a hyper-sensitiveness to impressions the writer, too, remembers Conrad throwing teacups into the fireplace during a discussion over the divine 権利 of kings—a discussion with a lady who 申し立てられた／疑わしい light-heartedly that Marie Antoinette had been 有罪の of 背信 to フラン. The whole of the discussion the writer did not hear because he was discoursing to a very deaf gentleman on the genealogical tree of the Dering family. Nor indeed can Conrad have thrown the teacups into the 解雇する／砲火／射撃 since on going away the lady said, "What a charming man Mr. Conrad is! I must see him often."

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It was in short the passion of Conrad that you noticed first and that passion he 適用するd to his 令状ing: his 不明瞭, his wide gestures, his 注目する，もくろむs in which the light was like the glow of a 火山. This is not over-令状ing; his personality deserved these 尊敬の印s. It was chivalry too. After his discussion with the lady over the divine 権利 of kings he was pale, exhausted, panting almost. That was because he remembered Marie Antoinette in the Conciergerie, so ill-覆う？, so 奪うd of her children, so pallid and unkempt that to him she was real and he remembered her. And she was dead and a cheerfully heartless 罰金 lady should not make fun—which was what it 量d to—of dead queens. Dog should not eat dog; 罰金 ladies in silks should not gnaw the 評判s of ladies 罰金 that once wore finer silks and were now dead. It was the want of imagination in all humanity, thus in little summed up and 現在のd to him, that 誘発するd in him such passion and called for such self-支配（する）／統制する. For it is to be hoped that it is 明らかな that it was only to the writer that the impression remained of teacups thrown into the fireplace. The writer has seen Conrad just so enraged when the Bishop of London, returning from St. Petersburg after 血まみれの Monday, 発言／述べるd that ロシアのs would always have troubles until they were inculcated with the hearty British love of field games! He detested ロシアのs; his passion was rather for Bonapartists than for the Bourbons, but that imbecilities should be uttered as to the lot of the 苦しむing maddened him.

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It is characteristic of Conrad—it is most characteristic of Conrad—that when, after five years, he and the writer got to the last paragraphs of "Romance" and when the writer had written, "For 苦しむing is the lot of man", Conrad should have 追加するd, "but not 必然的な 失敗 or worthless despair which is without end: 苦しむing the 示す of manhood which 耐えるs within its 苦痛 the hope of felicity, like a jewel 始める，決める in アイロンをかける." He had the 示す of manhood!

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He （機の）カム then to the Pent to see what he was in for. He （機の）カム in for passion—and 苦しむing. The writer has seldom seen such 苦しむing as was gone through by Conrad during the reading of that first 草案 of "Romance." Conrad had 推定する／予想するd a 演劇 of Cuban 著作権侵害者s, 巨大な and 暗い／優うつな, like "Salammbo", with a 赤みを帯びた 照明, passing as it were upon a distant 行う／開催する／段階...For the first 一時期／支部 or two—those passing at the Pent Farm—he was silent. Then he became—silent. For he seemed to have about him a capacity for as it were degrees of intensity of his silence. No 疑問 he listened to the first pages with a movement or so to light a cigarette, with a relaxing of the 四肢s or a change in the position in the 議長，司会を務める. These must 徐々に have 中止するd.

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The parlour at the Pent was a 深い room with a beam across the middle of the low 天井; small, pink 月毎の roses always showed insignificant blooms that looked over the window sills. An 巨大な tythe barn with a 広大な／多数の／重要な, thatched, 黒人／ボイコット mossy roof filled in the whole 見解（をとる） if you sat by the fireplace; occasionally you would see a ネズミ 進歩ing musingly over this surface. If you approached the window you saw a 狭くする lawn running to a low brick 塀で囲む after which the level dropped to a 広大な／多数の／重要な stockyard 床に打ち倒すd usually with straw and not 異常に with a bullock or two in it. Conrad and the writer 工場／植物d an orange tree, grown from a pip, under the low north 塀で囲む of this 狭くする garden. It was still alive in nineteen-seventeen, growing just up to the 対処するing of the low 塀で囲む where its 進歩 was 削減（する） off by the north 勝利，勝つd. It was a very 静かな, simple room.

The writer sat in the grandfather's 議長，司会を務める, his 支援する to the window, beside the fireplace, reading, his manuscript held up to the light; Conrad sat 今後 on a 急ぐ-底（に届く）d armchair, listening intently. (For how many years did the writer and Conrad not sit there like that!)

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We began that reading after lunch of a shortish day; the lamps were brought in along with the tea. During that interval Conrad showed nervous and depressed; sunk in on himself and hardly answering questions. Conrad 存在 then almost a stranger, this was the writer's first experience of to what Conrad's 不景気 over an artistic problem could 量: it was like a strong 現在の that operated on a whole roomful...With his 支援する, then, to the lamp, and Conrad 完全に in the 影をつくる／尾行する, the writer read on, just having the impression that his hearer's 四肢s were all bunched together in his 議長，司会を務める and that they 契約d 徐々に. There were many strong 影をつくる／尾行するs in the low room where most of the light was on the 天井.

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Conrad began to groan...It was by then 公正に／かなり 明らかな to the writer that Conrad disapproved of the 治療 of the adventures of John Kemp; at any 率 in Cuba; and the writer had a 十分な sense already of Conrad's temperament to be disinclined to ask whether his guest were ill. He feels now the sense of as it were dumb obstinacy with which he read on into those now 声の 影をつくる／尾行するs in the fireside warmth...The interruptions grew in length of ejaculation. They became, "O! O!...O God, my dear Hueffer..." ...And に向かって the end, "O God, my dear faller, how is it possible..." The writer finished with the 声明 that, as it was June, the nightingale sang a trifle hoarsely. This zo?ogical 観察, in spite of the cadence, gave the final touch to Conrad's dejection. The writer's 発言する／表明する having stopped he exclaimed, "What? What? What's that?" When he heard that that was the end he groaned and said, "Good God!"—for the last time. There are writers—French writers—who can keep the final 発覚 of a whole long novel 支援する until the last three words. For this he had hoped. The writer would rather have died than have so machined a 調書をとる／予約する.

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Conrad was the most unrivalled hatcher of 計画／陰謀s for sudden and 制限のない wealth or for swift and undying glory. To see him go upon one of these adventures was heartening in itself. His 直面する lit up, his muscles tautened, he first expatiated on his idea and then 始める，決める out. 明白に his training as a master 水夫 inveigling unwilling Eastern 仲買人s into shipping 貨物s that they did not want to consign, at prices that they did not want to 支払う／賃金, to 底（に届く）s 命令（する）d by Conrad, for one 推論する／理由 or another unsuited to their 商品／売買する—this training helped him with direct human 交渉s. To see him, leaning over a 反対する, 説得するing the stolid Mr. Dan West, grocer of Hythe, to 認める him credit unheard of in that market town, was a singular 熟考する／考慮する in fascination. The bearded, blinking and very excellent grocer—I wish I knew his equal どこかよそで—understood かもしれない the 処理／取引 which 含む／封じ込めるd in its essence 法案s at three months, mortgages I daresay on life 保険s—heaven knows what!—and then a 勝利を得た 進歩 to the White Hart where the benign, dark, statuesque and really beautiful 行方不明になる Cobay 統括するd in the dimmer 休会 of that very old tavern...And there sat the grocer, benevolent, pleased, blinking a little, a solid, 豊富な, fiftyish man, several times 市長 of his 古代の town, with 広大な／多数の／重要な knowledge of men, 静かに indulgent to the romantic 訪問者 who had descended upon him...For all the world he might have been the Stein of "Lord Jim" 熟視する／熟考するing the hero of that wonderful work and 説 within himself, "Romantic!...That's what he is—romantic!"...And the beautiful, statuesque, slow-moving 行方不明になる Cobay, invariably silent. The writer at least never heard her utter one word, except that, years after, モーターing through that 古代の Cinque Port, the writer, for old sake's sake, took a drink at the 妨げる／法廷，弁護士業 of the White Elart, and 行方不明になる Cobay with her enigmatic gaze asked after Mr. Conrad, then many years gone from the Pent, for all the world like one of the silent women of Conrad's 早期に 調書をとる／予約するs: the ヘロイン of "Falk" who never utters one word...The writer, 式のs, 式のs, seems to become Marlowe.

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Conrad was Conrad because he was his 調書をとる／予約するs. It was not that he made literature: he was literature, the literature of the Elizabethan Gentleman Adventurer...Think of setting out in an old wickerwork chaise drawn by what appeared to be a mule to 説得する a Hythe grocer to give you three years' credit...Think of setting out from Stamford-le-Hope, a 安全な harbour where at least there was 接触する with ships, estuaries, tideways, islands, into an unknown hinterland of savage and unknown 全住民s, of 明らかにする 負かす／撃墜するs, out of sight of the 避難 of the sea, to 説得する an unknown wielder of the pen, the finest stylist in England, to 降伏する his liberty to a sailing 共同—to 降伏する too his glamourous "支配する", for all the world as if you had adventured into the hinterlands behind Palembang to ask some one only just known to give up to you for 共同の working the secret of one of those mysterious creeks where gold is 設立する. An adventure like that of "Victory" itself...And then to 侮辱 the owner of the creek with groans, sighs, O God's, contortions...井戸／弁護士席, all we who supported Conrad to his final, so 広大な／多数の／重要な victory, were the subordinate characters of his 調書をとる／予約するs, putting up with his extortionate 需要・要求するs for credit, for patience or for 支配するs...The Steins, the Whalleys, the captain MacWhirrs...and now the Marlowes!

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For, for some hours of that distant day of our "Romance", the reader may be 保証するd that the question of the very 存在 of that work hung in the balance. It was truly as if Rumpelstiltkin had come to carry off the Queen's child. (The dwarf, Conrad 引用するs Grimm in his epigraph, answered, "No, something human is dearer to me than all the wealth of the Indies!") The writer, please let the reader be 保証するd, has always been supremely indifferent to the 運命／宿命 of his 調書をとる／予約するs; to the estimation in which they were held—by any soul but Joseph Conrad; to such things as career; personal 評判 and the 残り／休憩（する）. Conrad could hardly have selected a better discoverer of creeks to whom to go. But the writer was not then ignorant of the vicissitudes of human life and of literary 共同s. The terrible 口論する人s between Henley and the relicts and executors of Stevenson were at that moment filling the 圧力（をかける）. Or one might remember the 影響s on Johnson's fame, of Boswell. To do what Conrad then imperiously 願望（する）d, to 降伏する the creek to a 共同の 共同 was...asking for it!

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It hung then in the balance. But there 徐々に appeared after dinner, through a long farmhouse night until two in the morning, the 魔法. It was 魔法! There had been 公表，暴露s. Conrad had artlessly expounded his 願望（する）s. 審理，公聴会, at Limpsfield, the writer develop his miraculous "支配する"—of Aaron Smith, last 著作権侵害者 ever to be tried at the Old Bailey, of the Creek with Rio マスコミ at the 底（に届く） of it and the 著作権侵害者 schooners with Nikola el Escoces in 命令（する） sailing out to the 解雇（する） of brig Victoria with her 貨物 of logwood, rum, raw sugar and dyes—Conrad had imagined a 強健な 調書をとる／予約する, with every 減少（する） of the 支配する squeezed out of it. 反して it was characteristic of the writer that though in the 裁判，公判 Aaron Smith had 退位させる／宣誓証言するd to a lady 耐えるing the glamourous 指名する of Seraphina Riego, daughter of a juez de la premiera instancia, known as the 星／主役にする of Cuban 法律, and 住むing the 著作権侵害者 city of Rio マスコミ in Cuba, the writer had very carefully left out this lady in the first 草案 of his 調書をとる／予約する, the lady with whom John Kemp sat under the hoarse nightingale having been a carefully dimmed 人物／姿／数字 with 明らかにする shoulders and a handkerchief, called Veronica...Conrad had 推定する／予想するd to hear a reading by the finest stylist in England of a work, far-flung in 人気 as "Treasure Island" but as "written" as "Salammbo", by the 新規加入 to which of a few touches of description, sea atmosphere, もやs, 船の索具s and the like, in a fortnight, fortune should 嘘（をつく） at the feet of the adventurers...It was another of those 魔法 企業s...式のs, after five years' work there was "Romance" with its succ鑚 d'estime. Not much of that, even, for the critics of our favoured land do not believe in 共同.

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Conrad's marvellous play and change of features （機の）カム now into the story. Ruffled, the writer, even before dinner had explained the nature of the 小旅行する de 軍隊 he had 試みる／企てるd. This was the narrative of a very old man, looking 支援する upon that day of his romance—as to-day this 語り手 looks 支援する. You are getting the real first 草案 of "Romance" now. This is how in truth it comes out によれば the technical 計画／陰謀 then laid 負かす／撃墜する by us two.

Before dinner, then, Conrad listened to the writer's apologia with a 確かな frigid deference. Of course if that was the way of it, no 疑問...But why choose such a 支配する?...A man of sixty-two...Yes, yes, of course...He remained however shut up in the depth of his 失望 and still more in his reprobation of the 犯罪の who could take 持つ／拘留する of such a 主題 and not, gripping it by the throat, 抽出する from it every 減少（する） of 血 and glamour...He disliked the writer as a 犯罪の, fortune thrown away, a 調書をとる／予約する turned into the 乾燥した，日照りの bone of a technical feat. He exclaimed, "Let me look at it. Let me look at the manuscript"; shuffled the leaves distastefully as if they had been the 証拠 of a 罪，犯罪...To throw away fortune—that was not shipshape: to 殺人 a 支配する—that was 殺人, foul, unnatural...The dinner bell rang...

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At dinner there were ladies; 徐々に the depressed Conrad became Conrad. Pepper （機の）カム under discussion. He declaimed as to how the greatest wars in the world had been fought for pepper. The Spice Islands, the East, （機の）カム into the room for a little while, with Wapping Old Stairs, the テントs of the army over Constantinople at the end of the Russo-Turkish War with Conrad as a sailor before the mast on the deck of a Messageries 海上のs 輸送（する）. There 続いて起こるd a desperate 口論する人 as to whether saffron had any flavour—in the course of the 消費 of curry. Conrad 宣言するd that saffron had no flavour; the writer, that saffron was one of the most 堅固に flavoured of all possible herbs. Conrad swore that he had carried whole 貨物s of saffron; he had spent his life in carrying 貨物s of saffron; he had known no other 追跡s. The writer on the other 手渡す had given more saffron to 病気d poultry than ever Conrad had carried and had in 新規加入 reproved cooks enough to make ships' 乗組員s for not putting 十分な saffron into poule au riz...Conrad 宣言するd that that was 単に to give the rice an agreeable colour. The writer called it a most disagreeable, an 不快な／攻撃 colour...Conrad's 注目する，もくろむs flashed 危険に; his teeth white under his drawn-支援する moustache. We both 熟視する／熟考するd Calais Sands...Some one changed the conversation to pearls...

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In all our ten thousand conversations 負かす／撃墜する the years we had only these two 主題s over which we quarrelled: as to the taste of saffron and as to whether one sheep is distinguishable from another.

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After that first dinner Conrad talked, there 存在 people 現在の whom he 設立する 同情的な...When he talked on such occasions he was like his "The Mirror of the Sea." Indeed, a 広大な／多数の／重要な part of his "The Mirror of the Sea" was just his talk which the writer took 負かす／撃墜する in a shorthand of his own extemporising, 解任するing to Conrad, who was then in a 明言する／公表する of 広大な／多数の／重要な 不景気, さまざまな passages of his own relating...式のs, three weeks ago, the writer drove in a 黒人／ボイコット, shaken, hooded contrivance, over a country of commonplace downlands, the 延長／続編 of the Kentish 負かす／撃墜するs, beyond the Channel. He went, 揺さぶるd behind an extravagant 女性（の） quadruped, between fields of wheat that small 勝利，勝つd ruffled into cat's-paws. And the 平行の was so intimately exact that the writer 設立する himself 説 to himself, "井戸／弁護士席, Ford, mon vieux, how would you （判決などを）下す that field of wheat?"...The reader must take this 記録，記録的な／記録する of a coincidence as a 誠実...

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For the days have been innumerable upon which, behind the amiable 損なう of Conrad's or a far いっそう少なく amiable Exmoor pony of the bleu-du-roi; we would try 支援する into English; cast around in the 支援する of our minds for other French words to which to assimilate our English and thus continue for 静かな hours.

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So, three weeks ago to-day—thus does one return to one's old loves!—the writer drove from just such a ramshackle, commonplace farm building in an undistinguished country over slight hills on a flinty bye-road and heard Conrad 説 to him, "井戸／弁護士席, Ford, mon vieux, how would you （判決などを）下す that field of wheat?"...Unless you have these 詳細（に述べる）s you cannot know how immensely strong an impression this beautiful genius made on a mind not vastly impressionable or 傾向がある to forming affections...So the writer continued turning the 事柄 over.

He went on thinking first of French and then of English: "Champs de bl駸 que les vents faibles sillonnaient...とうもろこし畑／穀物畑s...No, not とうもろこし畑／穀物畑s, because that, to Americans, signifies maize...Wheat fields...Fields of wheat that the weak...feeble...light...what sort of 勝利，勝つd, 微風s, 空気／公表するs..." There is no 占領／職業 more agreeable on a still day: it is more restful, really, than fishing in a pond..."Fields of wheat that small 勝利，勝つd ruffled into cat's-paws...That is, of course, too literary..."

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These considerations remained in the 前線 of his mind as he was 揺さぶるd over the abominable granite setts of a small market town, to the dilapidated 駅／配置する. He continued to think of wheat, dusty, bronzed, golden, as if running away over a small hillside—whilst he 購入（する）d tickets of a disagreeable woman behind a 取調べ／厳しく尋問する, whilst he 購入（する）d an English paper of a very agreeable woman in a blue pinafore. On the 鉄道 壇・綱領・公約 he said, "Dont les vents faibles sillonnaient les sur 直面するs rouss穰res,..." whilst looking at 黒人／ボイコット 資本／首都 letters in the paper that his companion held 倍のd. It struck him at once, "This is a bad joke...That paper is of the sort that makes bad jokes...He was speaking to me. Not five, not three...minutes...Not three seconds; just now on this 壇・綱領・公約 ...the duskyish 発言する／表明する with the brown accent, rather caressing..."

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The writer exclaimed, "Look! Look!"...His companion 広げるd the paper. The 告示 went across two columns in 黒人／ボイコット, leaded caps...SUDDEN DEATH OF JOSEPH CONRAD. They were 破壊するing an 古風な waiting room on the opposite 壇・綱領・公約, three white-dusty men with pickaxes; a 塀で囲む was all in broken ジグザグのs. The writer said to himself, "C'est le mur d'un silence 騁ernel qui descend devant vous!" There descended across the dusty 塀で囲む a curtain of moonlight, thrown across by the 黒人／ボイコット 影をつくる／尾行するs of oak trees. We were on a verandah that had a glass roof. Under the glass roof climbed passion flowers, and vine tendrils strangled them. We were sitting in deck 議長，司会を務めるs. It was one o'clock in the morning. Conrad was standing in 前線 of us, talking. Talking on and on, in the patches of moonlight and patches of 影をつくる／尾行する from the passion flowers and vines! The little town in which we were 支配するd the English channel from a low 丘の頂上. He was wearing a dark reefer coat and white trousers.

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He was talking of Malaysia, palm trees, the little wives of rajahs in coloured sarongs—or perhaps not sarongs?—crouched 一連の会議、交渉／完成する him on the ground; he himself cross-legged on the ground teaching the little wives of rajahs to use sewing machines! Moored to a rotting quay—as it might have been Palembang, but of course it was not Palembang—was his schooner. His schooner had in its 持つ／拘留する half a 貨物 of ライフル銃／探して盗むs under half a 貨物 of sewing machines. The rajahs, husbands of the little wives, did not like their Dutch suzerains and in that country the War has lasted not five but three hundred and fifty-five years...

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That then was Conrad on the occasions when he talked as he did on that first evening after dinner. His 発言する／表明する was then usually low, rather intimate and caressing. He began by speaking slowly, but later on he spoke very 急速な／放蕩な. His accent was 正確な, rather dusky, the accent of dark rather than fair races. He impressed the writer at first as a pure Marseilles Frenchman; he spoke English with 広大な／多数の／重要な fluency and distinction, with correctitude in his syntax, his words 絶対 exact as to meaning but his accentuation so 欠陥のある that he was at times difficult to understand and his use of adverbs as often as not eccentric. He used "shall" and "will" very arbitrarily. He gesticulated with his 手渡すs and shoulders when he wished to be emphatic, but when he forgot himself in the excitement of talking he gesticulated with his whole 団体／死体, throwing himself about in his 議長，司会を務める, moving his 議長，司会を務める nearer to yours. Finally he would spring up, go to a distance, and walk 支援する and 前へ／外へ across the end of the room. When the writer talked he was a very good listener, sitting rather curled up whilst the writer walked unceasingly 支援する and 前へ／外へ along the patterned 国境 of the carpet.

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We talked like that from about ten, when the ladies had gone to bed, until half-past two in the morning. We talked about Flaubert and Maupassant—sounding each other, really. Conrad was still then inclined to have a feeling for Daudet—for such 調書をとる／予約するs as "Jack." This the writer contemned with the sort of 空気／公表する of the superior person who tells you that Hermitage is no longer a ワイン for a gentleman. We talked of Turgenev—the greatest of all poets; "Byelshin Prairie" from the "Letters of a Sportsman", the greatest of all pieces of 令状ing; Turgenev wrapped in a cloak lying on the prairie at night, at a little distance from a 広大な／多数の／重要な 解雇する／砲火／射撃, beside which the boy horsetenders talked desultorily about the Roosalki of the forests with the green hair and water nymphs that drag you 負かす／撃墜する to 溺死する in the river.

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We agreed that a poem was not that which was written in 詩（を作る） but that, either prose or 詩（を作る）, that had 建設的な beauty. We agreed that the 令状ing of novels was the one thing of importance that remained to the world and that what the novel needed was the New Form. We 自白するd that each of us 願望（する）d one day to 令状 絶対の Prose.

ｧ

But that which really brought us together was a devotion to Flaubert and Maupassant. We discovered that we both had "Felicite", "St.-Julien l'Hospitalier", 巨大な passages of "Madame Bovary ", "La Nuit", "Ce Cochon de Morin" and 巨大な passages of "Une 争う" by heart. Or so nearly by heart that what the one 滞るd over the the writer that previous to 示唆するing a 共同 he had 協議するd a number of men of letters as to its advisability. He said that he had put before them his difficulties with the language, the slowness with which he wrote and the 増加するd fluency that he might acquire in the 過程 of going minutely into words with an 定評のある master of English. The writer imagines that he had 現実に 協議するd Mr. Edward Garnett, W. E. Henley and Mr. Marriott Watson. Of these the only one that Conrad について言及するd was W. E. Henley. He 明言する／公表するd succinctly and carefully that he had said to Henley—Henley had published "The Nigger of the Narcissus" in his Review—"Look here. I 令状 with such difficulty: my intimate, (a)自動的な／(n)自動拳銃, いっそう少なく 表明するd thoughts are in ポーランドの（人）; when I 表明する myself with care I do it in French. When I 令状 I think in French and then translate the words of my thoughts into English. This is an impossible 過程 for one 願望（する）ing to make a living by 令状ing in the English language..." And Henley, によれば Conrad on that evening, had said, "Why don't you ask H. to 共同製作する with you. He is the finest stylist in the English language of to-day..." The writer, it should be remembered, though by ten or fifteen years the junior of Conrad was by some years his 上級の, at any 率 as a published author, and was rather the more successful of the two as far as sales went.

ｧ

Henley 明白に had said nothing of the sort. Indeed, as the writer has どこかよそで 関係のある, on the occasion of a 言葉の duel that he had later with Henley, that violent-mouthed personality 発言／述べるd to him, "Who the hell are you? I never even heard your 指名する!" or words to that 影響. It probably does not very much 事柄. What had no 疑問 happened was that Conrad had について言及するd the writer's 指名する to Henley and Henley had answered, "I daresay he'll do 同様に as any one else." No, it probably does not 事柄, except as a light on the character and methods of Conrad, and as to his ability to get his own way...

For it was 明白に une 駑otion forte that the writer received in those small hours in a 十分に 薄暗い farmhouse room. In such 事件／事情／状勢s Conrad's caressing, rather dragging 発言する／表明する would take on a more ポーランドの（人） intonation and would 減少（する）. His 直面する would light up; it was as if he whispered; as if we both whispered in a 共謀 against a sleeping world. And no 疑問 that was what it was. The world certainly did not want us, not at that date; and to be という評判の the finest English stylist was enough, nearly, to get you sent to gaol. Something foreign, that was what it was...

ｧ

At any 率 when, with a flat candlestick, the writer at last showed his guest into a shadowy, palely papered, coldish bedroom and の近くにd the door on him, he felt as if a king were enclosed within those 塀で囲むs. A king-conspirator: a 君主-Pretender; Don Carlos of a world whose 支配するs are 影をつくる／尾行するs.

II.

As for what happened すぐに to the history of "Romance", the 調書をとる／予約する, the writer's mind 保存するs a 完全にする blank! It might be 平易な to 建設する images out of probabilities or by 協議 with one person or another. But that would not be within the spirit of the 社債; this is the 記録，記録的な／記録する of the impression made by Conrad the Impressionist upon another writer, impressionist also. It is an 申し込む／申し出ing In Memoriam 建設するd 単独で out of memory.

ｧ

Some years ago Mr. H. G. 井戸／弁護士席s took occasion to 令状 to the papers. He 明言する／公表するd that the writer had visited him and 知らせるd him that he had 説得するd Conrad to 共同製作する with himself. Mr. 井戸／弁護士席s' memory must almost certainly have betrayed him, though the 事柄 is of no 広大な／多数の／重要な importance. What does remain in the writer's mind very 明確に is this...

ｧ

The writer and Conrad made several choppings and changings in their 占領／職業 of the Pent: the writer 占領するd it for several years; Conrad then lived in it with the writer's spare furniture which was mostly of Pre-Raphaelite origin. It pleased Conrad to 令状 at a Chippendale bureau on which Christina Rossetti had once written or at another which had once belonged to Thomas Carlyle: one got in those days those small, cheerful 楽しみs out of life. Then Conrad 占領するd the Pent altogether, the mournful house under the 明らかにする 負かす／撃墜するs 演習ing a 広大な／多数の／重要な fascination over him. When you went out of the 前線 door—Mr. Walter Crane, who during one of our movings about Kent and Sussex took the house furnished, had painted a Japanese crane and some 詩（を作る）s on that door—when you went out, then, the 狭くする garden giving on to the stockyard had a short brick path running under the windows and it was very soothing to see the flattish lines of the country running away for a 広大な／多数の／重要な distance, one convolution going into another. The brick path 乾燥した，日照りのd up very quickly in the wettest of 天候s; up and 負かす／撃墜する it, as if on a quarterdeck, Conrad would pace for hours and hours, the lines of the country soothing him. In that part of England the words of Charles II are most true; what with the 避難所 of the 負かす／撃墜するs and the position 近づく the sea, there is there scarcely any day upon which a man may not go abroad—at any 率 to the extent of a brick path under his windows. The 広大な／多数の／重要な barn の近くにd in the scene すぐに to the 前線, but you saw the fields to the 権利, so it was a very 静かな and 私的な place...And indeed, during the last of our conversations, this year, Conrad alluded to the fact that, for the first time in his life, he had, in his vastly more arranged 住居 of that day, a 熟考する／考慮する to himself. And he 追加するd, "Ah, but it isn't the Pent!" He said too that the 広大な／多数の／重要な tythe barn had been 燃やすd 負かす／撃墜する during threshing.

ｧ

We used in our day to take 広大な／多数の／重要な entertainment out of 狙撃 ネズミs with a Flobert ライフル銃／探して盗む from the brick path. There were channels made by these animals in the 黒人／ボイコット-green thatch of the barn and you would see them 訴訟／進行 leisurely from end to end of the 広大な／多数の／重要な expanse in 幅の広い daylight. Then...Whiff would go the Flobert and the small 弾丸 pinging into the thatch would send a ネズミ bounding away over the corrugations in the old straw into some 穴を開ける, for all the world with the 活動／戦闘 of a tiger bounding over watercourses. As far as memory serves we never 攻撃する，衝突する a ネズミ: but one 著名な success was 得点する／非難する／２０d to the writer. 解雇する／砲火／射撃d at from an incredible distance—ninety yards or so, something gigantic!—a 広大な／多数の／重要な old grey ネズミ crossing a road 崩壊（する）d feebly. We ran 今後 and 派遣（する）d it with the butt. That was ever afterwards 得点する／非難する／２０d to the writer as an 巨大な feat of marksmanship, often referred to. If any one talked of 狙撃 Conrad would say, "Ah, but you should have seen Ford's 発射 at the ネズミ!..." 現実に the writer, with a little more farm knowledge, was sure that the ネズミ was dying of old age before it was 解雇する／砲火／射撃d at, the 弾丸 never reaching it. But he has kept his own counsel to this day of 自白...No, we were not high-brow there at the Pent. We played 支配s, Conrad with writer never remembers to have won a game. いつかs the writer knocked a ゴルフ ball about the fields, Conrad, standing on the brick path, regarding the 占領／職業 with the contempt, say, that his 協力者 bestowed on Daudet. Once the writer 本気で sat 負かす／撃墜する to 述べる in words the satisfaction you feel when you have brought off a good 運動 and see the white ball lyrically against the blue sky. It was a careful piece of 令状ing, mots justes and all. Conrad looked at it with attention and then slowly, blankly raised his shoulders and eyebrows, we returning to 支配s.

III.

On one of those days, then, we drove in 明言する／公表する from the Pent to 支払う／賃金 a call on Mr. 井戸／弁護士席s at Sandgate. There was a curious 出来事/事件. As we stood on the doorstep of Mr. 井戸／弁護士席s' 郊外住宅, in the hesitant mind of those 支払う／賃金ing a 明言する／公表する call, behold, the electric bell-押し進める, all of itself, went in and the bell sounded...Conrad exclaimed, "Tiens!...The Invisible Man!" and burst into incredible and incredulous laughter. In the 中央 of it the door opened before 墓／厳粛／彫る／重大な 直面するs.

ｧ

We paid our call. Whether we were taken to be drunk or no only the owners of those 墓／厳粛／彫る／重大な 直面するs can say. I suppose that we were. But the 出来事/事件 of the bell-pull was of a nature that had a peculiar 控訴，上告 to Conrad's humour. For years after, a translation of Mr. 井戸／弁護士席s' 調書をとる／予約する having appeared in Italian, you could never について言及する that author's 指名する without Conrad 説, "Tiens!...L'Uomo Invisible!"...Indeed, during a visit in an interval of our long 分離 原因（となる）d by European vicissitudes and their sequelae Conrad asked the writer, "Do you ever see 井戸／弁護士席s now?" and 追加するd, "L'Uomo Invisible...Do you remember?"

ｧ

But Mr. 井戸／弁護士席s' "The Invisible Man" made an 極端に 示すd impression on Conrad, as indeed it did on the writer. So it deserved to. Indeed, as far as memory serves, "The Invisible Man", the end of the "Sea Lady" and some phrases that that 調書をとる／予約する 含む／封じ込めるd, and two short stories called "The Man Who Could Work 奇蹟s" and "恐れる", made up at that date all the English 令状ing that, 事実上の／代理 as it were as a 革命評議会, we 絶対 admired. Later there （機の）カム the stories of Mr. Cunninghame Graham, the 令状ing of W. H. Hudson and—with 保留（地）／予約s on the part of Conrad for the later novels—the work of Henry James.

ｧ

It was as if, when we considered any other English writer's work, we always in the end said, "Ah, but do you remember 'Ce Cochon de Morin'?" or the casquette of Charles Bovary, によれば the type of work を受けるing commendation. After reading the passage, say, of the pavior striking with the spade at the invisibility 飛行機で行くing past him from "The Invisible Man", or the episode of the turning over of the lamp and the 燃やすing downwards, from "The Man Who Could Work 奇蹟s", we 解任するd no French masterpiece...These pieces were authentic, in construction, in language and in the architectural position 占領するd by them in the 調書をとる／予約する or story—in the progression of the 影響!

ｧ

Mr. 井戸／弁護士席s has 記録，記録的な／記録するd that he was aware that at this date there was a 共謀 going on at the Pent against himself and against British literature. Against British literature there was, if you choose to call it so; against Mr. 井戸／弁護士席s the extent of our machinations is as 記録，記録的な／記録するd above.

ｧ

Conrad had 半端物, formal notions of how one should proceed in the life literary. As far as he was 関心d the 目的 of our call on Mr. 井戸／弁護士席s was to 発表する to the world of letters that we were engaged in 共同. To the writer this was just 正確に／まさに a 事柄 of 無関心／冷淡 except for a not materially pronounced disinclination to 支払う／賃金 calls anywhere or at any time. But Conrad liked 訴訟／進行s of a 明言する／公表する nature. He would have liked the 運動ing in a barouche to 支払う／賃金 calls on Academicians such as is practised by 候補者s for 会員の地位 of the French 学院. And exceedingly vivid in the writer's mind is the feeling he had, as we drove 負かす／撃墜する the sloping 鉄道 橋（渡しをする） above Sandling Junction. He was like a brown paper 小包 on a seat beside a functionary in a green uniform, decorated with golden palm leaves and a feathered cocked hat...

ｧ

We were then going over the third 草案 of the second part of "Romance" and had at last finally and psychologically decided that the 調書をとる／予約する would 結局 go on. Of this the writer is 確かな . He is 確かな because the exact image and 空気／公表する of that time （機の）カム 支援する to him suddenly whilst making a very minute recension of the text of the French translation of "Romance." The writer was in 中央の-ocean on the deck of a liner, reading very meticulously the translation of an episode which 関係のある how, on a blue night in Kingston Vale, John Kemp knocked 負かす／撃墜する, in the presence of the 海軍大将 of the (n)艦隊／(a)素早い in the Jamaica waters, a Mr. Topnambo, member of the 知事's '会議, who wore white trousers that 微光d in the half-light...There were on that upper deck in the sunlight a number of New York Jews playing pinocle and a number of Washington flappers reading novels. But the writer heard his own 発言する／表明する as, in the low parlour of the Pent, he read aloud the passage that 関心d Mr. Topnambo, the blue night, the white trousers, the barouches standing in the moonlight waiting for 海軍大将 Rowley and his intoxicated に引き続いて to take the road. And then Conrad, interrupting..."By Jove," he said, "it's a third person who is 令状ing!"

ｧ

The psychology of that moment is perfectly plain to the writer. Conrad interrupted with a 公式文書，認める of 救済 in his 発言する／表明する. He had 設立する a 決まり文句／製法 to 正当化する 共同 in general and our 共同. Until then we had struggled tacitly each for our own 公式文書，認める in 令状ing. With the coming of blue nights, the moon, palms and the brilliant lights of the inn 反映するd 負かす／撃墜する the river, Conrad saw the 可能性s that there were for his own exotic 公式文書，認める in the story. Above all, with the coming of politics; for John Kemp, in coming to blows with Mr. Topnambo, member of the 知事's 会議, then and there identified himself with the party in the island of Jamaica that at that date 願望（する）d 併合 by the 部隊d 明言する／公表するs.

ｧ

This at once made our 主要な character handleable by Conrad. John Kemp 単に kidnapped by 著作権侵害者s and misjudged by the judicial （法廷の）裁判 of our country was not so vastly attractive, but a John Kemp who was in 新規加入 a political 難民, 嫌疑者，容疑者／疑う of High 背信 and 犠牲者 of West India merchants...That was squeezing the last 減少（する） of 血 out of the 支配する...

The differences in our temperaments were 十分に 井戸／弁護士席 示すd. Conrad was 勇敢に立ち向かう: he was for 傾向 and hang the consequences. The writer, more circumspect, was for ever on the watch to 抑える the melodramatic 出来事/事件 and the sounding phrase. So, till that psychological moment, the writer doing most of the first 草案ing, Conrad had been perpetually crying, "Give! Give!" The writer was to give one more, and one more, and again one more turn to the screw that sent the rather listless John Kemp に向かって an 必然的な gallows. The actual 準備／条項 of intrigue in 1820 between England and Jamaica was the writer's 商売／仕事. Conrad contented himself with 説, "You must invent. You have got to make that fellow live perpetually under the 影をつくる／尾行する of the gallows." In the 初めの 草案 of the 調書をとる／予約する John Kemp had been the mere second mate of a merchant ship going out to Jamaica in the ordinary course of his 商売／仕事 of に引き続いて the sea. But in the second 草案 he was mixed up with smugglers and fled from Hythe beach in the moonlight with the 屈服する Street 走者s hot on his 追跡する—already a 候補者 for the professional attentions of the hangman. In that second 草案, however, he was in Jamaica, still 単に a planter's 見習い工—insufficiently hangable. There had to be more inevitability in the 形態／調整 of 発明. The writer therefore 始める，決める to work to read a 広大な number of Jamaica newspapers of the twenties and, finding that that island was then an ant-heap of intrigue by what were called 脱退論者s, it was an 平易な 仕事 to identify Kemp hangably with those 反逆者s to the British 栄冠を与える. Conrad, however, was a 現体制支持者／忠臣: a 現体制支持者／忠臣 to every 政権 that ever 存在するd but passionately a 現体制支持者／忠臣 to 広大な／多数の／重要な Britain. It was therefore necessary to give the screw one turn more: Kemp had to be made a misjudged man, betrayed by the stupid cruelty of merchants and the 行政. He thus became 正確に／まさに a 人物／姿／数字 for Conrad to 扱う. For, if Conrad were the eternal 現体制支持者／忠臣, にもかかわらず the unimaginative and cruel stupidity of 栄冠を与える and 政府 公式の／役人s was an 必須の part of his creed. He was a 政治家，政治屋—but a 政治家，政治屋 of the 行き詰まり. The British Empire was for him the perfection of human perfections, but all its 政治家，政治屋s, all its public 公式の／役人s, police, 軍の officers of the 栄冠を与える, gaolers, 操縦するs, port 海軍大将s and 政策s were of an imbecility that put them in 知能 below the first 中尉／大尉／警部補 of the French 海軍 that you could come across...

ｧ

So, by that moment, we had worked John Kemp into a position that can have been 占領するd by very few 不正に （刑事）被告 heroes of romance. When he stood in the Old Bailey ドッキングする／減らす／ドックに入れる he had the whole 合法的な, the whole political, the whole 海軍の 軍隊s of the 栄冠を与える, the whole 影響（力） at once of the City of London and of the Kingdom of Spain 決定するd to hang him. And the writer is bound to 自白する that on reading "Romance", after an interval of twenty years—and in a French translation!—the hairs really did rise on his scalp over the predicament of John Kemp on his 裁判，公判. And he wondered at the melodramatic genius that had been 所有するd by that third writer that was neither himself nor Conrad...

ｧ

For having got 持つ／拘留する of that 慰安ing theory Conrad never abandoned it. At intervals during our readings aloud that lasted for years he would say, always as if it were a trouvaille, that that was certainly the 令状ing of a third party. It had not been long before he had given up all hope of swift fortune coming with the 迅速な finishing of that 調書をとる／予約する. For the writer the 楽しみ of eternal technical discussion with Conrad was a 十分な 動機 for continuing our 労働s. But for Conrad, with his 厳しい sense of the necessity for making a career, that was not enough. He had to find at least an artistic justification for going on. We were both 極端に unaccepted writers, but we could both 令状. What was the sense of not 令状ing apart if there were no 商業の 伸び（る）? He 設立する it in the aesthetically 慰安ing thought that the world of letters was 濃厚にするd by yet a third artist. The third artist had neither his courage nor his gorgeousness; he himself had 非，不，無 of his 協力者's literary circumspection or 言葉の puritanism. So the combination was at least...different.

ｧ

Thus （機の）カム about our 運動 to the Lower Sandgate Road. Conrad considered it appropriate that we should make an 公式の／役人 告示. The 共同 was 決定するd upon. For the receiving of this 公式の／役人 communication no one could have been more appropriate than the author of "The Invisible Man." Conrad had in those days a very strong sense that those who had taken part in his 開始する，打ち上げるing as a writer had the 権利 to have communicated to them any 決定的な 決意 at which he arrived. It was a 罰金 trait in his character. He had 初めは 協議するd Mr. Henley, Mr. Marriott Watson and, the writer 推定するs, Mr. Edward Garnett, these having been, as it were, his 長，指導者 支援者s behind the scenes. Mr. 井戸／弁護士席s had been his 長，指導者 支援者 before the public—as Reviewer. All the reviews that "Almayer's Folly" had received had 量d to a mountain of 賞賛する; the most tremendous and moving commendation had been that 与える／捧げるd by Mr. 井戸／弁護士席s to the Saturday Review, an 組織／臓器 that was then almost miraculously regarded, under the editorship of Mr. Frank Harris. Mr. 井戸／弁護士席s then, living in our neighbourhood, to whom better could this 革命評議会 have proceeded? So at least Conrad thought and the writer 申し込む／申し出d no active 反対.

ｧ

Mr. 井戸／弁護士席s 明らかに thought the same. Of what happened at that 郊外住宅 in the Lower Sandgate Road, except that the 支援する garden had, descending to the sea-beach, a stepladder up and 負かす／撃墜する which several charming creatures were disporting themselves with the Channel as background, the writer carries in his memory now only the conversation of （頭が）ひょいと動く Stevenson and the remembrance of Conrad, talking to Mrs. 井戸／弁護士席s with enormous 活気／アニメーション about the 広大な／多数の／重要な 嵐／襲撃する in which for the first time he （機の）カム up the Channel, passing that point. The writer was engaged in remembering that 広大な／多数の／重要な 嵐／襲撃する. He had been at school at Folkestone on the cliff almost perpendicularly above where we then sat. In the morning after the 強風 had blown itself out we looked 負かす／撃墜する in sunlight from the 辛勝する／優位 of the Leas. The whole sickle of Dungeness Bay had a (n)艦隊／(a)素早い 岸に on its beaches—innumerable smacks and coasting 大型船s, large international sailing ships and two East Indiamen, the Plassy and the Clive, with their 非常に高い 黒人／ボイコット and white 味方するs, all heeling over, 船の索具 and canvas hanging 負かす／撃墜する like curtains 権利 一連の会議、交渉／完成する the bay, unforgettable and helpless...（頭が）ひょいと動く Stevenson was engaged in telling the writer with 活気／アニメーション almost equal to that of Conrad that Ford Madox Brown could not paint. The writer was wishing himself with the group 一連の会議、交渉／完成する Conrad and Mrs. 井戸／弁護士席s. The crossing of the 発言する／表明するs of those two brilliant conversationalists remains still in these ears, and the 半端物 mixture of feelings...

ｧ

On the next day Mr. 井戸／弁護士席s bicycled up to Aldington Knoll, where at about seven miles distant from the Pent the writer was once again 主要な an 農業の life of the severer type—in a cottage of the most minute, the Conrads 占領するing the Pent. The writer was, indeed, engaging himself on the 発明 of a new 種類 of potato in the intervals of contriving the gallows for John Kemp. Mr. 井戸／弁護士席s （機の）カム to 説得する the writer not to 共同製作する with Conrad. With an extreme earnestness he pleaded with the writer not to spoil Conrad's style. "The wonderful Oriental style...It's as delicate as clockwork and you'll only 廃虚 it by sticking your fingers in it." The writer answered that Conrad 手配中の，お尋ね者 a 共同 and as far as the writer was 関心d Conrad was going to get what he 手配中の，お尋ね者. He can still see the dispirited 活動／戦闘 of Mr. 井戸／弁護士席s as he 機動力のある his bicycle by the 後部 step and 棒 away along that 山の尾根 of little hills...No more than those two speeches had been 交流d.

IV.

Into the still, depressed 公式文書，認める of the Pent there had introduced itself the tremendous panorama of sea and sky that showed from Aldington with its Knoll. We passed our time 運動ing the amiable 損なう or the 悪名高い Exmoor pony between one and the other. We went out of a sunshiny morning with bits of manuscript; we returned through bitter rain-嵐／襲撃するs, the mud splashing up visibly before the 薄暗い lanthorns, the manuscript read aloud, commented on, docketed for alteration...It comes 支援する as a time of 広大な／多数の／重要な tranquillity, though the high skies of Aldington, with the sickle-形態／調整d, painted 沼 and the flat Channel ending with the pink cliffs of Boulogne, seem 割れ目d as the surface of an old, 有望な 絵 will be 割れ目d—with the agonies of Conrad's poverty, unsuccess, 交渉s and 疑惑s.

ｧ

Still, a time of 広大な／多数の／重要な tranquillities, and, at intervals, there were 勝利s. Pinker, a blinking Bramah in the 形態／調整 of 運命, would 認める an unimaginable 前進する; William Heinemann—the most generous and wise of publishers, a Jew at that—would 手渡す out an 予期しない cheque on the 最高の，を越す 床に打ち倒す of Number 31 Bedford Street whilst the writer kept Pawling—a blond Christian but much more like a publisher than his Semitic partner—利益／興味d 同様に as he might with a description of the 陰謀（を企てる） of "The Inheritors", a thin 共同 with no 陰謀（を企てる） in particular that Heinemanns 結局 published. Then Conrad would come in, buttoning his overcoat over the cheque; Mr. Pawling would throw up his 手渡すs and exclaim to the writer, "You've let him get at that ass William again. By God, that is not cricket!"...And the two conspirators against the peace of mind of Number 31 Bedford Street would proceed to the famous Bodega just out of the 立ち往生させる. There, with Sir Henry Irving and Nellie Farren at 隣接するing （米）棚上げする／（英）提議するs, over smoked salmon and シャンペン酒 in small tumblers, they would play 支配s until the last train for Sandling Junction, with its 静かな lines of scenery, its fresh breath of 空気／公表する, and the 損なう in 告発（する），告訴（する）／料金 of the stable boy who would be just lighting the lamps of the 罠（にかける）—that last train leaving Charing Cross at 4.50 and getting 負かす／撃墜する just at dusk...

ｧ

There is something 役立つ to 令状ing in low rooms, in a commonplace downland country, with nearly level fields that run into 静かな convolutions, away to a distance. Let the direct lighting be 修正するd by a barn, the 照明 coming from the 頂点（に達する） of the sky: let there be a quarterdeck walk up and 負かす／撃墜する which Conrad may turn in his pyjamas and dressing gown occasionally, getting 救済 from his thoughts in a ちらりと見ること at the 静かな fields amongst which the writer will be practising ゴルフ 一打／打撃s...井戸／弁護士席, in just such a room with a barn to 封鎖する the direct light, with a miniature stockyard, in a commonplace downland country the writer—sits 令状ing! And you dare to tell him that he cannot go out and, in the rain, catch his dangerous pony that swings 一連の会議、交渉／完成する and kicks the 招待するing sieve of corn out of your 手渡す, just 行方不明の your chest...He cannot 運動 the seven miles to the Pent to ask Conrad what he thinks of 陸軍大佐 Marchand and Fashoda!...You must surely be lying...Or you mean to tell him that in half an hour Conrad, in the dilapidated モーター 雇うd from the White Hart at Stamford, won't be coming in to ask what we are to think of Fashoda and 陸軍大佐 Marchand and what we shall do if there is really war with フラン...We get the London papers only by the second 地位，任命する at 4.30, and do not as a 支配する look at them until to-morrow at breakfast time. But in these exciting times, with 陸軍大佐 Marchand crossing the Sahara and hoisting the French 旗 in a position which Kitchener of Khartoum has 明言する／公表するd to be the 重要な-point of the British Empire in Africa and その結果 on the road to India...And the French with their 驚くべき／特命の／臨時の .75 quick-firer field gun...It all turns on what the Germans will do, the ロシアのs having their 手渡すs 十分な in the Far East...

ｧ

It was like that, when we were not discussing the desirability part of a century, was for the writer very strong that Conrad was there, who might be 協議するd about a difficulty—in politics, in the architecture of a story, over an English word, or about the French for Romance—for which there is no French!

ｧ

The irresistible feeling that one had about him was that he was practical, that the last thing that he was was Slav. For the Slav, to be true Slav, must be as helpless before the vicissitudes of this world—as helpless as is a new-born kitten, 2 greyish, sprawling 反対する, mostly jelly. A sort of Dostoievsky! If you asked Conrad how to 回避する a 銀行業者 he would have an expedient. If you asked him whether women せねばならない have a 投票（する） he would say, No! with 決定／判定勝ち（する）. And then, remembering the part played by women in keeping alive the 国家の feeling of his country, Poland, where all the men took to drunkenness or lechery or listnessness after the abortive 革命 of 1862, he would say that the only creature that せねばならない be paid the compliment of having a 投票（する）, a thing always useless, was such a woman as his mother, Mme. Korzeniowski, or his aunt, Mme. Paradowski. Or any other woman! But, as his 私的な expedient, he said to women in the words of the Mohammedan ranee of Palembang, "Why should you 努力する／競う for 支配 during the day?...Your 力／強力にする is of the night, during which, with a whisper, you shall destroy empires!"

ｧ

The 支配的な attraction of Conrad's mind was the firmness with which he held ideas after he had 熟視する／熟考するd a 十分な number of facts or 文書s. He had had 広大な／多数の／重要な experience of the life of normal men; his reading had been amazingly wide and his memory was amazingly retentive. Amazingly, even to the writer, whose memory is 十分に retentive and whose reading wide if desultory. Yet Conrad never 現在のd any 外見 of 存在 a bookish, or even a reading man. He might have been anything else; you could have taken fifty guesses at his 占領／職業, from, 正確に, ship's captain to, say, financier, but poet or even student would never have been の中で them and he would have passed without 観察 in any （人が）群がる. He was frequently taken for a horse fancier. He liked that.

ｧ

His ambition was to be taken for—to be!—an English country gentleman of the time of Lord Palmerston. There might have been worse ambitions. To understand how a 政治家, born in the 政府 of Kiev, infinitely far from even the sea, should have 願望（する）d to be that—and should have 願望（する）d it with passion—the reader must keep in mind two things if not three, one of them a vivid picture in the mind of the writer. During the last century, if you went 負かす／撃墜する to Tilbury ドッキングする／減らす／ドックに入れる, you would see families of ユダヤ人の-Poland emigrants 上陸. As soon as they landed they fell on their 手渡すs and 膝s and kissed the 国／地域 of the land of freedom. For Conrad there was another 味方する. As a child he lived in a 広大な／多数の／重要な house in Poland: a 広大な／多数の／重要な house with wide avenues and many lights at night. One night all the lights went out, the avenues were 砂漠d; a sledge without bells （機の）カム before the portico. A 人物／姿／数字, cloaked and muffled to the hat 縁, （機の）カム up the steps and was closeted for long with the master of the house. Then drove away over the snow. Conrad said he could imagine that he heard the 発言する／表明する of l'or de la perfide Albion jingling in 広大な／多数の／重要な 捕らえる、獲得するs as the sledge went away.

For this was the 特使 of Lord Palmerston, （種を）蒔くing gold all over Poland so that the ポーランドの（人） 革命の spirit might be kept alive and Russia embarrassed in her encroachments on Pera or Afghanistan.

ｧ

For that was England of Conrad's 早期に 見通し: an 巨大な 力／強力にする standing for liberty and 歓待 for 難民s; vigilant over a pax Britannica that embraced the world. With an all-powerful 海軍 she had an all-powerful purse. She was stable, reasonable, disciplined, her 階層制度s standing in their orders, her classes settled, her services 有能な and instinct with an 適する tradition. And ready to 直面する Russia with (n)艦隊／(a)素早い or purse when or wherever they should 会合，会う. The first English music-hall song that Conrad heard was:

We don't want to fight but, by Jingo, if we do,
We've got the ships, we've got the men, we've got the money too.
We 've fought the 耐える before and so we will again,
The ロシアのs shall not have Constantinople...

A 政治家 of last century—and above all things Conrad was a 政治家 of last century—could ask nothing better.

ｧ

And, above all things else, as the writer has somewhere pointed out, Conrad was a 政治家，政治屋. He loved the contemplation of humanity pulling away at the 絡まるd skeins of parties or of 同盟s. Until, suddenly, a 立ち往生させる gave, a position （疑いを）晴らすd up, a 省 was solidly formed, a 王朝 現れるd. He was, that is to say, a student of politics, without prescription, without dogma, and, as a Papist, with a 深遠な 不信 in the perfectibility of human 会・原則s. The writer never saw Conrad read any 調書をとる／予約する of memoirs except those of Maxime Ducamp and the Correspondence of Flaubert; those we read daily together over a space of years. But somewhere in the past Conrad had read every imaginable and unimaginable 容積／容量 of 政治家，政治屋's memoirs, Mme. de Campan, the 予定 d'Audiffret Pasquier, Benjamin Constant, Karoline Bauer, Sir Horace Rumbold, Napoleon the 広大な／多数の／重要な, Napoleon III, Benjamin Franklin, Assheton Smith, Pitt, Chatham, Palmerston, Parnell, the late Queen Victoria, Dilke, Morley...There was no memoir of all these that he had 行方不明になるd or forgotten—負かす／撃墜する to "Il Principe" or the letters of Thomas Cromwell. He could suddenly produce an 出来事/事件 from the life of Lord Shaftesbury and work it into "Nostromo", which was the political history of an imagined South American 共和国. That was one of the secrets of his greatness.

ｧ

But certainly he had no prescription. 革命s were to him always anathema since, he was accustomed to 宣言する, all 革命s always have been, always must be, nothing more in the end than palace intrigues—intrigues either for 力／強力にする within, or for the occupancy of, a palace. The 新聞記者／雑誌記者's 妨げる／法廷，弁護士業 in the palace of the Luxemburg, where sits the 現在の 上院 of the Third 共和国, was once the bedchamber of Marie de Medicis.

That is not to say that Conrad 活発に 願望（する）d the 復古／返還 of the Bourbons; he would have preferred the 新聞記者／雑誌記者s to remain where they were rather than have any 革命 at all. All 革命s are an interruption of the 過程s of thought and of the 発見 of a New Form...for the novel.

Indeed, almost the only 革命 that he 熟視する／熟考するd with enthusiasm was one by which a successful adventurer 掴むd the reins of 力／強力にする. Anywhere! Some King Tom! It was not that his 見通しs were Napoleonic. His favourite modern 支配者 was Louis Napoleon, Napoleon I 存在 too big, too rhetorical, too portentous for any intimacy. We planned for many years, and even wrote one scene of, a historical novel 取引，協定ing with First Empire 人物／姿／数字s. But the First Empire was gone; the 支配する was the 試みる／企てるs made to save Ney from 死刑執行; the 一時期／支部 showed Louis XVIII a bewildered 人物／姿／数字, 軍隊d to sleep and receive petitioners in a 回廊（地帯） between two doors, the 議定書 供給するing lavish rooms for innumerable peers of フラン, lackeys and parasites, but 非，不，無 at all for God's anointed whose handkerchief was always dangling halfway out of his hip pocket. That was how we—or rather how Conrad, for the writer never had any political 見解（をとる）s of any strength at all—regarded 回復するd Legitimacy. Yet he was fit to throw the teacups into the 解雇する／砲火／射撃 if you derided the doctrine of the divine 権利 of kings.

ｧ

No, on the whole, his favourite political character was Louis Napoleon as Adventurer, and even Napoleon III, Emperor of the French, roused some of his 賞賛. He liked gilt Third Empire furniture, all other gilding, reviews, uniforms, la Montijo, mirrors, fraudulent financiers, the 予定 de Morny, the Mexican adventurer. He liked the mournful, 冷笑的な 君主 surrounded by the （人が）群がる of adventurers, escrocs, rastacou鑽es and 売春婦s in high places that brought 負かす／撃墜する the Empire. He admired Napoleon III for his dream of a Latin Union, which Conrad 設立する practicable and to be 願望（する）d. That was probably his idea of humanity, a realm in which the 独房監禁, 冷笑的な, not impracticable dreamer is brought 負かす／撃墜する by his womankind, his relations, his servants, his hangers-on, his 世帯. He saw the same microcosm in the 破産 and 廃虚 of a 法廷，裁判所 perfumer—or of the captain of a coastwise 貿易（する）ing ship. He prized fidelity, 特に to adventurers, above all human virtues and saw very little of it in this world.

ｧ

ｧ

He 願望（する）d a stable world in which you could think and develop the New Form. And because at no 段階 of the world's history has there seemed to be a 部分 of the world more stable than was England under the 判決，裁定 classes of Lord Palmerston's time, he 願望（する）d to be of the type of a member of the 判決，裁定 classes of England in Lord Palmerston's day. He lived as such, and as such he died. We are so far from those days; it seems hardly likely that any one's withers will be wrung if we say that he might have had a meaner ideal.

ｧ

We come thus to Captain Marryatt. It would be too much to say that Marryatt had any 影響（力） at all on Conrad as writer—though Conrad was of opinion that Marryatt had profoundly 影響（力）d his 令状ing—but the 影響 of Marryatt on Conrad as philosopher tel quel, and as English gentleman, could not be too much 明言する／公表するd. Indeed, in the course of our last 会合, the writer reminded Conrad that almost the first literary opinion Conrad ever uttered at the Pent was in eulogy of Marryatt. Conrad replied that he remained 正確に／まさに of that opinion: Marryatt was, after Shakespeare, the greatest 小説家 as delineator of character, that England has produced. The opinion must be 限られた／立憲的な to what it covers, and that 厳密に. Conrad was not 説 that Marryatt was, say, nearly as 広大な／多数の／重要な a poet as Shakespeare; he was 説 that Marryatt 観察するd English character with exactitude and （判決などを）下すd it without exaggeration, all other English 小説家s getting their 影響s by more or いっそう少なく of caricature.

ｧ

The 調書をとる／予約するs of the author of "Midshipman 平易な" are so relegated to oblivion, 存在 considered as boys' 調書をとる／予約するs, that this pronouncement may appear strange. It may, however, be recommended to the reader's serious attention as the 手段d opinion of no mean critic. What we are about at the moment is considering the 影響 of Marryatt upon the character and psychology of Conrad.

ｧ

That 影響（力） at least was 深遠な and lifelong, like the undertone of a song. During all the years of our 共同 it was always as if Conrad were 説, "Ah: but wait till I get to my Napoleonic novel, with the フリゲート艦s in the Mediterranean." That was the golden age for such English as are held by the sea. And during those years we planned rather elaborately a 共同 始める，決める in late Napoleonic to 復古／返還 days, the central 人物／姿／数字s 存在 Ney, and an English milor with the spleen, but the 語り手 a フリゲート艦-中尉／大尉／警部補, 被保護者 of the milor who, coming from the Mediterranean and gallant service with the フリゲート艦s, should introduce—the Marryatt touch!...We spent a 広大な／多数の／重要な 取引，協定 of time over memoirs of the period, the writer 占領するing himself with Dundonald, English milors and the part taken by the Tsar in the 死刑執行 of Ney, Conrad getting his （警察などへの）密告，告訴（状） as to the 復古／返還 period in a way that was rather mysterious to the writer, so did Conrad seem to have all those 人物／姿／数字s in his mind...

ｧ

We discussed this novel till very late indeed in our 協会. On an occasion in July, 1916, Conrad said to the writer, "井戸／弁護士席, you'll be able to bring something 支援する for the Ney 調書をとる／予約する, about （選挙などの）運動をするing in フラン," as we shook 手渡すs...式のs! that which wiped out so many little villages under our 注目する，もくろむs wiped out that 調書をとる／予約する too, the writer abandoning for many years all idea of 令状ing—losing indeed all ability to 令状. And Conrad continued alone...Thus, in "The Rover", in the 沖, you have the vigilant and 有能な フリゲート艦 captain!...And on the day of his death Conrad was 占領するd—with Napoleon at Elba and the フリゲート艦 service of the Mediterranean, 捜し出すing to live again the glamour that the English seanovelist had cast over his young years in Poland. So tenacious are the glamours of our 青年!

ｧ

Yes! That 影響（力） at least was 深遠な. He looked at the world of human 事件／事情／状勢s with the 注目する，もくろむs of Jack 平易な and affronted difficulties with the coolness of Percival Keene. At that 声明 the reader should not smile. The tradition of the フリゲート艦 service of Dundonald and the 残り／休憩（する） was no mean one; its 影響（力） on the British character was far-reaching, was all-important. And the 業績／成就 and tradition of England during the last century cannot be ignored by those who can be 利益／興味d in the 業績／成就s and traditions of mankind.

ｧ

The writer has said too much in other places of the 影響（力） of Marryatt on the writer himself and on Conrad to go picturesquely once more over the 事柄. But there are those who have read neither Marryatt nor the writer. Marryatt 関心d himself おもに, then, with the フリゲート艦 戦争 of Napoleonic times. And the フリゲート艦 戦争 of Napoleonic times was, compared with the line of 戦う／戦い 戦争 for which stand the 指名するs of Nelson and his 広大な／多数の／重要な captains, as something obscure, 匿名の／不明の, desperate and very gallant. For thousands who shall know the 指名するs of Nelson, Howe, or St. Vincent there will be hardly one that has heard tell of Cochrane. Yet this little service was incessant, 追求するd under desperate 条件s of 天候 and of inshore work, the フリゲート艦s 存在 only upon occasion the mere 注目する，もくろむs of the (n)艦隊／(a)素早い, the 広大な／多数の／重要な (n)艦隊／(a)素早いs with the 広大な／多数の／重要な first-raters rolling majestically from ocean to ocean, half the world over and then 支援する again to fight now and then a Trafalgar or an Aboukir. But the フリゲート艦s were at it every day in the Mediterranean.

ｧ

Such a service, without 慰安, without 宣伝, almost without the glory of the King's uniform, for its officers dressed like sweeps, remained midshipmen to the age of forty and were betallowed to the 肘—was the meaning of England to Conrad, as to the writer during his younger years. One saw the self-sacrifice, the patience, the fidelity. And if Conrad in later years wrote of fidelity as the 重要な-word of his "message", it was of this fidelity that he was thinking. Of fidelity not to a realm from which they were for so long absent, and not to a 王室の countenance which never shone upon them, but of fidelity to an idea, to a service.

ｧ

The idea was this: In the first place （機の）カム the sea, the sea not as a bitter element, but as an 器具 by means of which the フリゲート艦s 戦う／戦いd against inefficiency, strange customs, the eating of frogs, 木造の shoes. Upon the sea were only the English—and the French; the English as the 代表者／国会議員s of that Almighty which 持つ／拘留するs the sea in the hollow of His 手渡す, the English, blond, hardy, cunning, vigilant, each one six foot and over, jolly, in the exact image of their 製造者, cordial. The French, the subordinates, 代表者／国会議員s of Satan, perpetually driven off the sea to hide behind the moles of Toulon or of Cherbourg, perpetually creeping out as do bedbugs from crevices in 塀で囲むs...One Englishman was 価値（がある） one, three, seventeen, twenty-seven Frenchmen...There was the sea, then, and that its 商売／仕事, its 機能（する）／行事.

ｧ

推定では the フリゲート艦s did 後継する in their work, though if you read French textbooks you would hardly think so, any more than when reading the Americans you will hear much about the Shannon and the Chesapeake. によれば the French it was l'or de la perfide Albion that did the trick. In that way Conrad got it both ways, since he liked a nation that had both its sea service and its gold. Gold also is 英貨の／純銀の, incorruptible, and has its fidelities. In the 合間, there had grown up another service with a tradition almost 同一の—that of the British 商業の 海洋, of ships not too 広大な to be impermeable to the 天候, making, by means of the caprices and brutalities of the 勝利，勝つd, engrossed and perpetual 出発s and landfalls 一連の会議、交渉／完成する dangerous headlands. Nowadays you will find little enough difference between the coastwise men of any nation but in the seventies and eighties of last century Conrad, by dint of experience, 設立する in that service, muted but almost more 患者 and engrossed, the tradition of Marryatt's フリゲート艦s. It was fidelity to an ideal, the ideal of the British merchant service; it was still more a tradition working efficiently. For in that service, all going to （不足などを）補う the 記録，記録的な／記録する of British-owned 底（に届く）s, even if they sailed under the 旗 of Siam, all going to 与える／捧げる to the long story of what is the shipshape, are hundreds of Dagoes, Lascars, Swedes, Danes, Finns, Negroes, Americans, Kruboys...And one 政治家.

Conrad then, in his misty 青年 that seemed to pass in 広大な／多数の／重要な houses or in the 刑務所，拘置所 yards of the 追放するd child, and mostly at night or at nightfall, read with engrossment Marryatt and Fenimore Cooper, and so （種を）蒔くd the seeds of his devotion to England. He had his devotion to his art and his devotion to his second country. In the end his devotion to his second country overcame his devotion to his art. The only occasion on which the writer ever questioned the 活動／戦闘s of Conrad—and it is the truth that this was the only occasion on which any 活動／戦闘 of Conrad's known to the writer was ever even 疑わしい!—was when that writer 受託するd 会員の地位 of the British 学院. This as a writer he should not have done, nor as an artist. The 団体／死体 was without venerability, committed to courses of 宣伝, and of a habit, to be destructive to the art by which Conrad had made his 指名する, to which he 借りがあるd fidelity.

ｧ

Accordingly on a given occasion the writer remonstrated against this 疑わしい 活動／戦闘. It was during sad times for the nation, in a 暗い／優うつな room of the most architecturally lugubrious buildings that are to be 設立する 近づく the Marble Arch in London. Conrad was depressed; there was no one that was then not depressed. The writer, the occasion 存在 one for clearings-up of everything that could be （疑いを）晴らすd up, put the question as to why Conrad had, how Conrad could have, thus 否定するd the gods of his manhood. A knighthood yes! Any sort of Order, yes! A C.B.; an O.B.E.!...It had not been ten years or much more since, when talking of the 可能性s of such a 創立／基礎, Conrad had said that were he 申し込む／申し出d its insignia he would wear them on the seat of his trousers—a gibe which we すぐに introduced into "The Inheritors."

ｧ

The reader should understand that this 事柄 is one which divides forever—into sheep and goats—the world of the arts. There are some few artists who will 受託する Academic honours; to the 大多数 of those who are really artists the idea is abhorrent, and those who 受託する such honours betray their brothers. To this 大多数 Conrad had enthusiastically belonged. You had Flaubert who 辞退するd, you had Zola who all his life sought, academic distinction. For Conrad there had used to be no question as to which to follow. Now he had followed Zola.

ｧ

Conrad answered with mildness. And nothing could have been more unlike Conrad. Both of us 存在 upholders of the duel, we had always lived together under a sort of 基準 of 形式順守. Except upon ベルギー 鉄道s when Conrad would 辞退する with 解雇する／砲火／射撃 to show his ticket to collectors because he was an Englishman and they some sort of Dagoes, the writer never remembers さもなければ to have remonstrated with the author of "Heart of 不明瞭."...But Conrad answered with 激しい and depressed mildness...Yes, to have 受託するd that honour might have the 面 of 否定するing the gods of his 青年. That was a thing to be regarded with 不景気. On the other 手渡す England had 申し込む／申し出d him 歓待; he had been 認めるd fame in England and the 適切な時期 to live in Kent where the lines of the fields run 静かに one into the other. England was desirous of 設立するing an 会・原則 that should, as a part of its 機能（する）／行事s, do some sort of honour to the 貿易（する） of authorship. The company in which he 設立する himself, admirable as it was, was not 正確に／まさに that which could have been 推定する／予想するd. But, if it was a question of his 私的な 原則s as against any honour he could show the English 明言する／公表する, his 私的な 原則s must go by the board.

ｧ

It was a point of 見解（をとる）.

V.

The most English of the English, Conrad was the most South and Toulon, Maupassant on the French torpedo boats on which he served and Flaubert on the French 旗艦, Ville d'Ompteda. With the Sabran-Penthievres and other Macmahonists he painted red the port of Marseilles, intrigued for Napoleon III, 雇うd, since there was nothing else to be 雇うd, an unpainted four-in-手渡す from a coachbuilder's yard and drove, buried in actresses and the オペラ chorus, to the races. So he made the French 海軍 too hot to 持つ／拘留する him. That, however, is also the spirit of the 伝統的な British 海軍. The writer is never tired of reciting the 条件 of the offence for which his 広大な／多数の／重要な-uncle, Tristram Madox, was cashiered: in that, whilst drunk, he swam 岸に from the 旗艦 without leave and riotously 強襲，強姦d Mr. Peter Parker of Valetta, tobacconist. The one offence is more French, the other more English...

ｧ

As above, however, Conrad again and again recounted his Marseilles 偉業／利用する. No 疑問 with the 落ちる of Macmahon and the 見えなくなる of any hope for the Bonapartists the chance of a career for Conrad in the French 海軍 so 減らすd as to leave that service with few attractions. Conrad's 影響（力） and attach駸 in フラン were all Third Empire. He would relate the instance of the unvarnished coach with 広大な／多数の／重要な energy and 解雇する／砲火／射撃 and then, dropping his 手渡すs with mock senility, exclaim, "式のs, tel que vous me voyez ...Now I am an extinct 火山..."

ｧ

It was not, however, that. It was 単に that 減らすd circumstances had 減ずるd the team of four to the old 損なう or some remplacant. We would 運動 負かす／撃墜する to Hythe or 雇う a モーター that broke 負かす／撃墜する eight times in eighteen miles and go between the shallow 負かす／撃墜するs up the Elham valley—at the 最高の，を越す of which he died—to Canterbury. And at once Conrad was the sailor 岸に. He had to find a 妨げる／法廷，弁護士業 and have a drink, the writer, with the prudishness of the Englishman in his own 郡, waiting outside. For you must not have a drink in the 妨げる／法廷，弁護士業 of your own 郡 town. A lunch at the 農業者's ordinary with five pints of beer; tea in the smoking room with whiskies brought in on the tray! But in the 妨げる／法廷，弁護士業, never! The point is a 罰金 one. But Conrad, though at home he was the English country gentleman and other things permitting, would have bred shorthorns and worn leggings, threw, in his Jack-岸に でっちあげる，人を罪に陥れる of mind, these considerations to the 勝利，勝つd. A drink in the 妨げる／法廷，弁護士業 was 供給するd for in King's 規則s. You might not be thirsty: it had to be.

ｧ

Conrad's biography as narrated in those days to, and in presence of, the writer, might 同様に here come in...We have arrived, at any 率 in the writer's mind, at about the time when we dropped, 表面上は for good, any hope of bringing "Romance" to a finish and took to 共同製作 on "The Inheritors." By that date the writer had heard enough of Conrad's autobiography, 十分に repeated, to have a 一連の会議、交渉／完成するd image of his past—such an image at any 率 as Conrad 願望（する）d to 伝える. For, like every 奮起させるd raconteur Conrad 修正するd his stories subtly, so as to get in sympathy with his listener. He did it not so much with modifications of fact as with gestures of the 手渡す, droppings of the 発言する／表明する, droopings of the eyelid and letting 落ちる his monocle—and of course with some modifications of the facts. So the story, afterwards used in "A Smile of Fortune", told to the writer alone was one thing and told to his sprightly, very intelligent aunt, Mme. Paradowski, was something やめる different It would be thinner, いっそう少なく を強調するd, more of a 商売／仕事-like 支配する for 治療 if told to the writer alone; when told to the French lady—who was also a 小説家—it would be much livelier, much more punctuated with of us ever told what is called a smoking-room story. We never even discussed the relations of the sexes.

ｧ

So, at the turn of the century—for "The Inheritors" must have been published about 1901 and, having been written rather 急速な／放蕩な, must have been begun in 1900—the history of Conrad appeared much as follows to the writer. He was born—not, of course, 肉体的に in Beaucaire, but in that part of Poland which lay within the 政府 of Kiev—in Ukrainia, in the 黒人／ボイコット Lands where the 国／地域 is very fertile. He was born around 1858. At any 率 he was old enough to remember the 影響s of the ポーランドの（人） 革命 of the 早期に sixties—say 1862. The oldest—the first—memory of his life was of 存在 in a 刑務所，拘置所 yard on the road to the ロシアの 追放する 駅／配置する of the Wologda. "The Kossacks of the 護衛する," these are Conrad's exact words repeated over and over again, "were riding slowly up and 負かす／撃墜する under the snowflakes that fell on women in furs and women in rags. The ロシアのs had put the men into 兵舎, the windows of which were tallowed. They fed them on red herrings and gave them no water to drink. My father was の中で them."

ｧ

(The 関わりあい／含蓄 is of course that Conrad's father died of かわき behind those windows that were tallowed so that the men should not look out and see their womenfolk. 現実に, of course, Conrad's father did not die in these circumstances, but it was not until やめる lately that the writer was aware of his misapprehension...This, however, is the exact history of a 関係.)

ｧ

Conrad remained with his mother in 追放する until he was nine or ten, then, his mother 存在 脅すd with an 即座の death from tuberculosis, they were 許すd to return to Poland. Conrad's mother was a woman of 広大な／多数の／重要な beauty of physique and of character. Her 直面する was oval, her 黒人／ボイコット hair braided 一連の会議、交渉／完成する it, her 注目する，もくろむs 意図, her manner 静かな but spirited. His father was いっそう少なく effectual, the prime mover of an abortive 革命, a fact which Conrad deprecated. His father was not so dark as his mother; untidy, bearded, with high cheek bones, he was the proprietor, not professionally but as a revolutionist, of a famous newspaper in which he wrote a 広大な／多数の／重要な 取引，協定. He was 絶えず 令状ing: his style was not very distinguished.

ｧ

Of his father Conrad spoke always deprecatorily. This was partly politeness. Whoever you were, his interlocutor, all that 付随するd to you—your father and all your ancestors—must be superior to his. It was his poor little 調書をとる／予約するs, his poor little brains, his poor little 偉業／利用するs 始める，決める against all your splendours. Partly, too, it really 苦痛d him to think that his father had been a 革命の—and an 不成功の 革命の at that; as if he had been prenatally connected with something not shipshape! For his mother he had on the other 手渡す that 熱烈な adoration that is felt by the inhabitants of Latin and Western Slav countries for their mothers and that seems so "foreign" to the Anglo-Saxon. Oddly but comprehensibly, when he spoke of his mother as 革命の he was 十分な of enthusiasm. For him the ポーランドの（人） 国家の spirit had been kept alive by such women as his mother: the men were hopeless. Again not shipshape. This was not difficult to understand. The men were 禁じるd from living a life of their own. The only career that the ロシアのs 許すd them to 熟考する／考慮する for was that of the 法律. So they were all either lawyers or babblers—or both—and without any practical training. This for 世代s and 世代s...

ｧ

As for class—the Korzeniowskis were country gentlemen, for all the world like an English 郡 Family, with land lived on and owned since the darkest ages, untitled, but aristocrats to the backbone; what is called in England "Good people", a 称する，呼ぶ／期間／用語 which is untranslatable into any other language and 理解できない even to Americans. This made Conrad feel at home in Kent; many times he said so. The 封建的 spirit 生き残るd in the 領土s of the 広大な／多数の／重要な landowners.

ｧ

Conrad had an uncle—Paradowski—who was a 広大な／多数の／重要な Pan, 後見人 to the children of half the noble families of that 政府. He had a longish—as if squared—直面する, a long nose, meditative 手渡すs that were always pausing in some 活動／戦闘 and long brownish hair that fell rather Germanly over the collar of a velvet coat. It was to his 広大な／多数の／重要な country house that the 特使 of Palmerston had come. (The writer's friend Count Potocki tells the writer that the 指名する of this uncle must have been Bibrowski. The 指名する Paradowski remains, however, very 堅固に in the writer's mind. Conrad was inordinately proud and fond of this uncle and fully four fifths of his conversation when it referred to his ポーランドの（人） days 関心d itself with this 親族: there were, for instance, the Paradowski dragoons, a famous ロシアの 連隊 指名するd after him or his ancestors. 類似して in 早期に days Conrad always wrote and pronounced his patronymic as "Kurzeniowski"; the 訂正する transliteration would appear to be "Korzeniowski." It does not seem to 事柄 much.)

ｧ

This uncle stood 井戸／弁護士席 with the ロシアのs. Before that abortive 革命 he had been a の近くに friend of one of the Grand Dukes and had had a part in 草案ing the 憲法 that the Czar had 提案するd to 認める to Poland. In the 革命 he had taken no part, not because he was indifferent to the 利益／興味s of Poland but because he knew it must 証明する abortive and 原因（となる） much 苦しむing and 迫害 to the ロシアの 政治家s. Besides, it brought about the 無効にするing of the 憲法. After the 革命 he busied himself with 緩和するing the sufferings of his compatriots; he fed legions of the 餓死するing dispossessed; he 安全な・保証するd the return of their patrimonies to the children of the 追放するd. Amongst these last was Conrad: his uncle 安全な・保証するd the return to him of half the 広大な／多数の／重要な 押収するd 広い地所 of his father and got him 許可 to reside in ロシアの Poland, in his own 広大な／多数の／重要な house. (The 特使 of Palmerston had by the by been sent away with a flea in his ear.)

ｧ

Here for years and years Conrad read Marryatt—and Fenimore Cooper. And it was one of the little ingenuous 楽しみs of Conrad to remember that in Paris after Waterloo, as 記録，記録的な／記録するd in the Memoirs, more （人が）群がるs followed Sir Walter Scott and Fenimore Cooper on the boulevards than ever followed the King of Prussia. It pleased him to find one of his 早期に heroes thus blessed by Fame of the bronze 肺s. To this （警察などへの）密告，告訴（状） the writer 追加するd the other that in that same Paris of that same date Assheton Smith, the milor of incredible wealth and spleen was, （許可，名誉などを）与えるing to the 定期刊行物s, followed about by （人が）群がるs even greater than 大（公）使館員d themselves to the Czar of Russia. Out of a sort of tacit politeness we never tried to decide whether the King of Prussia or the Czar of Russia had the larger に引き続いて. But Assheton Smith was to have been the central 人物／姿／数字 of our novel about the 死刑執行 of Ney—the milor with the spleen 介入するing nearly 首尾よく to save the beau sabreur. This, not because he felt any sympathy for Ney but because he 願望（する）d to put a spoke in orders, just opposite the Closerie des Lilas on a 位置／汚点／見つけ出す 占領するd now by a 駅／配置する of the Seaux 鉄道 ...to spite Assheton Smith.

ｧ

The writer never understood why it was always night in Poland; so, however, it remains for him: a long white house, in the dark, with silver beeches in an avenue or, ghostly, in groups. Indoors was Conrad, 権利 through adolescence, forever reading in the candlelight of an 巨大な, stately library, with 破産した／（警察が）手入れするs on white plinths and 補欠／交替の／交替する groups of statuary in bronze. His uncle would be in a rather subterranean 熟考する／考慮する at the other end of the 広大な house—令状ing his memoirs. When these two ever met the writer never knew; of meals or even of bed he heard nothing; it was a perpetual reading. As for the uncle's memoirs...Years after, not so long ago, the writer 設立する Conrad in a 明言する／公表する of extreme perturbation. He said, "My dear faller, you must go with me to Boulogne! You'll have to fight the second, of course. It's always done in ポーランドの（人） duelling!" It is part of what gives vagueness to this narrative that Conrad always credited the writer with an almost supernatural prescience as to his, Conrad's, most remote or most 即座の past. He would say, "You remember when I was on the Flower of Surabaya, old Corvin, the supercargo, had that shaving 始める，決める that I lost on the Duke of Sutherland..." 指名するing two ships and a supercargo of whom the writer had never yet heard...So on this occasion the writer 自然に agreed to go to Boulogne and pictured an 巨大な, 黒人／ボイコット moustached 対抗者 in a busby, a frogged dolman, 最高の，を越す boots and a cavalry sabre whose 明らかにする blade he caressed with his left 手渡す...And it was not for several days, during which we made 準備s for the 旅行, that the 推論する／理由 for our 旅行 itself was made （疑いを）晴らす to the writer. Conrad was too 苦しめるd to talk about it.

ｧ

It appeared that the uncle Paradowski, almost viceroy of ロシアの Poland and 後見人 to half the sons and daughters of the ポーランドの（人） nobility of his 州, had had unheard-of 適切な時期s of learning all the matrimonial and family スキャンダルs of his 隣人s. All these he had 始める，決める 負かす／撃墜する in his 定期刊行物—and this 定期刊行物 had just been published. It had 原因（となる）d the wildest びっくり仰天 in Poland and as Conrad was the 合法的な 相続人 of M. Paradowski the 責任／義務 for the 出版（物） was considered to be his. The son of one of the most horribly aspersed couples had therefore challenged Conrad and was coming to Boulogne. Conrad was horrified to the point of madness; and he was 正当化するd. That poor fellow 発射 himself in despair over the 発覚s, in the 鉄道 carriage, on the 旅行. So we never fought...

ｧ

Conrad 現れるs then from the glamourous 影をつくる／尾行するs of Poland, making the Grand 小旅行する with a lively young 教える. For the first time, in Venice, from a window, he saw in the Giudecca a ship—a British schooner.

ｧ

As to biography during the next few years the writer becomes 煙霧のかかった. Conrad himself perhaps wished to throw a 煙霧 over a part of his life that was for him a period of 不決断s. At one time he would say that he had 決定するd to go to sea, years before, when first reading Marryatt; at another, that a 炎 of 願望（する） sprang up in him on sight of that British schooner with the emotional lines of her 船体; at one time that he 急ぐd 支援する to Poland to communicate his 決定／判定勝ち（する） to his uncle; at another that he finished the Grand 小旅行する on the 従来の lines, but arguing with his 教える and at last finally breaking very 徐々に the news to his uncle. His uncle thought him mad; there need be no 疑問 about that; no 政治家 had ever gone to sea; all 政治家s had always been lawyers; Conrad must not go to sea but must 熟考する／考慮する for the 法律. At the university of—was it?—Lemberg.

ｧ

Conrad at any 率 went to Marseilles, and entered the French 海軍. By the 影響（力） of his uncle—the 政治家s have always had 広大な／多数の／重要な 影響（力） in the chancelleries and 省s of Europe—he was 認めるd a （売買）手数料，委託（する）／委員会／権限 in that service. In it he remained an 不明確な／無期限の time, leaving with the 階級—he was 明確な／細部 as to that—of 中尉／大尉／警部補 de Torpilleurs de la 海洋 Militaire Fran軋ise. During that time, on the French 旗艦 Ville d'Ompteda, he had 証言，証人／目撃するd the 砲撃 of a South American town. The town comes 支援する to the writer as Caracas; but 明らかに Caracas is inland, so the 旗艦 can hardly have 砲撃するd it. Perhaps Conrad went with a 上陸 party inland to that 資本／首都. In that way he saw the landscape of the 跡をつける to the silver 地雷 of "Nostromo."

There followed the period of sailor-ashorishness in Marseilles with the Bonapartist aristocracy. After the episode of the unvarnished coach 負担d with actresses Conrad telegraphed to his uncle to come and 支払う／賃金 his 負債 and 乗る，着手するd on his Carlist adventure. This is told 十分に, as Conrad used to tell it by word of mouth, in the episode of the Tremolino in "The Mirror of the Sea." When taking this episode 負かす／撃墜する from Conrad's 口述—as indeed when taking others of his personal recollections 負かす／撃墜する from 口述 at times when Conrad was too 手足を不自由にする／（物事を）損なうd by gout and too depressed to 令状—the writer noticed that Conrad sensibly 修正するd 面s and facts of his word-ofmouth narrations. The 輪郭（を描く）s remained much the same, the 詳細（に述べる）s would 異なる.

As told by Conrad—and the writer must have heard all Conrad's stories five times and his favourite ones much more often—the Carlist adventure was as follows: At the date of his leaving the French service the Carlist War was 存在 desultorily 行うd in the North of Spain. (The Carlists were the 支持者s of Don Carlos, the legitimist Pretender to the Spanish 王位.) The 原因（となる） of the Carlists 十分に 控訴，上告d to Conrad; it was Legitimist; it was picturesque and carried on with at least some little efficiency. It 申し込む／申し出d a chance of adventure. In company with like-minded friends, then, Conrad 始める，決める to work at 供給するing ライフル銃／探して盗むs for the army of the Pretender. They 購入（する）d a small, 急速な／放蕩な sailing ship—the Tremolino, beautiful 指名する. And of all the （手先の）技術 on which Conrad sailed this was the most beloved by him. In our 早期に days her 指名する was seldom off his tongue and, when he について言及するd her, his 直面する lit up. Nay, it lit up before he について言及するd her, the smile coming, before the 指名する, to his lips.

ｧ

The writer never heard, in those days, what make of ship she was. He was 推定する／予想するd to know that. Conrad would say, "You know how the Tremolino used to come 一連の会議、交渉／完成する..." So the writer imagined her as a felucca, with high, 屈服するd, white sails against 嵐／襲撃する clouds and rustcoloured cliffs. She was the beautiful ship—as Turgenev was the beautiful ロシアの genius.

ｧ

Pacing up and 負かす／撃墜する Conrad would relate how they ran those ライフル銃／探して盗むs. The method was this: They would 負担 the Tremolino, at Marseilles, with oranges, bound 表面上は for Bordeaux or any up-channel port. Thus, "If any Spanish gun-boat accosted us we would have a perfectly good 法案 of lading. Out in the Channel we would 会合，会う a British schooner and throwing the oranges overboard we would 負担 up with ライフル銃／探して盗むs..." Those particular 宣告，判決s, with their わずかに unusual use of the word "would", Conrad never 変化させるd...He would have begun his story, unemotionally, with such historic explanations as his hearer seemed to need. Then he would come to the Tremolino and his 直面する would light up. This emotion would last him for a minute or two. At, as it were, the angle where Spain turns 負かす／撃墜する from フラン in the Mediterranean, as if the Tremolino had got thus far and was just going through the blue water with her 重荷（を負わせる） of oranges, he would （判決などを）下す his 発言する／表明する 乾燥した，日照りの to say either, "The method was this..." Or, "Our modus operandi was as follows..." And then, after taking a breath, "Out in the Channel we..." He would then go on to explain the necessities they had when making that landfall. "You could 賄賂 any Spanish guarda costa on land with a few pesetas or a 瓶／封じ込める or two of rum..." But the officers of the gunboats that patrolled the coast were incorruptible...

ｧ

"So one night the landlord of the inn omitted to show the agreed-on light. He was drunk. In the morning we saw a Spanish gunboat steaming 支援する and 前へ／外へ in the 狭くする 沖. The bay was a funnel, like this...We ran the Tremolino on a 激しく揺する, 始める，決める 解雇する／砲火／射撃 to her. Swam 岸に and got country 着せる／賦与するs for a disguise and proceeded to Marseilles as best we could. Penniless. Without a penny."

ｧ

In telling these stories Conrad would thus occasionally duplicate his words, trying the 影響 of them. Then we would 審議: What is the practical, literary difference between "Penniless" and "Without a penny"? You wish to give the 影響, with the severest economy of words, that the 見えなくなる of the Tremolino had 廃虚d them, 永久的に, for many years...Do you say then, penniless, or without a penny?...You say Sans le sou: that is 公正に／かなり 永久の. Un sans le sou is a fellow with no money in the bank, not 単に 一時的に penniless. But "without a penny" almost always carries with it, "in our pockets." If we say then "without a penny", that connoting the other, "We arrived in Marseilles without a penny in our pockets."...井戸／弁護士席, that would be rather a joke: as if at the end of a 大陸の 小旅行する you had got 支援する to town with only enough just to 支払う／賃金 your cab-fare home. Then you would go to the bank. So it had better be "penniless." That 示すs more a 明言する／公表する than a 一時的な 条件...Or would it be better to spend a word or two more on the 解説，博覧会? That would make the paragraph rather long and so dull the 辛勝する／優位 of the story...

It was with these endless discussions as to the exact incidence of words in the ありふれた spoken language—not the literary language—that Conrad's stories always （機の）カム over to large Jersey sort, of whose stalks varnished walking sticks are made? Or bleu-du-roi? And again, what are the plurals of those adjectives in French—as a 味方する 問題／発行する...That problem we discussed at intervals for ten years—the problem of the field of cabbages, not of course the plurals...Now we shall never solve it...

ｧ

Conrad, then, again telegraphed to his uncle to come and 支払う／賃金 his 負債s...The writer used to have a 広大な／多数の／重要な-uncle whose one expedient in life was to take a cab. One day this gentleman, walking past Exeter Hall, met a lion. Exeter Hall in the sixties was a menagerie. When he was asked, "What did you do?" he would reply in トンs of 穏やかな disgust at the 質問者's want of savoir faire, "Do? Why I took a cab!" ...In the same way Conrad used to telegraph to his uncle to 支払う／賃金 his 負債s and to come to Marseilles to do it!

ｧ

He 乗る，着手するd in a French messageries steamer as a 手渡す before the mast and, as has been said, made one voyage to Constantinople, seeing テントs on the hills above the European city. He returned to Marseilles. Perhaps his uncle had not yet arrived to 支払う／賃金 his 負債s or did so only just after. Or perhaps he （機の）カム three times to Marseilles. Conrad used occasionally to let 減少（する） that, as the writer knew, he had run through three fortunes in his life. At any 率 the image remaining to the writer is that, as Conrad sailed away, a ship's boy, in a British brig bound for Lowestoft, Pan Paradowski stood on the 辛勝する／優位 of the Cannebiere, like a 広大な／多数の／重要な land lion, lamenting on the brink of the water his beloved, ugly duckling of a 甥 who should have become a 調印（する）...A sea lion...

VI.

Lowestoft has always seemed to the writer to be a queer, 荒涼とした, whitewashed little old place from which to begin the conquest of a language, a 共謀 against a literature, a career of fame that became world-wide. It used at any 率 to be all that: queer, 荒涼とした, whitewashed, with flagstaffs, coast guards, high skies and northeast 勝利，勝つd. The writer must have been there first at the age of five or six, and, by stretching a point or so and ignoring a couple of years, we used to arrive at the theory that coincidence had brought us together thus 早期に. That cannot 現実に have been the 事例／患者. When Conrad first heard or spoke an English word the writer cannot have been much more than three: so we may be said to have learnt grown-up English in about the same year...But we used to keep a slight 煙霧 over our 各々の ages. Conrad was a little 極度の慎重さを要する about his years, に向かって forty-five, and the writer did not then care.

ｧ

Besides, Conrad liked coincidences—in our playtime. He liked to amuse himself with resemblances between himself and other 広大な／多数の／重要な men—Johnson collected orange peel and 乾燥した，日照りのd it; so at one time Conrad had done. Or he would find in memoirs 偶発の traits of resemblance between himself and Napoleon, Louis XVIII, Theophile Gautier or General Gallifet. He would look up from his 調書をとる／予約する and read the passage out with hilarious 楽しみ. He liked, as has been said, to think that at one of the Chippendale desks that we had at the Pent Christina Rossetti had written and at another, given to the writer's father as a wedding 現在の, Carlyle, who was its 寄贈者. He would say that "Heart of 不明瞭" was written on the same 支持を得ようと努めるd as:

残り／休憩（する）, 残り／休憩（する）, a perfect 残り／休憩（する）,
Shed over brow and breast,
Her 直面する is に向かって the West,
The 平和的な land.
She shall not see the 穀物
Ripen on hill and plain,
She shall not feel the rain
Upon her 手渡す...

and "The End of the Tether" before the glass bookshelves that had seen Carlyle 令状 "The French 革命." It did not 事柄 that Christina wrote most usually on the corner of her washstand or that Carlyle had bought the desk at a second-手渡す 売買業者's in the street next Tite Street, Chelsea. It made indeed no difference that he disliked the work of Carlyle or thought Christina the greatest master of words in 詩（を作る）. The lines just 特記する／引用するd were the only English poetry that the writer ever heard Conrad 引用する. He had literally no ear for English 詩（を作る）...But there "Heart of 不明瞭" had to have been written, and there the poem; here "The End of the Tether", and here "The French 革命."...It was like building retrospective 城s in Spain; it was squeezing the last 減少（する） out of the 支配する.

ｧ

So with our coincidental careers. The coincidences had to be there for moments of elation. The writer, after our visit to Mr. 井戸／弁護士席s, happened to ask whether the 広大な／多数の／重要な 嵐／襲撃する in which Conrad had come up the Channel for the first time had been 同一の with the 広大な／多数の／重要な 強風 that had 難破させるd the Plassy. And すぐに it had to be. It could not have been by seven years or so. But it was...For the 残り／休憩（する） of our lives it had to be. It shall. So with Lowestoft. Conrad could bring himself to remember there a little boy with long, golden hair, a bucket and a spade, who used to march up to the young able 船員 and ask him questions in an unintelligible tongue...And indeed, in moments of 広大な／多数の／重要な effusiveness, patting the writer on the shoulder, Conrad used to 主張する that it was one of the writer's 調書をとる／予約するs, seen on the bookstall of Geneva 鉄道 駅／配置する, that had first turned his thoughts to 令状ing English as a 可能性. That might indeed have happened. But one 詳細（に述べる） of Conrad's narration was too much for the writer's bibliophilic prudishness—though he would connive at any time at the 新たな展開ing of manageable years between two friends. But several times before the 発見 of this 巨大な coincidence Conrad had 関係のある how he had stood on the Geneva 鉄道 壇・綱領・公約, looking at the bookstall and idly wondering what he was going to do next with his life. He had been 回復するing from an illness, in the same hydrotherapy as that in which Maupassant died. Another coincidence. He had seen a 列／漕ぐ／騒動 of small, canary-yellow—remember the canary yellow—容積／容量s. They were the 調書をとる／予約するs of the Pseudonym Library that Mr. Garnett had fathered—about the colour and not much larger they were than a packet of Maryland cigarettes at 1 fr. 50. But they were famous throughout Europe. There was no 鉄道 bookstall on which you did not find them...And looking at them Conrad said, "Why should I not 令状, too?"...The writer's third 調書をとる／予約する had been published in that very year, fathered too by Mr. Garnett, 問題／発行するd by the same 会社／堅い in a series called the 独立した・無所属 Library...It might very 井戸／弁護士席 have been on the bookstall, the series having been ーするつもりであるd for foreign 循環／発行部数. There was nothing to make the thing inherently even improbable...式のs! The writer's work was bound in a sort of decayed 肝臓 colour: the most hideous that the writer has ever even imagined. "So it couldn't be me," as the old 損なう said. But nothing would have pleased Conrad's generous and effusive moods better than to （人命などを）奪う，主張する the writer as his literary godfather. He was like that.

ｧ

Years later, the writer having landed in this country at Rouen, it occurred to him as his heel struck the quay: Conrad began to 令状 "Almayer's Folly" in the 特別室 of a ship moored in this very port. When he looked up from his desk, through the porthole, he used to see the inn at which Emma Bovary met her lover. Is that then this very 位置／汚点／見つけ出す? Do I then begin where Conrad began that other 戦う／戦い?...In an interval the writer asked Conrad whether these 位置／汚点／見つけ出すs could be coincidental. He at once began to be very animated on a drooping occasion. "Yes, yes," he said. "Opposite the very 位置／汚点／見つけ出す...Two doors to the left of the road that goes up to the 地位，任命する Centrale...My dear Ford...The very 位置／汚点／見つけ出す." That coincidence the writer will not 試みる／企てる to 乱す.

Conrad landed, then, at Lowestoft when the writer was about three, and Conrad himself not much more than twenty, the writer is 公正に／かなり 確かな , in 1877. Here he heard his first English words, to recognise them. They were: "Eggs and bacon or marmalade?" He was sitting in the 妨げる／法廷，弁護士業 of a public-house he had been taken to by an old gentleman who 結局 招待するd him to stay. Every morning at breakfast the old gentleman uttered the above morning shibboleth of England and then went to his 商売／仕事. He was the proprietor of the famous Lowestoft pottery 作品, so 結局 Conrad served his time as a Boy on a brig owned by the pottery proprietor. It made fortnightly voyages to Newcastle for coal needed by the pottery. In such coastwise service he passed the time necessary for him to become by turn A.B., second mate and master. He became a naturalised British 支配する just before passing for master...

ｧ

It was during all these years that he read. Men at sea read an inordinate 量. During the watches when they are off 義務 they can, if they are so minded, sit about by the hour with 調書をとる／予約するs, engrossed, like children. A large 百分率 of the letters received by writers from readers come from sailors either in the King's or the merchant service. Conrad had a 広大な／多数の／重要な many such 特派員s; one of his own, a 海軍の officer, the writer curiously 株d with Conrad. As each of our 調書をとる／予約するs （機の）カム out he would 令状 to its author, from off Gibraltar, from the 中国 seas, from some 太平洋の 駅／配置する—very good letters. He seemed to have no idea of any 関係 between his two addressees, but as he never gave the 指名する of a ship neither of us ever wrote to him. His letters 中止するd after 1914.

ｧ

It was Conrad's 広大な／多数の／重要な good luck to be spared the usual literature that …に出席するs on the しつけ of the British writer. He read such dog-eared 調書をとる／予約するs as are 設立する in the professional ４半期/4分の1s of ships' 乗組員s. He read Mrs. Henry 支持を得ようと努めるd, 行方不明になる Braddon—above all 行方不明になる Braddon!—the Family 先触れ（する）, rarely even going as high as the late William 黒人／ボイコット or the pseudo-literary writers of his day. He once or twice said that going 負かす／撃墜する Ratcliffe 主要道路 he was jumped out at from a doorway by a gentleman who 現在のd him with a pocket copy of the English Bible. This was printed on rice paper. He used the leaves for rolling cigarettes, but before smoking always read the page. So, he said, he learned English. The writer has always imagined this story to be one of Conrad's mystifications. 普通は he would 表明する the deepest 感謝 to the writers of the Family 先触れ（する） a 編集 of 月毎の novelettes, the grammar of which was very efficiently censored by its sub-editors—and above all to 行方不明になる Braddon. She wrote very good, very sound English; machined her 陰謀（を企てる）s inoffensively and 井戸／弁護士席; was 絶対 workmanlike, her best novels 存在 the later and いっそう少なく-known ones. Long after this period of seamanship Conrad read "The Orange Girl", a novel placed in the time of Charles II. He recognised in it, so he then said, all the 質s that he had 設立する in this 小説家's work when he had been before the mast. 行方不明になる Braddon learned Greek at the age of eighty ーするために read ホームラン in the 初めの. She died only very lately.

ｧ

From that time, for ten years, Conrad followed the sea. The 深い sea, reading all sorts of 調書をとる／予約するs. Once an officer with ４半期/4分の1s of his own he 再開するd his reading of French along with the English popular 作品. He read with the greatest veneration Flaubert and Maupassant; with いっそう少なく, Daudet and Gautier; with much いっそう少なく Pierre Loti. Tormented with the curiosity of words, even at sea, on the 利ざやs of the French 調書をとる／予約するs, he made 公式文書，認めるs for the translation of phrases. The writer has seen several of these old 調書をとる／予約するs of Conrad, 顕著に an annotated copy of "Pecheur d'Islande"—and of course the copy of "Madame Bovary" upon the end papers and 利ざやs of which "Almayer's Folly" was begun.

ｧ

Of Conrad's 深い-sea life the writer 提案するs to say next to nothing. Intimately mixed up as he was with the 令状ing of so many of Conrad's sea stories he could not disentangle to his own satisfaction which 見解／翻訳／版 of a semiautobiographic story, like "Heart of 不明瞭", was the printed story, which the 準備 for the printed story, as Conrad told it to the writer, which the 見解／翻訳／版 that Conrad told for the 楽しみ of chance hearers and which was, as it were, the 公式の／役人 autobiographic account. Occasionally, as in his account of his 会合 with Roger Casement on the fringe of the bush outside Boma, Conrad would turn to the writer and say, "You'll keep that, mon vieux, for my biography..." speaking 半分-jocularly.

ｧ

However, by a curious fatality, during the late war the writer happened to come across a largish 団体／死体 of 令状ing in the form of letters written by Conrad from 船内に ship to a compatriot. By Conrad as 政治家，政治屋, not as 船員! It was 正確に a 団体／死体 of 令状ing, since each of the letters was a sort of essay on international politics, and it was curious in that it was to all 意図s and 目的s 完全に uninteresting. It was in a sense 熱烈な in that it was filled with aspirations that 広大な／多数の／重要な Britain should join in one combination or another against Russia. She was to join Germany, Austria, フラン—any one, so long only as she fought the 耐える. But all these letters were written with a fluency, such that, had they come before the writer editorially, he would at once have thrown them into the waste-paper basket. It was as if Lord Macaulay had been 令状ing leaders for a popular paper...Before that one of Conrad's 親族s had showed the writer a number of letters that Conrad had written to the Ind駱endance Belge. These were やめる another 事柄—admirably written, intensely emotional. As if Pierre Loti had had some heart! They had in fact, as is to be 推定する／予想するd, a 広大な／多数の／重要な 取引，協定 of the 団体／死体 and 実体 of "Heart of 不明瞭."

ｧ

At both of these 文書s however, the writer did no more than ちらりと見ること. The lady had treasured up as cuttings her 甥's correspondence and, when Conrad was out of the room, 現在のd the bundle to Conrad's ami le po鑼e. He read them for perhaps half an hour before Conrad （機の）カム in again; then their author 展示（する）d so much perturbation that the writer desisted. The probability is that Conrad 燃やすd the bundle...It was very 類似の with the other letters. They were lent to the writer by their addressee at a time when the writer was 極端に 占領するd; he ちらりと見ることd at them for long enough to form the opinion 表明するd above and then put them away. Before he had had time to look at them again it occurred to him that Conrad might prefer him not to read them. He accordingly wrote to Conrad and received the answer that Conrad would 極端に prefer that the letters should not be reread and the author returned them to their owner. It is to be hoped that they will not be disinterred.

ｧ

It should not be inferred that Conrad had anything to hide. He disliked the writer's reading his 早期に 作品 out of the shyness that …に出席するs the 成熟 of every author. This writer would give a good 取引，協定 if the shelf in the British Museum that 含む／封じ込めるs his 早期に writings could be 燃やすd, and Conrad would occasionally say that the idea of the writer or any one else reading 確かな of the stories of "The Outpost of 進歩" or even 確かな paragraphs of his later work 原因（となる）d him to have 議長，司会を務める de poule all 負かす／撃墜する his spine. It is like a feeling of physical modesty.

ｧ

However, in moments more 強健な he would 宣言する that the articles in the form of letters were remarkable 生産／産物s. He would remind the writer of his aunt's 表明するd opinion that those letters formed magnificent prose; and in moments of 不景気 over his then work he would 宣言する that what he had written in French before ever trying English was infinitely above anything he could do in the inexact, half-baked language that English was. He put it that the idea of really 令状ing English—an English that should have an がまんするing value—never appeared to him practical whilst he was at sea. He would 令状 essays and long letters with the idea of 改善するing his vocabulary for social occasions. Then, one day, 令状ing an imaginary letter to the Times about some 事柄 professional to the British 商業の 海洋, he felt as if he had really "bitten into his pen."...The earlier letters at which the writer ちらりと見ることd 十分に 確認するd this. It was not that they were bad: they were just glib.

ｧ

At what moment of 令状ing or reading on the 橋（渡しをする）, in what harbour Conrad thus 設立する the 宗教 of English prose the writer does not remember. It was probably in Sydney during a period in a convalescent home. It comes 支援する that this is what Conrad said, but that may very 井戸／弁護士席 be a mistake...Conrad, however, used to say that in that convalescent home they were fed on tomatoes and milk, a horrible combination; occasionally also he used to say that his 早期に work was like tomatoes and milk taken together. A horrible combination! he would 追加する...Or, of course, the 発覚 of his 力／強力にするs may have come to him in Rouen.

ｧ

Anyhow, somewhere on the dark waters Conrad 設立する 宗教.

ｧ

We had left Lowestoft and passed for master...We made the voyage in the Judea, Do or Die—現実に the パレスチナ—that you find narrated in "青年." In the East we passed so and so many years. You find the trace of them in "The End of the Tether", to go no その上の outside "The 青年" 容積／容量. We 命令（する）d the Congo 解放する／自由な 明言する／公表する 海軍—for the sake of "Heart of 不明瞭." So we have the whole gamut of 青年, of fidelity and of human imbecility...And if the writer 令状 "we"—that is how it feels. For it was not possible to be taken imperiously through Conrad's life, in those unchronological and 燃やすing passages of phraseology, and not to feel—even to believe—that one had had, oneself, that experience. And the feeling was 高くする，増すd by Conrad's 影響する／感情ing to believe that one had, at least to the extent of knowing at all times where he had been, what seen, and what 成し遂げるd.

ｧ

The scenes of Conrad's life as afterwards （判決などを）下すd, say in "Heart of 不明瞭", are really as vivid in the writer's mind from what Conrad said as from what Conrad there wrote. It is a curious 事件／事情／状勢. 現実に under the writer's 注目する，もくろむs are the 有望な, lit-up 重要なs of a typewriter. Yet perfectly definitely he sees both the 内部の and the outside of a palm-leaf hut, daylight 向こうずねing through the interstices. A man lies on the 床に打ち倒す of the hut, reaching に向かって a pile of condensed milk tins. The man is half in 影をつくる／尾行する—half Conrad, half the writer; too tall for Conrad; stretched out a 十分な eight feet, trunk and 武器. Outside an 巨大な grey tide, the other shore hardly 明白な: a few darkish trees of 不規律な 輪郭（を描く）. And a man—coming. In a planter's dress: breeches, leggings, a flannel shirt, a sombrero...Some time before he had 解除するd up the 支店s of the forest on the opposite shore and looked across at our hut...He makes a 解雇する／砲火／射撃 and gives us some soup...He comes once a fortnight...

ｧ

We had been at the sources of the Congo: nearly to Fashoda, says the ungeographical part of our minds that once pored over a 地図／計画する of Africa to see everywhere Terra Incognita—in the eighties—-and that has never again looked at a 地図／計画する of Africa. We had belonged to the 人道的な Party. The 人道的な Party did not 認可する of feeding our 黒人／ボイコット 軍隊／機動隊s on 黒人／ボイコット 囚人s; the 保守的なs did. So the 保守的なs had 毒（薬）d us or something the 同等（の）. And had put our quasi 死体 in 告発（する），告訴（する）／料金 of native 持参人払いのs to take us, dead or alive, 負かす／撃墜する to Boma on the coast. It was all one to the natives whether at Boma they 配達するd us quick or dead: they were paid the same.

ｧ

Half 負かす／撃墜する the Congo they had 捨てるd us in a hut that was a （武器などの）隠匿場所 for condensed milk. They had gone away for a fortnight to their own village...We 抽出するd the condensed milk from the tins by suction, having first pierced them with a pocket knife...The condensed milk was the very antidote for the 毒（薬）!...The 持参人払いのs, 黒人／ボイコット, their white teeth protruding, come 支援する, not displeased to find us alive. Not pleased...Astonished!...They carried Conrad 負かす／撃墜する to Boma, a sweltering collection of tin huts. The Bomese took 広大な／多数の／重要な 苦痛s to keep you alive: you must die at sea, さもなければ the death 率 of the Congo 解放する／自由な 明言する／公表する rises by one...

At Boma then, listless from the abominable huts, we strolled out one day along the coast, between the satin sea and the steaming trees. A man, with the sunlight on his 直面する, in white tennis shoes, with two bulldogs at his heels, stepped out of the dark forest. He said Hullo! He had strolled across Africa from the Zanzibar 味方する in his tennis shoes, with no 持参人払いのs, no 護衛する but his bulldogs, no 武器. He had such a fascination for the 黒人／ボイコット fellows. That was Roger Casement...There was a 広大な／多数の／重要な 取引，協定 of light, the sky blue, the sea dove-coloured and oily, the forest blackgreen, a 塀で囲む; the beach pink; the bulldogs 衝突，墜落d over it to 匂いをかぐ at our heels...

ｧ

It was in pictures like that that the writer had Conrad's life, up to about the time when we engaged on "The Inheritors." Half of it （機の）カム in a shyish way, for biography, half in pictures, the result of 逸脱する anecdotes. Thus if one or other of us happened to be nervous from overwork and we talked of 神経s Conrad would say, "By Jove, after I （機の）カム out of the Ospedale Italiano and went into the City to draw some 支払う／賃金, I was so 脅すd at the ゆすり on the 地下組織の that I had to 嘘（をつく） 負かす／撃墜する on the 床に打ち倒す of the compartment. 神経s all to pieces..." So the writer has his picture of Conrad lying between the seats on the things like duckboards that used to 床に打ち倒す the old 地下組織の carriages; it was only by 合同s before and after that he pieced together that Conrad went into the Italian Hospital for Seamen in London after coming 支援する from Boma and that from there he went to Switzerland, to the hydrotherapy 近づく Geneva in which Maupassant died.

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All to pieces as he then was he had to think of how he was going to 雇う the 残り／休憩（する） of his life. For に引き続いて the sea he imagined that he would be no longer fit. When he was a little better he saw on the bookstall of Geneva 駅／配置する those yellow 容積／容量s. The sight of them and the thought of Maupassant made him say, "By Jove! Why not 令状?" When he had settled that he might 令状 he had to settle in which language his 令状ing should be. There were French and English. In English there were no stylists—or very rare ones. French bristled with them. When he made the 決定／判定勝ち（する） to 令状 in English the writer does not know. He used to say that it was in Rouen harbour, opposite the hotel in which Emma Bovary had been accustomed to 会合，会う Rodolphe.

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Here, looking out of his porthole across the frozen ground at the inn door, he began translating phrases from the scene between Rodolphe and Emma at the cattle show. He said that he began with Rodolphe's formal phrases of romantic love that were whispered between the 告示s of prizes for bullocks and so, working outwards, reached the blanker pages of cover, 肩書を与える and half-肩書を与える pages. On these he began "Almayer's Folly." He was reading at the

In the sad years for Europe, Conrad wrote a passage 否定するing the 声明 made by some one somewhere in print that he had had to choose between 令状ing in French or English. He 明言する／公表するd that from the first English had jumped at him and held him. This was a politeness to England at a time when extravagantly 愛国的な pronouncements were called for from persons of foreign origin: Henry James imagined the beau geste of naturalising himself as a British 支配する 事実上 on his deathbed, Conrad this other. From the 国家の point of 見解（をとる） it was 望ましい, from the point of 見解（をとる） of literary precision, to be regretted. For it is obvious that any one who 熟視する／熟考するs 令状ing and is 事実上 bi-lingual must from time to time hesitate as to in which language he will 令状. The writer has to make the choice every morning. He had to make the choice on the morning after the day on which he learned of Conrad's death. That was a choice a little more 限定された than that Conrad made—but not much more. His relations and 関係s in Belgium certainly 圧力（をかける）d him to 令状 in French before he even thought of 令状ing in English. Of that the writer was 保証するd by Conrad's aunt, who regretted to the last that Conrad chose to 令状 in a language that （判決などを）下すd him inaccessible to what she considered to be the civilised world. She herself wrote several novels, 顕著に for the Revue des deux Mondes.

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The point is of no 広大な／多数の／重要な importance. 明白に if, as Conrad frequently 主張するd, the first English words that he ever heard were the 詩（を作る）s 含む／封じ込めるing the pious aspiration, "We've fought the 耐える before, and so we will again, the ロシアのs shall not have Constantinople!" Those words might 井戸／弁護士席 jump at a young 政治家, sick to 参加する politics. What is 構成要素 is that Conrad always knew French much better than he knew English. This only 高めるs the glory of his 業績／成就s in our language. In French he was perfectly fluent, in English never; abroad he was 絶えず taken for a Frenchman; no one could ever have imagined him English from his speech or 耐えるing. Those points again are of no importance: what is miraculous is that he took English, as it were by the throat and, 格闘するing till the 夜明け, made it obedient to him as it has been obedient to few other men. The fact is 驚くべき／特命の／臨時の, but not 理解できない. The writer 令状s French better than he does English, not because he knows French better, but 正確に because he knows French worse; in English he can go gaily on exulting in his 絶対の 命令（する） of the tongue. He can 令状 like the late Mr. Ruskin or like the late Charles Garvice, at will. In 令状ing, but not in speaking French, he must pause for a word; it is in pausing for a word that lies the 救済 of all writers. The proof of prose is in the 百分率 of 権利 words. Not the precious word; not even the startlingly real word.

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We once discussed for a long time whether Conrad should 令状 of a 確かな character's oaken 決意／決議. As a picturesque adjective "oaken" has its attractions. You imagine a foursquare, lumpish fellow, inarticulate and apt to be mulish, but of good 良心. The writer must 明白に have 示唆するd the adjective. We turned it 負かす／撃墜する after a good 取引，協定 of discussion, the writer 存在 against, Conrad for, its use. Conrad liked its picturesqueness and was always apt to be polite to the writer's suggestions. He could afford to be. We decided for "stolidity" which is more 静かな in the phrase. 結局 the whole 宣告，判決 went...The story was Conrad's "Gaspar Ruiz." That is a 公正に／かなり exact 見本／標本 of the way we worked during many years...

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Conrad then, in Rouen harbour, decided that he would 令状 調書をとる／予約するs in English. From that point the に引き続いて episodes come 支援する to the writer from Conrad's recounted autobiography. He lay for long in that port, because the ship upon which he 設立する himself as master had been 掴むd by the 郡保安官's officers, for 負債. Not of course for Conrad's 負債. The ship was one of a 事業／計画（する）d French Rouen-to-New York line that never got beyond that one ship, and that one ship lay there for a long time, the financier having failed to raise 資本／首都 enough...There comes in here another rather curious coincidence between the career of Conrad and the writer; it cannot unfortunately be narrated for the moment, one of the parties 関心d 存在 out of reach and probably still alive...推定では, however, if two people knock about the world in 類似の 地区s for a number of years before acquaintanceship, they will come very 近づく touching 手渡すs several times all unconsciously...

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徐々に, then, Conrad seemed to lose touch with the open sea. There opened up more and more glimpses of shore careers, so that of those 比較して later days the 記録，記録的な／記録する would seem to be one of abortive voyages...Thus the writer remembers with peculiar vividness a 電報電信 coming to Captain Conrad, telling him to assume 命令（する） of a ship taking in 貨物 in Antwerp harbour, and a 旅行 out in midwinter...But it is only a vignette of a wintry port with icy arc lamps amongst 明らかにする trees over 黒人／ボイコット water: the stowing was 存在 done all wrong, the ship 存在 a bad one to 転換 her 貨物. That was 明らかに why Conrad had been called in. Whether she ever went to sea remains as a blank in the writer's mind.

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By all accounts Conrad was a very efficient master—but extravagantly nervous about 詳細（に述べる）s. All the several officers who once sailed with him have narrated the same thing to the writer. Conrad would indulge in 極端に dangerous manoeuvres, going about within knife-blades of deadly shores whilst his officers and 乗組員 shivered; but over very small 詳細（に述べる）s of the stowing of spars and the like he would go out of his mind and 断言する the ship to pieces. In the same way, in 令状ing he would attack 支配するs almost impossible and go mad over a 宣告，判決; or, in 運動ing, he would shave 石／投石する 地位，任命するs like a madman, and then 悪口を言う／悪態 the stable-boy for letting him come out with the old instead of the new whip...You get an account of a going-about in "The Secret Sharer." It is, however, possible that the minuteness of 詳細（に述べる） on which, によれば his officers, Conrad so 主張するd on board was not so very minute.

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There is for instance the story of the Conway boy. This Conrad was fond of relating as an instance of the 完全にする want of any sense of 責任／義務 in the character of the English—or at any 率 of the English when young. Conrad had then with him on a 大型船 in （米）棚上げする／（英）提議する Bay a third mate, or perhaps an 見習い工, who had just come from the Conway training ship. Bad 天候 appeared to be coming on and Conrad asked the boy if he had seen the cables 適切に stowed. The boy answered that he had. The 推定する／予想するd 強風 （機の）カム on, blowing in-shore. It was necessary to let go another 錨，総合司会者. As the cable ran out one of its links jammed...The writer does not profess to understand this technical 詳細（に述べる）...The ship at any 率 was in 切迫した danger 借りがあるing to the neglect—the sheer irresponsibility—of that Conway boy. The Conway boy, at frightful 危険, jumped on the cable and kicked the link into place, saving the ship...Conrad used to comment that it was unimaginable that any French boy would have neglected the 監督 of that cable; had he done, however, the impossible, and so neglected, he would probably not have jumped on the cable. He would have committed 自殺, out of shame and knowing that his career was ended...It might have been better to have jumped on the cable first, and then committed 自殺. The 事柄 under consideration was, however, 責任／義務...

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If then one of the officers who had sailed with Conrad and afterwards talked with the writer happened—as the writer 堅固に 嫌疑者，容疑者／疑うd—to have been that Conway boy it is not ありそうもない that he would 大きくする on Conrad's hypercritical attention to 詳細（に述べる）. The people you have strafed—and Conrad said he strafed that boy until he precious nearly 手配中の，お尋ね者 to commit 自殺—井戸／弁護士席, they take it out of you like that afterwards. That is only human nature.

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At any 率 Conrad, by all accounts, was a very admirable officer. Yet he hated the sea...Over and over again he 関係のある how 圧倒的な, with his small stature, he 設立する 交渉s with 激しい spars, stubborn cordage and 黒人／ボイコット 天候. He used to say, half raising his 武器, "Look at me...How was I made for such imbecilities? Besides, my 神経s were for ever on the ゆすり..." And he would recount how, when he had been running up the Channel on a moonlight night, suddenly, 権利 under the foot of the Torrens, there had appeared the ghostly sails of a small 大型船. It was, he used to say, something supernatural, something of the sort that was always happening at sea. He said it wasn't so much that his heart was in his mouth for the seconds it took that 大型船 to （疑いを）晴らす; it remained in his mouth for months after. It was there yet when he thought of it...

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On the outward voyage of the Torrens he had had as a 乗客 Mr. Galsworthy, going to the Cape. They had confided in each other shyly—each of them was 令状ing!...From that sprang up a friendship that was lifelong...The bustle that arose in the Pent when Conrad, 開始 a letter, exclaimed, "Hurray...Jack's coming 負かす／撃墜する!" The 損なう would have to go 負かす／撃墜する to Dan West's at Hythe half a dozen times that day...Once Mr. Galsworthy, arriving at Sandling Junction, 設立する the 罠（にかける） too 負担d. He ran beside it all the two and a half 上りの／困難な miles to the Pent, talking pleasantly as he trotted. The writer has never seen anything so effortless, for Nancy went やめる 井戸／弁護士席, long ears and all...That became one of the 伝説の feats of the Pent along with the writer's long 発射 at the ネズミ...It was the better 業績／成果...It is a pity that there is no feat of Mr. Robert Bontine Cunninghame Graham's to 始める，決める beside it. That mighty horseman also, with a letter 発表するing a visit, could wake up the studious Pent as a junction springs into life at the coming of a 広大な／多数の／重要な mail train...Conrad had very good friends.

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Other 出発s from the sea of which Conrad liked to talk and which the writer could never chronologically disentangle were his caretaking of a 倉庫／問屋 on the Thames beside one of the 橋（渡しをする）s...London 橋（渡しをする） probably...and his floating with Mr. Fountain Hope of a South African gold 地雷...Why Conrad should have 設立する the superintending of a 倉庫／問屋 that transshipped tinned meat attractive the writer does not know. Or perhaps he does. At any 率, Conrad talked of that time with enthusiasm as a period of fun. He had been 設立する the 職業 whilst waiting for a ship by a friend with a 指名する like Krieger, with whom he afterwards lost 接触する. Occasionally Conrad would ask, "What's become of Krieger?"...They enjoyed themselves together in a jack-岸に way, going to the 王室の 水槽 in the evenings or sitting on バーレル／樽s in the tobacconist's shop just 近づく Fenchurch Street 駅／配置する—a 広大な／多数の／重要な place to hear of a ship. Once when we were going to see Captain Hope—another good friend of Conrad's—at Stanford le Hope, Conrad pointed out to the writer 示すs that he 申し立てられた／疑わしい his feet had kicked in that tobacconist's 反対する-前線...No 疑問 other sea captains を待つing ships had borne their part.

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In Fenchurch Street and 特に in the 駅／配置する, Conrad was a different man—with his echoes! The 暗い／優うつな light でっちあげる，人を罪に陥れるd him very 適切な; truculences （機の）カム into his 発言する／表明する; he knew all the 妨げる／法廷，弁護士業s and became at once the cityman gentleman-adventurer with an 注目する，もくろむ for a skirt that hadn't 乱すd the dust that twenty years. He had to have from that tobacconist a handful of cigars—he who never smoked anything but innumerable half cigarettes from year's end to year's end, lighting up and almost すぐに throwing away to light up again. There is no 駅／配置する like Fenchurch Street on the road to Tilbury. Conrad could tell you where every husky earringed fellow with a blue, white-spotted handkerchief under his arm was going to...It most impressed the writer that in the 駅／配置する barber's shop was a 掲示 that read: Teeth 規模d two shillings, extractions sixpence...To come home from the 広大な／多数の／重要な waters to that!

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In that mood must have been Conrad's city adventure. It was perhaps the third fortune that he lost. He, Mr. Hope and a brother—Mr. Hope may 井戸／弁護士席 訂正する the 詳細（に述べる）s: this is the saga told in Fenchurch Street. (Do you know the story of Grunbaum who asks Klosterholm: Is it true the story that I hear that Solomons made forty thousand dollars in St. Louis in the 小売 着せる／賦与するing 貿易（する）? 井戸／弁護士席, replies Klosterholm, the story is true, it's the 詳細（に述べる）s are wrong. It wasn't in St. Louis but in Chicago. It wasn't in the 小売 貿易（する） but in the 卸売. It wasn't forty thousand dollars, but a hundred and forty thousand. It wasn't his money, but 地雷. And he didn't make it; he lost it.) Conrad, then, Mr. Hope and a brother had 火刑／賭けるd out in the South African gold fields a （人命などを）奪う，主張する to about a third of what is now the De Beers 地雷. They （機の）カム to London to float a company at the time of the にわか景気 in South Africans. Their solicitor, to begin with, with all the 行為s, was lost in the Kinfauns 城. Before they could get others the にわか景気 was on the 拒絶する／低下する; by the time they were ready for flotation the 底（に届く） dropped out of the market. One of the ゆすり，恐喝ing bucket-shopkeepers, who seem 不可欠の as members of the British and all other 議会s, turned his attention to Conrad and Company. He 需要・要求するd money as the price of a good 報告（する）／憶測 in his ゆすり，恐喝ing sheet. The adventurers told him to go to hell. The prospectus of their 地雷 was printed by the same 会社／堅い as printed the ゆすり，恐喝ing sheet. When the prospectus （機の）カム out the little red patch on the 地図／計画する that should have showed the Conrad-Hope 所有物／資産／財産 was 井戸／弁護士席 away in the 領土 of another company. The blackmailer in his sheet jubilantly pointed out that the 地雷 must be 偽の...They went にもかかわらず to flotation...

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Conrad used to 述べる how, having 問題／発行するd their prospectus on the day of flotation, they sailed the Thames, jubilant in a steam 開始する，打ち上げる with cigars, シャンペン酒, plovers' eggs in aspic...God knows what. They were to step 岸に millionaires...They stepped 岸に to find the flotation a 悲惨な 失敗. Only one hundred and eighty—some fabulously small number—株 had been subscribed by the public.

That was Conrad's last 商業の 投機・賭ける. Whether he telegraphed again to his uncle he never said...Let us imagine for a moment's pause what would have become of British Literature if that flotation had 後継するd...For Conrad was certainly a magnificent 商売／仕事 man of the imaginative type. It might 井戸／弁護士席 have been Park 小道／航路 instead of the Pent. For Conrad hated 令状ing more than he hated the sea...Le vrai m騁ier de chien!

Part II. EXCELLENCY, A FEW GOATS.

I.

We come thus to the life 純粋に literary.

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After two and a half years we had abandoned "Romance": the problem of how to get John Kemp out of Cuba had grown too difficult. The writer's 発明 at any 率 had failed and Conrad was too 伴う／関わるd with his own work to do any inventing. Looking 支援する, the period in which slowly we dragged out that preposterous 一連の fatalities seems one of long bush-fighting: as if we were （疑いを）晴らすing a piece of land in which the vegetation grew faster than could be dealt with by such cutting 器具s as we had.

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It is not to be imagined that we spent the whole of our times upon this 企業; we each at intervals carried on work of our own. Then we would 減少（する） it, have another month's try at "Romance." Then 減少（する） that again...Or いつかs one of us would 令状 his own work in the morning; the other would 令状 away at "Romance"; in the evenings and till far into the night we would join up. We 追求するd this monstrous 請け負うing all over the shores and 近づく-shores of the British Channel; at the Pent, 近づく Hythe in Kent; at Aldington; at Winchelsea in Sussex; in Bruges...The most terrible struggles of all took place in a 風の強い hotel at Knocke on the ベルギー coast, with a contralto from Bayreuth practising in the 地階. Her 発言する／表明する literally shook the flimsy house. Whilst we wrote or groaned on the fourth 床に打ち倒す the glasses on a tray jarred together in sympathy with the contralto passages of "Die Goetterdaemmerung"...And there was a child very ill, with only ベルギー doctors; abscesses in the jaw and no dentist; gout; frigid rooms into which blew the sands from Holland; intolerable 勝利，勝つd; interminable gusts of rain...It is thus the world gets its masterpieces. Conrad was then beginning "Nostromo" in the mornings: it was going to be a slight 調書をとる／予約する and very quickly finished—to make a little money.

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It was, however, before that that we abandoned "Romance." We took up "The Inheritors", a queer, thin 調書をとる／予約する which the writer has always regarded with an 激しい dislike. Or no, with 憎悪 and dread having nothing to do with literature. What they have to do with he cannot say; some obscure nervous first 原因（となる）, no 疑問, that could not 利益／興味 any one but a psychopathic 専門家.

Conrad had 非，不，無 of these feelings 明らかに. The writer's dislike for the 調書をとる／予約する began as soon as the last word was written, so that he managed to 転換 the 重荷（を負わせる） of proof-訂正するing—which Conrad rather liked—On to his 協力者's shoulders and from that day to this has never looked at the 調書をとる／予約する. When then, during the 早期に days of the late European struggle we met finally to settle up さまざまな 事柄s, and when Conrad said, "As to 共同s, when it comes to our collected 版s, you had better take 'The Inheritors' because it is 事実上 all yours, and that will leave me 'Romance'—not that 'Romance' isn't 事実上 all yours too" (Conrad talked like that!), the writer was very pleased. His 意向 was to 抑える the 調書をとる／予約する. He imagined that Conrad disliked it as much as he did himself, and was just turning it over with polite contempt. So it would never have appeared in either of our collected 版s and would remain unobtainable until, with the 満期 of copyright, some German 研究-労働者 might dig it up and make a 小冊子 out of it.

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However, a little later, Pinker, having been 知らせるd that the writer was dead or in an 亡命, made in America a 契約 for the collected 版 of Conrad, 含むing all our 共同s past and to come. Thus, before the writer knew anything about it, there "The Inheritors" was, out again, not 単に in one, but in three 版s. He happened then, rather with 悔いる, to について言及する the republication to Conrad as a thing that he supposed Conrad had not been able to 妨げる. Authors are 軍隊d by スパイ／執行官s and publishers into the republication of all sorts of 作品 they may wish to 抑える—in the 利益／興味s of a sacred "completeness." Conrad, however, 発言／述べるd with a 広大な／多数の／重要な 取引，協定 of feeling—with more feeling than the writer さもなければ remembers in him—"Why not? Why not republish it? It's a good 調書をとる／予約する, isn't it? It's a damn good 調書をとる／予約する!" And the writer let the 事柄 go at that—rather than 暗示する that Conrad would have 始める，決める his 指名する to a 調書をとる／予約する that he did not consider good, or even damn good. He had ーするつもりであるd to raise the 事柄 later so as 絶対 to 保証する himself as to what really was Conrad's 見解（をとる） of this work. But that is too late now. It must remain as Conrad's opinion that the 調書をとる／予約する is a damn good one.

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That 存在 so we had better go on a little to consider the exegesis of this work...We had abandoned "Romance"; the writer had just finished a preposterous work 趣旨ing to be a history of the Cinque Ports in elephant folio. In 復讐 it was written 完全に in 宣告，判決s of not more than ten syllables. The South African War was there—or thereabouts, the writer 存在 an excited 平和主義者 whose hat was from time to time bashed in by still more excited 愛国者s. Conrad was engaged with the end of "Heart of 不明瞭", with thinking out "台風" and with 令状ing "Amy Foster", a short story 初めは by the writer which Conrad took over and 完全に rewrote. The writer, in ありふれた with Conrad, had a 広大な／多数の／重要な 賞賛 for Mr. Balfour; the writer at least had a 深遠な detestation for the late Mr. Chamberlain who, off his own bat, had 原因（となる）d the war. How Conrad felt に向かって the late Mr. Chamberlain the writer does not remember. He was certainly more Imperialistic than the writer...

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Since it may seem 半端物 to the reader that one author, living in の近くに intimacy with another author, should not know what were his friend's 見解（をとる）s upon a point of politics so important as a war it might be 同様に to say a word or two upon how we did live together. Our 関係s were, then, curiously impersonal: never once did the writer ask Conrad a question as to his past, his 倫理的な or 宗教的な 見通し or as to any intimate point of his feelings or life. Never once did Conrad ask the writer any such question. Never once did we discuss any political 事柄.

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We met at first as two English gentlemen do in a club: upon that 地盤 we continued. We took it for 認めるd that each was a gentleman, with the feelings, 見解（をとる）s of the world and composure of a member of the 判決，裁定 classes of the days of Lord Palmerston—tempered of course with such eccentricities as go with the spleen of the milor anglais. Such eccentricities we 許すd each to the other, but without question. Thus during the South African War, as has been said, the writer was an active and いつかs uproarious 平和主義者. Not a プロの／賛成の-Boer; he would have hanged 大統領 Kruger on the same gallows as Mr. Chamberlain. Or, later, with an equal enthusiasm he supported 行方不明になる Christabel Pankhurst and the Suffragettes. Now and then on idle occasions after lunch he would declaim about either of these 原因（となる）s. Conrad would listen.

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From time to time, 特に whilst 令状ing "Heart of 不明瞭", Conrad would declaim passionately about the 暗い／優うつな imbecility and cruelty of the ベルギーs in the Congo 解放する／自由な 明言する／公表する. Still more would he so declaim, now and then, after he had been up to London and had met Casement, who had been British Commissioner on the Congo and was passionately the 支持する／優勝者 of the natives. Then the writer would listen.

ｧ

If Conrad 異なるd from the writer he never argued, nor did the writer ever argue with Conrad. Once in his hotter 青年—though he would do the same in his sober age!—the writer put his 指名する 負かす／撃墜する as willing to go with a 割れ目-brained 探検隊／遠征隊 to German Poland ーするために fight the Prussians, and Conrad never so much as remonstrated, though he 表明するd 暗い／優うつな 予期s as to what would happen to that 探検隊／遠征隊. The writer's ambition, however, was to fight the Prussians; to that Conrad 申し込む／申し出d no 反対...

ｧ

Or, again, the writer never in his life uttered one word of personal affection に向かって Conrad. What his affection was or was not here appears. And Conrad never uttered one word of affection に向かって the writer: what his affection was or was not will never now be known. Conrad was infinitely the more lavish of 賞賛する of his 協力者's 調書をとる／予約するs: so lavish that at times the writer would feel like a fatuous Buddhist idol whilst Conrad went on. The writer on the other 手渡す supposes that Conrad gathered somehow how 深く，強烈に his work was admired by his companion. Perhaps he did, perhaps he did not; that, too, will never now be known. The writer cannot remember ever to have 演説（する）／住所d any 特に moving 賞賛する to Conrad as to his work—except in his last letter but one...

ｧ

It is that that makes life the queer, 独房監禁 thing that it is. You may live with another for years and years in a 条件 of the closest daily intimacy and never know what, at the 底（に届く） of the heart, goes on in your companion. Not really.

ｧ

So there we lived, the two English gentlemen, the one bobbing stiffly to the other, like 蜜柑s...Our politics were what they were; our creeds were what they were. Out of the 忠義 that is 需要・要求するd of gentlemen we were both papists—but not the faintest 微光 of an idea is in the writer's mind as to what might have been the 宗教的な 条件 of Joseph Conrad, except that, when out 運動ing, he would turn 支援する rather than 会合，会う two priests. That is a ポーランドの（人） superstition. Once in our lives the writer 演説（する）／住所d a remonstrance—a reproach—to Conrad. That has been already 関係のある. Once Conrad did the same to the writer.

ｧ

That was very characteristic. Conrad had very 堅固に the idea of the Career. A career was for him something a little sacred: any career. It was part of his belief in the shipshape. (The reader must not believe that, though we did not question each other, we did not 任意に and at times the one to the other 表明する our 熱烈な beliefs.) A career was a thing to be carried through tidily, without mistakes, as a ship is taken through a voyage and stowed away 安全に in a port. So one day, when the writer had both started a Review and permitted some one to make a very indifferent play out of one of his novels that was then 存在 にわか景気d by an enthusiastic 圧力（をかける）, Conrad 前向きに／確かに 演説（する）／住所d a letter of serious and formal remonstrance to the writer.

ｧ

But Conrad had certainly intensely disliked the English Review, if not for its contents of 行為／行う, then for its 影響 on the writer's career. With a 広大な／多数の／重要な 取引，協定 of perspicacity he pointed out that it is 廃虚 for any imaginative writer to edit any sort of 定期刊行物. In the first place it is a waste of time; in the second place it raises for you such hordes of enemies that 結局 they will bring you 負かす／撃墜する—or very nearly. All the writers you discover or 利益 will become your bitterest enemies, as soon as your 関係 with a public 組織／臓器 中止するs—or sooner! That is human nature. Even Benjamin Franklin 観察するs that his eminently successful career was made by very carefully putting himself in a position to receive—as often as not—unneeded 利益s. He thus made for himself so many patrons who gave him friendly 押すs on the way, whenever the 適切な時期 occurred. And, by never conferring 利益s, or by very skilfully obscuring the origin of such 利益s as he did 会談する, he made for himself no enemies at all...In 新規加入, Conrad continued, every soul who has ever written a favourable 公式文書，認める about you will deluge you with his manuscripts. You will be unable to print them; you will have so many thousands to call you base ingrate in 私的な and to 石／投石する your work before the public—again, as soon as you have no 組織／臓器 of your own in which to 復讐 yourself...

ｧ

But even 行為／行うing a review was as nothing to the sin of 許すing an indifferent play, made from one of your novels, to be produced. In that day, in England, all 小説家s were obsessed by the idea that if they could only get a play produced, fame, fortune and eternal tranquillity, beyond the 範囲 of all temporal griefs, would be for ever theirs. A novel may earn its hundreds. A play—even an 不成功の play—will earn thousands; the 領収書s for a successful play run into the tens and hundreds of thousands. In 新規加入, in England at that date there was a glamour of its own 大（公）使館員ing to the Play. Even the Lord Chamberlain's 検閲 was nearly almost 廃止するd. There was something sacred about it.

ｧ

The writer was 事実上 the only British 小説家 who did not catch that malady. It 毒（薬）d the whole of Henry James's after life; even Conrad was not 免疫の. The writer was—and he got it in the neck, as the phrase is. There was never—there was never such a debacle as was that novel dramatised. It 含む／封じ込めるd five 行為／法令／行動するs, each of innumerable scenes; the curtain was 負かす／撃墜する for twice as long as it was up; it played from 8 till 12.15. Not ten people remained till the end. The 圧力（をかける） next day was livid with 激怒（する） at the writer for daring to 令状 a play without having 熟考する／考慮するd the technique of the 演劇. The writer's 関係 with the English Review had just come to an end. He had had nothing to do with that play. It had been 抽出するd from his novel by a dramatist. The writer had never even seen a rehearsal.

ｧ

The writer did not mind; Conrad did. He minded horribly. Coming 負かす／撃墜する from Town the day after he had received that letter, the writer just について言及するd its 歓迎会, and left it at that. Conrad did not. He repeated the contents of the letter all over again: the writer was 廃虚ing his career. The writer said that he did not care. At that Conrad 苦しむd really as much as he had 苦しむd during the reading of the first 草案 of "Romance." It was in the same department of 苦しむing. He sat, rather curled up in the corner of a sofa, sick-looking and wincing, 紅潮／摘発するd, and his eyebrows 契約d downwards.

ｧ

A でっちあげる，人を罪に陥れる of mind, a conception of life, によれば which a man did not take 在庫／株 of the results of his 活動／戦闘s upon himself, as it were at long 範囲, was something that he had never 熟視する／熟考するd. As he saw life, you wrote a 調書をとる／予約する, lived circumspectly, 避けるd making enemies, meddled only with what すぐに 関心d you; or you passed for second mate, lived circumspectly, 避けるd making enemies, 関心d yourself only with your ship and ship's company...Then you could 予知する that in ten years' time, in fifteen, in twenty, you would be 促進するd to the 命令（する） of the Torrens, the finest sailing ship afloat; to be commodore of a 広大な／多数の／重要な line; to be an 年上の brother of the Trinity House...Or the Times would salute you as a 広大な／多数の／重要な light in the literary firmament; you would become the doyen of British letters and an 名誉として与えられる member of the French 学院; you would have a 記念の service in Westminster Abbey. Or even be buried there: an aspiration the fulfilment of which was forbidden to Nelson...He 願望（する）d the shipshape life.

ｧ

That any one—any soul—could be indifferent to these honours was new to him, and terribly painful. He had taken it as so for 認めるd that all proper men deserved this tranquil and as if British peacefulness!...In the same way in His Majesty's Army it has to be taken for 認めるd that every officer 願望（する）s 昇進／宣伝 to the 階級, 結局, of 名誉として与えられる 陸軍大佐 命令（する）ing his 連隊. Life could not さもなければ go on. That any officer should be indifferent to 昇進／宣伝 then becomes painful: as if you should not care about the dressing of the men of your 部隊 upon 査察 by the Field 保安官 命令（する）ing-in-長，指導者...It is, in 影響, the same 罪，犯罪 as not squeezing the last 減少（する） of 血 out of your 支配する when you are 令状ing a 調書をとる／予約する: the real 罪，犯罪 against the 宗教上の Ghost.

ｧ

For that 罪，犯罪 推定では is neither more nor いっそう少なく than to be out of harmony with the universe, and for Conrad the universe was the shipshape. Any soul wandering outside that corral in the abyss was for him a 事柄 純粋に of 暗い／優うつな 無関心／冷淡..."The fellow 簡単に does not 存在する!" That was the 決まり文句／製法...That any one with whom he was on 条件 of intimacy should, all unsuspected, 持つ／拘留する such a philosophy was to him unspeakably painful—as if it were a treachery to the British 旗. It was as unspeakably painful to him when later Casement, loathing the ベルギーs so much for their 治療 of the natives on the Congo, took up 武器 against his own country and was, to our eternal discredit, hanged, rather than 発射 in the 試みる／企てる to escape...We might have 達成するd that 成果／努力 of our 木造の imaginations...

ｧ

It will be 同様に to 試みる／企てる here some sort of chronology. This is a novel 正確に／まさに on the lines of the 決まり文句／製法 that Conrad and the writer 発展させるd. For it became very 早期に evident to us that what was the 事柄 with the Novel, and the British novel in particular, was that it went straight 今後, 反して in your 漸進的な making acquaintanceship with your fellows you never do go straight 今後. You 会合，会う an English gentleman at your ゴルフ club. He is beefy, 十分な of health, the moral of the boy from an English Public School of the finest type. You discover, 徐々に, that he is hopelessly neurasthenic, dishonest in 事柄s of small change, but 突然に selfsacrificing, a dreadful liar, but a most painfully careful student of lepidoptera and, finally, from the public prints, a bigamist who was once, under another 指名する, 大打撃を与えるd on the 在庫／株 交流...Still, there he is, the beefy, 十分な-fed fellow, moral of an English Public School 製品. To get such a man in fiction you could not begin at his beginning and work his life chronologically to the end. You must first get him in with a strong impression, and then work backwards and 今後s over his past...That theory at least we 徐々に 発展させるd.

ｧ

At the beginning, then, of this 一時期／支部 we had arrived at the year 1900 or so. We went to Knocke in Belgium and took up "Romance" once more, probably a year or so later; but Conrad's letter as to an 危うくするd career was not written until about 1908. It comes in here as a light upon what did, upon what can have induced Conrad to 願望（する） to take a 手渡す in the 生産／産物 of the 調書をとる／予約する called "The Inheritors."...

ｧ

Since the beginning of this 一時期／支部 the writer has read a 十分なこと of that work to 満足させる him as to what it was all about. The 過程 was distasteful, but the subordinating of one's 神経s to 義務 is the first step に向かって a career or even に向かって the 令状ing of a novel. And what made Conrad passionately desirous of laying 手渡すs on the writer's then 支配する was a 宣告，判決. One 宣告，判決 coming after an 効果的な couple or so of 宣告，判決s with which the manuscript had opened.

ｧ

The scene of that barratry is perfectly vivid to the writer at this moment. He had driven over to the Pent rather shyly with the manuscript of the 開始 一時期／支部s of the novel in his pocket. Conrad was as yet unaware that a novel was in 進歩. He was sitting in the parlour of the Pent with the 月毎の roses peeping just above the window sill. After he had seen to the unharnessing of the disgraceful Exmoor pony—who had only one 業績／成就, that of undoing the bolt of his oat chest with his teeth, which was a damnable inconvenience, for the animal would fill itself 十分な to the lips with oats and then have to be walked for seven or eight hours to save its life, and usually in the dead of the night—after, then, the writer had seen to the unharnessing of that 疫病／悩ます, with the 援助（する） of a disreputable, 老年の ex-time-serving 兵士 called 追跡（する）, who had had sunstroke, ague and malaria in Quetta with the Buffs, who （人命などを）奪う，主張するd to be 相続人, in Chancery, of half the 郡 of Kent, who had always sore feet, hobbled, and whose proximity 似ているd that of a rum-ケッグ, and who 行為／法令／行動するd as our outdoor factotum and gardener, the writer went into the parlour. Conrad was sitting 反映するing and, beyond his 説, "My dear faller..." we did not speak. We were so 絶えず about each other's houses that やめる often we could 会合，会う after 運動ing over without any particular 迎える／歓迎するing, as if one of us had just come 負かす／撃墜する from washing his 手渡すs in the bedroom...

ｧ

Conrad, then, was sitting gloomily 反映するing—upon his career, upon the almost impossibility of 格闘するing any longer with the English that shall 述べる lagoons, shallows, brigs 反映するd in breathless water, upon the 可能性 that he would have to get over neck into 負債 before he should have finished "The 救助（する）"—a slight 調書をとる／予約する almost no longer than a novelette, which was already mortgaged to Heinemann, that decent fellow who never worried his authors to 完全にする their manuscripts. And there was the beginnings of another attack of gout in the 権利 wrist; and Nancy needed shoeing...

ｧ

The writer then （機の）カム in, and before sitting 負かす／撃墜する drew the manuscript of the first 一時期／支部 of "The Inheritors" from his pocket. Conrad said, "Another story...Donne! Donne!" Conrad had no particular 賞賛 for the writer's short stories. He had 簡単に taken "Amy Foster" from the writer, with no particular 陳謝, and had just rewritten it—introducing Amy herself, who had not 存在するd in the writer's 草案. This, however, was a novel, not a short story, and instead of giving the manuscript to Conrad, who would 単に have ちらりと見ることd at it perfunctorily and, dropping it, would have returned to the contemplation of his 負債s and gout, the writer sat 負かす／撃墜する and began to read aloud.

ｧ

At the end of the first paragraph Conrad said, "Mais mon cher, c'est tres chic! What is it?" At the end of a 宣告，判決 on the sixth page he was exclaiming, "But what is this? What the devil is this? It is tr鑚, tr鑚, tr鑚 chic! It is 駱atant. That's magnificent." And already the writer knew that either he was in for another 共同 or that he would を引き渡す the manuscript altogether.

ｧ

The 宣告，判決 was:

I 回復するd my equanimity with the thought that I had been visited by some 一打／打撃 of an obscure and unimportant physical 肉親，親類d.

The 開始 paragraphs had run:

"Ideas," she said. "Oh, as for ideas—"

"井戸／弁護士席," I hazarded, "as for ideas—"

We went through the old gateway and I cast a ちらりと見ること over my shoulder. The noon sun was 向こうずねing over the masonry, over the little saints' effigies, over the little fretted canopies, the grime and the white streaks of bird-dropping...

ｧ

And as soon as the writer had let Conrad know that this was a novel, not a short story, he knew that he was in for another 共同. Every word spoken 追加するd to that 有罪の判決...The novel was to be a political work, rather allegorically 支援 Mr. Balfour in the then 政府; the villain was to be Joseph Chamberlain who had made the war. The sub-villain was to be Leopold II, King of the ベルギーs, the foul—and incidentally lecherous—beast who had created the Congo 解放する／自由な 明言する／公表する in order to grease the wheels of his harems with the 血 of 殺人d negroes and to decorate them with fretted ivory 削減（する） from stolen tusks in the 深い forests...For the writer, until that moment, it had appeared to be an allegorico-realist romance; it showed the superseding of previous 世代s and codes by the merciless young who are always 外国人 and without 悔恨...But the moment Conrad spoke, he spoke with the 発言する／表明する of the Conrad who was 熱心な of political 支配するs to 扱う／治療する and the writer knew that this indeed was the Conrad 支配する...

II.

"The Inheritors" is a work of seventy-five thousand words, as nearly as possible. In the whole of it there cannot be more than a thousand—certainly there cannot be two—of Conrad's 令状ing; these crepitate from the emasculated prose like 爆竹s amongst ladies' skirts.

I had looked at her before; now I cast a sideways, 批判的な ちらりと見ること at her. I （機の）カム out of my moodiness to wonder what type this was. She had good hair, good 注目する，もくろむs, and some charm. Yes. And something besides—a something—a something that was not an せいにする of her beauty. The modelling of her 直面する was so perfect as to produce an 影響 of transparency, yet there was no suggestion of frailness; her ちらりと見ること had an 驚くべき／特命の／臨時の strength of life. Her hair was fair and gleaming, her cheeks coloured as if a warm light had fallen on them from somewhere. She was familiar till it occurred to you that she was strange.

ｧ

Do you not hear Conrad 説, "Damn Ford's women," and putting in, "She had good hair, good 注目する，もくろむs and some charm." And do you not see the writer, at twenty-six, hitching and fitching with "a something—a something—a something—" to get an 影響 of delicacy, and Conrad 説, "Oh, hang it all, do let's get some 限定された particulars about the young woman?"

ｧ

That was how, 普通は, we 共同製作するd. But in this 容積／容量 that is the only discoverable passage with which Conrad 顕著に 干渉するd. Occasionally he wrote in a whole speech that made a 状況／情勢. The difference between our methods in those days was this: We both 願望（する）d to get into 状況／情勢s, at any 率 when any one was speaking, the sort of indefiniteness that is characteristic of all human conversations, and 特に of all English conversations that are almost always 行為／行うd 完全に by means of allusions and unfinished 宣告，判決s. If you listen to two Englishmen communicating by means of words, for you can hardly call it conversing, you will find that their speeches are little more than this: A. says, "What sort of a fellow is...you know!" B. replies, "Oh, he's a sort of a..." and A. exclaims, "Ah, I always thought so..." This is 原因（となる）d partly by sheer 欠如（する） of vocabulary, partly by dislike for uttering any 限定された 声明 at all. For anything that you say you may be called to account. The writer really had a 関係 who said to one of her nieces, "My dear, never keep a diary. It may one day be used against you," and that thought has a 深遠な 影響（力） on English life and speech.

ｧ

The writer used to try to get that 影響 by almost 直接／まっすぐに （判決などを）下すing speeches that, 事実上, never ended, so that the 初めの 草案 of "The Inheritors" consisted of a 一連の vague scenes in which nothing 限定された was ever said. These scenes melted one into the other until the whole 調書をとる／予約する, in the end, （機の）カム to be nothing but a 一連の the very vaguest hints. The writer hoped by this means to get an 影響 of a sort of silverpoint: a delicacy. No 疑問 he 後継するd. But the 緊張する of reading him must have been intolerable.

ｧ

Conrad's 機能（する）／行事 in "The Inheritors" as it to-day stands was to give to each scene a final tap; these, in a 広大な／多数の／重要な many 事例／患者s, brought the whole meaning of the scene to the reader's mind. Looking through the 調書をとる／予約する the writer comes upon instance after instance of these 完成s of scenes by a speech of Conrad's. Here you have the—やめる unbearably vague—hero talking to the 王室の financier about the supernatural-adventuress ヘロイン. 初めは the speeches ran:

"You don't understand...She...She will..."

He said: "Ah! Ah!" in an intolerable トン of 王室の badinage.

I said again: "You don't understand...Even for your own sake..."

He swayed a little on his feet and said: "Bravo...Bravissimo...You 提案する to 脅す..."

I looked at his 広大な／多数の／重要な 本体，大部分／ばら積みの of a 団体／死体...People began to pass, muffled up, on their way out of the place.

ｧ

The scene died away in that トン. In the 調書をとる／予約する as it stands it runs, with Conrad's 新規加入 italicised:

"If you do not" (中止する 迫害するing her had been 暗示するd several speeches before), I said, "I shall forbid you to see her. And I shall...

"Oh, oh!" he interjected with the intonation of a reveller at a farce. "We are at that—we are the excellent brother—" He paused and then 追加するd: "井戸／弁護士席, go to the devil, you and your forbidding ." He spoke with the greatest good humour.

"I am in earnest," I said, "very much in earnest. The thing has gone too far. And even for your own sake you had better..."

He said: "Ah, ah!" in the トン of his "Oh, oh!"

"She is no friend to you" I struggled on, "she is playing with you for her own 目的s; you will..."

He swayed a little on his feet and said: "Bravo...bravissimo. If we cant forbid him we will 脅す him. Go on, my good fellow..." and then, "Come, go on."

I looked at his 広大な／多数の／重要な 本体，大部分／ばら積みの of a 団体／死体...

"You 絶対 辞退する to 支払う／賃金 any attention?" I said.

"Oh, 絶対," he answered.

ｧ

At that point Conrad 削減（する） out a page or two of 令状ing which was transferred to later in the 調書をとる／予約する and （機の）カム straight on to:

"Baron Halderschrodt has committed 自殺," which the writer for greater delicacy had （判決などを）下すd, "Baron Halderschrodt has..." Conrad, however, 追加するd still その上の to the 影響 by 追加するing:

Half 宣告，判決s （機の）カム to our ears from groups that passed us: A very old man with a nose that almost touched his 厚い lips was 説:

"発射 himself...Through the left 寺...Mon Dieu!"

If the reader asks how the writer identifies which was his 令状ing and which Conrad's in a 調書をとる／予約する nearly twenty-five years old, the answer is very simple. Partly the writer remembers. This was the only scene in the 調書をとる／予約する at which we really 大打撃を与えるd away for any time and the way we did it is fresh still in his mind. Partly it is knowledge; Conrad would never have written "a very old man" or "almost." He would have 供給（する）d an image for the old man's nose and would have given him an exact age, just as he had to 正確な the fact that Halderschrodt had 発射 himself, and through the left 寺 at that.

ｧ

The only other passage in the 調書をとる／予約する that the writer can やめる definitely identify as Conrad's is what follows. For the sake of the adventuressheroine and an income the lugubrious hero—and this is the point—has betrayed to Mr. Chamberlain and the 力／強力にするs of evil, Mr. Balfour, Lord Northcliffe, Leopold of Belgium, sound 財政／金融, the small 投資家 and the past. He is alone at four in the morning with the drunken 新聞記者／雑誌記者, the actual writer of the leader that produces these 広範囲にわたる results. The whole passage, which is solid Conrad, is a 事柄 of two pages. Here is the most characteristic 部分.

"You can't 脅す me," I said..."No one can 脅す me now." A sense of my inaccessibility was the first taste of an 達成するd 勝利. I had done with 恐れる. The poor devil before me appeared infinitely remote. He was lost; but he was only one of the lost: one of those that I could see already 圧倒するd by the 急ぐ from the floodgates opened at my touch. He would be destroyed in good company; swept out of my sight together with the past they had known and with the 未来 they had waited for. But he was 嫌悪すべき. "I am done with you," I said.

"Eh, what?...Who wants to 脅す?...I 手配中の，お尋ね者 to know what's your pet 副／悪徳行為...Won't tell? You might 安全に—I'm off...Want me to tell 地雷?...No time...I'm off...Ask the policeman...crossing 掃海艇 will do...I'm going."

"You will have to," I said.

"What...解任する me?...Throw the 不可欠の Soane overboard like a squeezed lemon?...What would Fox say? ...Eh? But you can't, my boy. Not you. Tell you...can't...Beforehand with you...sick of it...I'm off...to the Islands...the Islands of the Blest...Come too...解任する yourself out of all this. Warm sand, warm, mind you. You won't?" He had an 負傷させるd 表現. "井戸／弁護士席, I'm off. See me into the cab, old chap, you 're a decent fellow after all...not one of these beggars who would sell their best friend...for a little money ...or some woman. 井戸／弁護士席, see me off."

...I went downstairs and watched him march up the street with a slight stagger under the pallid 夜明け...The echo of my footsteps on the flagstones …を伴ってd me, filling the empty earth with the sound of my footsteps.

That occurs nearly at the end of the 調書をとる／予約する. There is one other passage of 完全にする Conrad two pages その上の on:

I turned に向かって the river and on the 幅の広い 堤防 the 日光 enveloped me, friendly, familiar, warm like the care of an old friend. A 黒人／ボイコット dumb-船 drifted, clumsy and empty, and the 独房監禁 man in it 格闘するd with the 激しい sweep, 緊張するing his 武器, throwing his 直面する up to the sky at every 成果／努力...

The 船 with the man still 緊張するing at the oar has gone out of sight under the arch of the 橋（渡しをする）, as through a gate into another world. A bizarre sense of 孤独 stole upon me and I turned my 支援する upon the river as empty as my day. Hansoms, broughams, streamed with a continuous muffled roll of wheels and a （警官の）巡回区域，受持ち区域 of hoofs. A big dray put in a 公式文書，認める of 雷鳴 and a clank of chains...

ｧ

Those two passages are 事実上 all the Conrad 令状ing that there is in the 調書をとる／予約する. We must have had a 厳しい struggle over those six or seven pages. That the writer realises because he remembers still the sense of 救済 that …に出席するd his 令状ing the tremendously sentimental last scene, his wallowing in his own juvenile prose and his own dreadful 宣告，判決s. As thus:

I had had my 注目する，もくろむs on the ground all this while; now I looked at her, trying to realise that I should never see her again. It was impossible. There was that 激しい beauty, that shadowlessness that was like translucence. And there was her 発言する／表明する. It was impossible to understand that I was never to see her again, never to hear her 発言する／表明する after this.

She was silent for a long time and I said nothing—nothing at all...At last she said: "There is no hope. We have to go our ways; you yours, I 地雷. And then if you will—if you cannot forget—you may remember that I cared; that, for a moment, in between two breaths, I thought of ...of failing. That is all I can do...for your sake." ...I had not looked at her; but stood with my 注目する，もくろむs 回避するd, very conscious of her standing before me; of her 広大な／多数の／重要な beauty, her 広大な／多数の／重要な glory.

The punctuation of this passage is that of the uniform 版 of the "Collected 作品 of Joseph Conrad ", the cover of which gives the 調書をとる／予約する to Joseph Conrad alone. The punctuation and the misprints, which are very many, are American and not the writer's. The 残り／休憩（する） is.

ｧ

Having 達成するd this ending the writer carried it over to the Pent. Conrad ちらりと見ることd at two or three pages of the manuscript, exclaimed, "Marvellous! My dear boy...My dear Ford. Mon vieux, I don't know how you do it!" and put the manuscript 負かす／撃墜する on the （米）棚上げする／（英）提議する. The whole went that afternoon to the printers.

ｧ

It has いつかs occurred to the writer to wonder whether Conrad ever read—ever could have read—that passage. If he never did the omission would have been all 権利. There was for excuse the extreme 疲労，（軍の）雑役 of our struggle of wills that went on whenever we really got 負かす／撃墜する to a difficult passage; there was also the fact that the writer was supposed to 扱う all the women in the 調書をとる／予約するs we wrote together...Conrad, however, 保証するd the writer that he had very carefully 訂正するd the proofs of the English Collected 版 of the 調書をとる／予約する, at a time when the writer was どこかよそで 雇うd. This was when he also 主張するd that "The Inheritors" was a damn good 調書をとる／予約する. And if we 追加する that he did let his 指名する as 単独の author remain on the cover of the 調書をとる／予約する we must imagine that he regarded it with some satisfaction. That his 指名する so appeared was of course no doing of Conrad's but was 予定 to the 商売／仕事 talents of the late Mr. Pinker and the publishers. (An author as a 支配する is not shown the cover of his 調書をとる／予約する before 出版（物）. And this is 自然に more 特に the 事例／患者 when it is a 事柄 of all the 容積／容量s of a collected 版.) But Conrad 申し込む／申し出d to have all the copies of "The Inheritors" and "Romance" called in and the covers altered. The writer, however, said that it did not 事柄; as far as he was 関心d Conrad might have 調印するd all his 調書をとる／予約するs. He might still. So the 版 was left alone. But at least Conrad did not mind the attribution.

ｧ

にもかかわらず the writer prefers to believe that Conrad never read the last 一時期／支部 of "The Inheritors." The factor of 疲労，（軍の）雑役 would be やめる enough to excuse it. The writer is ready to 自白する that there are a few passages of "Romance" that he himself has only read in French...And it was permitted to Conrad not to read the passages 関心ing what he called "Ford's women." It had been only with something like nausea that he had brought himself to approach this lady for long enough to introduce the "she had good hair, good 注目する，もくろむs and some charm" of the 開始 quotation of this 一時期／支部. It was only with difficulty that he was 抑制するd from 追加するing good teeth to the 目録. He said with perfect 真面目さ, "Why not good teeth? Good teeth in a woman are part of her charm. Think of when she laughs. You would not have her not have good teeth. They are a 調印する of health. Your damn woman has to be healthy, doesn't she?" The writer, however, stopped that...To-day he would not.

Still the writer would rather believe that Conrad lied about the reading, about the proofcorrecting, about anything; he would rather Conrad had robbed an alms box than that he should have read that dreadful prose and have called it damn good. The 残り／休憩（する） of the 調書をとる／予約する is 不正に written but not so dreadfully. Still it is bad enough: a medley of prose conceived in the spirit of Christina Rossetti with imitations of the late Henry James; 奮起させるd by the sentimentality of a pre-Raphaelite actor in love scenes—正確に by Sir Johnston Forbes Robertson dyspeptically playing Romeo to Mrs. Patrick Campbell's Juliet; cadenced like Flaubert and 十分な of little half-lines dragged in from the writer's own 詩（を作る）s of that day. He was only twenty-six at the time and was very late in 円熟したing...

ｧ

It runs like this: country atmosphere, romantic place-指名するs and all:

We were sauntering along the forgotten valley that lies between Hardres and Stelling Minnis; we had been silent for several minutes. For me at least the silence was 妊娠している with...undefinable emotions...There was something of the past world about the hanging 支持を得ようと努めるd, the little 隠すs of unmoving もや—as if Time did not 存在する in those furrows of the 広大な／多数の／重要な world; and one was so 絶対 alone; (Conrad suddenly put in here: anything might have happened. But the writer went on bravely.) I was silent. The birds were singing the sun 負かす／撃墜する. It was very dark の中で the 支店s and from minute to minute the colours of the world 深くするd and grew sombre...I was silent. A June nightingale began to sing, a trifle hoarsely...

ｧ

You perceive: the writer got his nightingale in after all: a marvel of oaken persistency. It may have been out of sheer agony that Conrad burst in here:

I stretched out my 手渡す and it touched hers. I 掴むd it without an instant of hesitation. "How could I resist you?" I said, and heard my own whisper with a sort of amazement at its emotion...

Do not be alarmed. Anything might have happened. But the writer was there to save the young woman. 前向きに／確かに he 発言／述べるs:

I did not know what it might lead to: I remembered that I did not know even who she was...I let her 手渡す 落ちる. "We must be getting on," I said a trifle hoarsely...

ｧ

What then attracted Conrad to this farrago of nonsense? Partly no 疑問 it was the idea of getting a 調書をとる／予約する finished quickly; here was another unexplored creek with possible gold in its shallows or its huts. But it was only very 部分的に／不公平に that. There was some mysterious attraction; Conrad's manner was too animated, his enthusiasm too 広大な／多数の／重要な at the first reading. It may have been partly because the manuscript was read. The rhetorical will pass when it comes in a human 発言する／表明する. The writer has very frequently 設立する good manuscripts that young men read to him, only to be appalled by their ornamentation—or their baldness, even!—when he afterwards read them for himself...Yet it cannot have been wholly that; Conrad had 適切な時期s enough of going through the manuscript before the 調書をとる／予約する was finished. Or it may have been affection; Conrad may really have had an affection for the writer. Yet it can hardly have been that...

ｧ

The writer has いつかs imagined that, however much we might have scoffed at jewels five words long that, on the stretched forefinger of old time, sparkle for ever...however much we might have scoffed, it was half-宣告，判決s of the writer's that, inscrutably, jumped out of the prose and caught Conrad by the throat. At the 長，率いる of this 一時期／支部 stands the mysterious phrase, "Excellency, a few goats..." The writer imagined this. He wrote it in a やめる commonplace でっちあげる，人を罪に陥れる of mind, much as you might 令状 an order for a 売春婦 when sending a 名簿（に載せる）／表（にあげる） of 農業の 器具s that you 要求するd to your ironmonger. He 手配中の，お尋ね者 to 供給する an obscure Lugareno with a plausible 占領／職業. But no sooner had he got the words on the paper than Conrad burst into one of his roars of ecstasy. "This," he shouted when he was in a 条件 to speak, "is genius!" And out of breath, exhausted and rolling on the sofa, he continued to gasp, "Genius!...This is genius...That's what it is. Pure genius...Genius, I tell you!" The writer agreed that it was genius—for the sake of peace! And for twenty years afterwards, in every second or third letter to the writer Conrad returned to the 告発（する），告訴（する）／料金. "Excellency, a few goats..." he would 令状. "Do you remember?" Even this year in a letter to the Transatlantic Review, allotting parts of "Romance" to its さまざまな authors, he wrote, "Fifth Part, 事実上 all yours, 含むing the famous 宣告，判決 at which we both exclaimed: This is genius! (Do you remember what it is?) with perhaps half a dozen lines by me..."

ｧ

In a その後の number of the 定期刊行物 in question the writer 申し込む／申し出d its readers as a prize a copy of "Romance" if any one of them could identify that passage of genius. A 広大な／多数の／重要な many replies were received from readers 申し込む／申し出ing passages of what, on the surface, looks more like genius...But no one 申し込む／申し出d, "Excellency, a few goats..." It is perhaps genius. But, frequently on receiving a "Don't you remember the few goats?" letter from Conrad the writer has felt as if he were getting credit for another immensely long 発射 at a ネズミ...

ｧ

In "The Inheritors", then, there were several 宣告，判決s which Conrad 拍手喝采する almost as rapturously. There was the one already 引用するd about the 一打／打撃 of an obscure and unimportant physical 肉親，親類d...In that Conrad would like the words "obscure and unimportant." Another—it （機の）カム after the passage 関心ing the 自殺 already 引用するd—is altogether the writer's and was in the first 草案:

De Mersch walked slowly along the long 回廊（地帯） away from us. There was an 驚くべき／特命の／臨時の stiffness in his gait, as if he were trying to emulate the goose step of his old days in the Prussian Guard. My companion looked after him as though she wished to 計器 the extent of his despair.

"You would say 'Habet', wouldn't you?" she asked me.

This last 宣告，判決 Conrad also called genius. Perhaps it may be.

"The Inheritors" appeared. It 原因（となる）d no excitement; even to ourselves it 原因（となる）d so little that the writer cannot so much as remember 開始 the 小包 that 含む／封じ込めるd the first copies. By that time Conrad had got over believing in its salable 質s; the writer had never had any delusions. He had been too 井戸／弁護士席 演習d by Mr. Edward Garnett.

ｧ

It was received by the English critics with a paean of 乱用 for the number of dots it 含む／封じ込めるd...One ingenious gentleman even 示唆するd that we had cheated Mr. Heinemann and the public who had paid for a 十分な six-shilling novel with words all solid on the page. In America it attracted even いっそう少なく attention, but the publishers, having 問題／発行するd the 調書をとる／予約する with, as far as the writer can remember, a fault on the 肩書を与える page, or かもしれない on the cover, it was 孤立した after only four copies had been sold, and then reissued. These four copies are said to 命令（する） an exorbitant price from collectors. The writer never remembers to have seen one.

III.

We returned then to "Romance."...

It has been 主張するd that the writer paid Conrad large sums for the honour of 共同製作 with him, this 存在 Conrad's 誘導 for continuing those very arduous 労働s. This was not the 事例／患者. Even to lend money to Conrad was always a very difficult 操作／手術. Frequently it was a very painful one, seeing the agony of mind Conrad would be in over his 負債s or his 複雑化 of 事件／事情／状勢s; so that to be 辞退するd the 緩和する to oneself of making a small 貸付金 had almost the 面 of a cruelty—as if a 患者 in 広大な／多数の／重要な 苦痛 should 辞退する, for the sake of 良心, the alleviation of an anaesthetic. From the writer Conrad, except in one extreme 事例／患者, never 受託するd any 貸付金 that he did not see his way plain to returning すぐに and with an exact punctuality—and he always repaid on the date thus 任命するd by himself. The exception was a 事例／患者 of one of those 複雑にするd 災害s that from time to time 圧倒する those who have no means of making a 暮らし, other than the frail, thin point of the pen. Conrad had been ill, there had been illness in his 世帯. On 最高の，を越す of it there （機の）カム a bank 粉砕する, and Conrad was 直面するd either with 支払う／賃金ing すぐに a 公正に／かなり 相当な sum, or with 存在 sold up. This sum the writer 前進するd to Conrad; it was in 予定 time repaid.

ｧ

Illness and the 予期 of illness, 負債, and still more the 見通し of the approach of a time when he must 必然的に 背負い込む 負債 are, because of his necessary 力／強力にするs of the imagination, more terrible to the 小説家 than to any other human creature. As regards illness: In a society that has 徐々に become self-protectively organised the vocations or professions are very few in which the illness of a 労働者 means entire 停止 of income. The shopkeeper's shop will go on—perhaps it will be いっそう少なく efficiently 行為／行うd if its 長，率いる is absent for any long period; and so with the 商売／仕事 of the merchant or the financier. The doctor, the parson and the lawyer can find locos tenentes of course at some expense. The working man has his 保険; the serving class are to some extent 保護するd by 法律. The literary man has nothing. Even 保険 against illness is for him a very poor expedient since the things that will stop him working are as frequently as not 病気s in no way diagnosable. The writer once 苦しむd from a nervous 決裂／故障 that lasted for two years and over, during which he was 孤立した from 事実上 all human activities, except taking the waters at さまざまな German Spas. He was 完全に unable to 令状. 嘘（をつく） had been insured against illness with a large and reputable society for a かなりの time; yet all that he was able to 回復する, by way of a 妥協, from that society was a sum a little いっそう少なく than a ４半期/4分の1 of the instalments he had paid. There was no 是正する: 明らかに the 法律s of England 持つ／拘留する that 病気s of the 神経s are not illnesses.

ｧ

Yet they will stop you 令状ing. And to so admirable a family man as was Conrad, half of whose mind at least was given to the 事柄 of 安全な・保証するing 慰安 and 永久の 準備／条項 for those 扶養家族 on him, whose agonies over this department of his life were sempiternal and 圧倒的な, the mere illness of a member of his family was 十分な to maim his working mind for long periods. For the author's mind jumps very 急速な／放蕩な to extreme 逮捕s, and only too frequently he knows a 広大な／多数の／重要な 取引，協定 too much, for his peace of mind, of the 進歩 of illnesses. He is 軍隊d to that by the very necessities of his profession in the course of which he must, from time to time at least, 述べる the 進歩 of one illness or another Indeed, he 令状s because his memory is more tenacious and more vivid in its functionings than that of other men. That 原因（となる）s the 予期 of all misfortunes to 重さを計る more ひどく on him.

ｧ

That is if possible even more the 事例／患者 with the 直面するing of 負債s or the 予期 of 負債s. The layman 背負い込むs 負債s as a part of the necessary 商売／仕事 of life without which 商業の 操作／手術s cannot be 行為／行うd. As often as not his creditors are 広大な／多数の／重要な 会社／団体s, unfeeling it is true, but 免疫の from personal 苦しむing. If he himself goes 破産者／倒産した it is nowadays usually in the form of a 会社／堅い or a public company, and he will go on much as before. To the 小説家 a 負債 is a sword in the 手渡すs of an individual who himself may 餓死する if he do not receive his 予定, who is also an executioner, who is also a mysterious and dreaded 軍隊 of evil, unknown in his functionings. Unknown, 特に...What happens if you are 郡-法廷，裁判所d? What sort of 直面するs have 仲買人's men? Do they despise or reprove you for having dared to 背負い込む a 負債 that you cannot 発射する／解雇する?...The pictured horrors of the 状況／情勢 are infinite: you imagine your 幼児 child turned out of its cot by rough men like the 殺害者s in the Tower, or still more terribly, you imagine your child old enough to 高く評価する／（相場などが）上がる deprivations, squalors, and the 不名誉...

ｧ

Almost the most vivid emotion that the writer can remember in his whole life was 原因（となる）d by the first visit one of the greatest of writers paid to the Pent. It has been already 述べるd in a 調書をとる／予約する of the writer's; but as no one discoverable ever read it it may come in here again. We were sitting then on a 静かな sunlit day in the parlour of the Pent. Conrad was at the 一連の会議、交渉／完成する （米）棚上げする／（英）提議する in the middle of the room, 令状ing, his 直面する to the window; his 協力者 was reading some pages of 訂正するd manuscript, 直面するing into the room. A 影をつくる／尾行する went over those pages from the window behind. Conrad exclaimed, "Good God!" in an accent of such agony and terror that the writer's heart 現実に stopped as he swung 一連の会議、交渉／完成する to the window to follow the direction of his companion's appalled ちらりと見ること. It went through his mind, "This must be the （強制）執行官...He has 負債s of which I do not know...What's to be done?...Are all the doors bolted?...What does one do?"

An 極端に tall man with a 不均衡な small, 墓／厳粛／彫る／重大な 長，率いる was stalking past the window, 診察するing the house 前線 with 疑惑...The family were all out 運動ing. How could they be got in if all the doors had to be bolted? Through the window? But if a window is used as a place of ingress surely a （強制）執行官 can use it too...One imagines that 巨大な, 墓／厳粛／彫る／重大な fellow, in a pepper-and-salt gamekeeper's coat with tails, putting one 膝 over the window sill as a small boy is 手渡すd in...Surely an 死刑執行 for 負債 cannot take place after sunset?...Then they will have to remain out till then. Or perhaps that is obsolete 法律...They could go into the 広大な／多数の／重要な barn...It is always warm and still there, with the scent of hay: like an 巨大な church.

ｧ

The house was perfectly still. The tall 人物／姿／数字 with the 面 of a Spanish alcalde disappeared from above the 月毎の roses. He had been stalking, very slowly, like a man in a 墓／厳粛／彫る／重大な 野外劇／豪華な行列—a stork. Suddenly Conrad exclaimed in a 発言する／表明する that was like a shout of joy, "By Jove!...It's the man come about the 損なう!" Conrad was almost always going through some 複雑にするd horse 取引 with that 損なう of his. He was going to 交流 her for a pair of Shetland ponies and a chaff-cutting machine; he was going to sell her in Ashford market as against part of the price of a stout Irish cob, the 残りの人，物 to be paid by the 貸付金ing of her during hay-making to the 農業者 who 雇うd the lands of the Pent; she was to be 交流d with a horse 売買業者 who was すぐに going out of 商売／仕事 and had a most admirable roll-最高の，を越す desk and a really good typewriter. 罠（にかける）s could be 雇うd from the 派手に宣伝する Inn at Stamford...

ｧ

Conrad's 有罪の判決 回復するd life to the fainting Pent; it breathed once more; the cat jumped off the window sill; the clock struck four...The writer hurried, a little tremulous still, to open the 前線 door...The tall, thin, 墓／厳粛／彫る／重大な man looked 厳粛に at him. The writer exclaimed hurriedly, "The 損なう's out 運動ing..." He 追加するd, "With the ladies!" It's a 広大な／多数の／重要な thing to be able to 証明する to a horse 売買業者 that your 損なう can really be driven by a lady. The man—he 似ているd a sundial—said in the slow 発言する／表明する a sundial must have, "I'm Hudson!" The writer said, "Yes, yes. The 損なう's out with the ladies." Getting into his 発言する／表明する the resonance of a 広大な／多数の／重要な bell, the tall man with the Spanish sort of 耐えるd said, "I'm...W...H...Hud...son. I want to see Conrad. You are not Conrad, are you? You are Hueffer."...

ｧ

The writer may very 井戸／弁護士席 have psychologised Conrad wrongly, though he remains 堅固に un der the impression that after that king of men had gone Conrad said, "By Jove, I thought he was a （強制）執行官!" But the 占領／職業 of 令状ing to such a nature as Conrad's is terribly engrossing. To be suddenly 乱すd is apt to 原因（となる） a second's real madness...We were once going up to Town in order to take some proofs to a publisher, and halfway between Sandling and Charing Cross Conrad remembered some phrase that he had forgotten to …に出席する to in the proofs. He tried to 訂正する them with a pencil, but the train 揺さぶるd so 不正に that 令状ing, sitting on a seat, was impossible. Conrad got 負かす／撃墜する on the 床に打ち倒す of the carriage and lying on his stomach went on 令状ing. 自然に when the one phrase was 訂正するd twenty other necessities for 是正 stuck out of the page. We were alone in the carriage. The train passed Paddock 支持を得ようと努めるd, passed Orpington, 急ぐd through the 郊外s. The writer said, "We 're getting into Town!" Conrad never moved except to 令状. The house roofs of London whirled in 視野 一連の会議、交渉／完成する us; the 影をつくる／尾行する of 大砲 Street 駅／配置する was over us. Conrad wrote. The final 影をつくる／尾行する of Charing Cross was over us. It must have been very difficult to see 負かす／撃墜する there. He never moved...Mildly shocked at the idea that a porter might open the carriage door and think us peculiar, the writer touched Conrad on the shoulder and said, "We're there!" Conrad's 直面する was most 驚くべき／特命の／臨時の—suffused and madly vicious. He sprang to his feet and straight at the writer's throat...

ｧ

The lay reader—say an officer of His Majesty's Army—should not here say, "Ah, these literary men!"...Let him think of his own feelings when he is trying to 令状 some 特に 複雑にするd 嘘（をつく） in an excuse to 整然とした Room over something or other...The writer once saw a 陸軍大佐—and a ジュースd smart 陸軍大佐 at that—in 整然とした Room, snatch up a revolver and damn 近づく shoot an 整然とした who had interrupted him in a literary composition. The Quartermaster whose 職業 it was, the Adjutant, and the writer, who had been called in, having all failed, the C.O. was himself trying to explain to 守備隊 （警察，軍隊などの）本部 why the 連隊's washing was given to the Riverdale Laundry Company instead of to some 会社／堅い recommended by G. H. Z. You could almost 断言する his tongue followed his pen 一連の会議、交渉／完成する and 一連の会議、交渉／完成する in his mouth in the 成果／努力 of composition...

ｧ

井戸／弁護士席, the lay reader should understand that our tongues really do follow our pens when we are engaged in 令状ing the specious lies on which our 存在 depends. And if our lies are not 反対／詐欺 vincing, we, even as he, shall 餓死する. And we are at it all the time whilst he gives on an 普通の／平均（する） not more than five minutes a day for five days of the week to composing the 誤って導くing 文書s that save him from having to 辞職する his （売買）手数料，委託（する）／委員会／権限. And he has only one 整然とした Room and only one Assistant Adjutant to deceive: we 嘘（をつく） to thousands. If we are lucky, to tens of thousands! So we are engrossed...It is not more 平易な for us to put words together; it is more difficult because we have more sense of words. And we who go at it with persistence, undespairing, in the 直面する of 必然的な 失敗 ...are the gallant spirits.

ｧ

Conrad at least was. It has to be remembered that he had to 格闘する, not with one language only, but with three. Or, say with two and the ghost of one, for it happened to him occasionally to say, "There's a word so and so in ポーランドの（人） to 表明する what I want." But that happened only very seldom. All the 残り／休憩（する） of the time he got an 影響 to 満足させる himself in French. This was of course the 事例／患者 preponderantly in passages of some nicety of thought and 表現. He could 自然に 令状, "Will you have a cup of tea?" or "He is dead," without first 表明するing himself to himself in French. But when he wrote a 始める，決める of phrases like "the gift of 表現", "the bewildering", "the illuminating", "the most exalted", "the most contemptible", "the pulsating stream of light", or "the deceitful flow from the heart of an impenetrable 不明瞭", he was translating 直接／まっすぐに from the French in his mind. Or when he wrote, "Their ちらりと見ること was guileless, 深遠な, 確信して and 信用ing", or, "The 沖 was 閉めだした by a 黒人／ボイコット bank of clouds, and the tranquil 水路 主要な to the uttermost ends of the earth flowed sombre under an 曇った sky—seemed to lead into the heart of an 巨大な 不明瞭." 自然に, as a British master 水夫, he did not have to think of the 沖 as "le large", but when he was trying the sound of that 宣告，判決 for his final cadence he did first say "le large" and then said, "The open sea; the way to the open sea. No, the 沖." That the writer very 井戸／弁護士席 remembers...Conrad moreover had for long ーするつもりであるd to end the story with the words, "The horror! The horror!" "L'horreur!" having been the last words of Kurtz; but he gave that up. The accentuation of the English word was different from the French; the shade of meaning, too. And the 装置 of such an ending, which would have been やめる into English, that difficulties began. The writer remembers Conrad spending nearly a whole day over one word in two or three 宣告，判決s of proofs for the Blackwood 容積／容量 called "青年." It was two words, perhaps—serene and azure. Certainly it was azure. "And she はうd on, do or die, in the serene 天候. The sky was a 奇蹟 of 潔白, a 奇蹟 of azure." Conrad said, azure, the writer aysure—or more 正確に／まさに aysyeh. This worried Conrad a good 取引，協定 since he 手配中の，お尋ね者 azure for his cadence. He read the 宣告，判決 over and over again to see how it sounded.

ｧ

The point was that he was perfectly aware that azure was a French word, or in English almost 排他的に a 称する，呼ぶ／期間／用語 of heraldry, and his whole endeavour was given to using only such words as are 設立する in the normal English vernacular—or thereabouts, for he never could be got really to believe how poverty-stricken a thing the normal English vernacular is. The vocabulary that he used in speaking English was enormous and he regarded it as a want of patriotism to think that the 普通の／平均（する） Englishman knew his language いっそう少なく 井戸／弁護士席 than himself.

ｧ

Mr. Henry James used to call Marlowe, the usual 語り手 for many years of Conrad's stories, "that preposterous master 水夫." He meant 正確に that Marlowe was more of a philosopher and had a vocabulary vastly larger and more 変化させるd than you could かもしれない credit to the master 水夫 as a class. Conrad, however, 固執するd that Marlowe was little above the 普通の／平均（する） of the ship's officer in either particular, and 推定では he knew his former service mates better than did Mr. James—or the 残り／休憩（する） of us...Still he did think that the word azure would be outside the ordinary conversational vocabulary of a ship's captain...

ｧ

We talked about it then for a whole day...Why not say 簡単に "blue"? Because really, it is not blue. Blue is something coarser in the 穀物; you imagine it the 製品 of the French Impressionist painter—or of a house painter—with the 小衝突 一打／打撃s showing. Or you think so of blue after you have thought of azure. Azure is more transparent...

Or again the word "serene."...Why not 静める? Why not 静かな?...井戸／弁護士席, 静かな as 適用するd to 天候 is—or perhaps it is only was—part of the "little language" that was 存在 used by the last Pre-Raphaelite poets. That 支配するd 静かな out. 静める on the other 手渡す is, to a master 水夫, almost too normal and too technically inclusive. 静める is in a スピードを出す／記録につける-調書をとる／予約する almost any 天候 that would not be agitating to a landsman—or thereabouts. Dead 静める is—again to a 船員—too technical. Dead calmness 妨げるs even the faintest ruffle of 勝利，勝つd, even the faintest cat's-paw on the 無傷の surface of the sea.

ｧ

The writer has heard it 反対するd that Conrad was pernicketty; why should he not use technical sea 条件 and let the reader make what he could of it? But Conrad's sea is more real than the sea of any other sea writer; and it is more real, because he 避けるd the technical word.

ｧ

The whole passage of "青年" under consideration is as follows—the writer is 引用するing from memory, but as far as this passage is 関心d he is 公正に／かなり ready to 支援する his memory against the printed page:

And she はうd on, do or die, in the serene 天候. The sky was a 奇蹟 of 潔白, a 奇蹟 of azure. The sea was polished, was blue, was pellucid, was sparkling like a precious 石／投石する, 延長するing on all 味方するs, all 一連の会議、交渉／完成する to the horizon. As if the whole terrestrial globe had been one jewel, one colossal sapphire. And on the lustre of the 広大な／多数の／重要な 静める waters the Judea moved imperceptibly, enveloped in languid and unclean vapours...

That is as far as the writer's memory will carry him, though the paragraph ends with the words, "The splendour of sea and sky."

ｧ

This then is almost the perfection of sea 令状ing of its type. (Stephen Crane could 達成する another perfection by 令状ing of the waves as barbarous and abrupt: but that in the end is no いっそう少なく anthropomorphic.) And the words serene and azure remained after an infinite 量 of talking so that the whole passage might 保持する its 公式文書，認める of the personality of 運命 that watched inscrutably behind the sky. It was 運命 that was serene, that had 潔白, that was azure...and that ironically 始める，決める that smudge of oily vapour from the 燃やすing 大型船 across the serenity of the miraculous sapphire—so that 青年 might be enlightened as to the nature of the cosmos, even whilst in 過程 of 存在 impressed with its splendours.

ｧ

"Serene" as 適用するd to 天候; "azure" as 適用するd to the sky are over-令状ing a shade, are a shade charg駸 if they 適用する 単に to the sea and 単に to the sky...But Conrad was obsessed by the idea of a 運命 omnipresent behind things; of a 運命 that was august, blind, inscrutable, just, and above all passionless, that has 法令d that the outside things—the sea, the sky, the earth, love, 商品／売買するing, the 勝利，勝つd—shall make 青年 seem tenderly ridiculous and all the other ages of men 暗い／優うつな, imbecile, 妨害するd—and かもしれない heroic...Had the central character of this story been a fortyish man you would have had, 追加するd to the 燃やすing ship with its ガス／煙s, dirty 天候, dripping 着せる／賦与するs, the squalid せいにするs of the bitter sea. As it was an 事件／事情／状勢 of 青年 you have serene 天候 and a 奇蹟 of 潔白, to 高める the irony of 運命.

Part III. IT IS ABOVE ALL TO MAKE YOU SEE...

I.

The time has come, then, for some sort of 批判的な 見積（る） of this author. 批判的な, not philosophical. For the philosophy of Joseph Conrad was a very simple one; you might sum it all up in the maxim of Herrick's: To live merrily and 信用 to good letters. Himself he summed it up in the 広大な／多数の／重要な word "Fidelity", and his last 広大な／多数の／重要な novel turned upon a 違反 of 信用 by his typical hero, his King Tom. It is the misfortune of morality that the greatest thrills that men can get from life come from the contemplation of its 違反s!

ｧ

About Conrad there was, however, as little of the moralist as there was of the philosopher. When he had said that every work of art has—must have—a 深遠な moral 目的, and he said that every day and all day long, he had done with the 支配する. So that the writer has always wished that Conrad had never written his famous message on Fidelity. Truly, those who read him knew his 有罪の判決 that the world, the temporal world, 残り／休憩（する）s on a very few simple ideas—and it might have been left at that. For it was the very basis of all Conrad's work that the fable must not have the moral tacked on to its end. If the fable has not driven its message home the fable has failed, must be scrapped and must give place to another one.

ｧ

But the impulse to moralise, to pontify, is a very strong one, and comes in many 背信の guises. One may so easily do it unawares: and instances of Conrad's pontifications are far enough to 捜し出す, considering the temporal eminence to which he 達成するd. He let, さもなければ, his light so 向こうずね before men that few would be inclined to （人命などを）奪う，主張する him amongst the preachers.

ｧ

He was before all things the artist and his 長，指導者 message to mankind is 始める，決める at the 長，率いる of this 一時期／支部..."It is above all things to make you see..." Seeing is believing for all the doubters of this 惑星, from Thomas to the end: if you can make humanity see the few very simple things upon which this temporal world 残り／休憩（する）s you will make mankind believe such eternal truths as are 全世界の／万国共通の...

ｧ

That message, that the 州 of written art is above all things to make you see, was given before we met; it was because that same belief was 以前 and so profoundly held by the writer that we could work for so long together. We had the same 目的（とする）s and we had all the time the same 目的（とする）s. Our せいにするs were no 疑問 different. The writer probably knew more about words, but Conrad had certainly an infinitely greater 持つ／拘留する over the architectonics of the novel, over the way a story should be built up so that its 利益／興味 進歩s and grows up to the last word. Whether in the 事例／患者 of our 公式に 共同製作するd work or in the work 公式に 独立した・無所属 in which we each 修正するd the other with almost as much enthusiasm and devotion as we gave to work done together, the only instance that comes to the writer's mind in which he of his own volition altered the structure of any work occurred in the 開始 一時期／支部s of "The 救助（する）."

ｧ

Of that 調書をとる／予約する Conrad made many 草案s, over a very 広大な／多数の／重要な number of years. The writer seems to remember, but is not やめる 確かな , having heard Conrad say that he had meant to （問題を）取り上げる the story of "The 救助（する）" すぐに after the 出版（物） or the finishing of "Almayer's Folly." And it 明白に belongs to the group of 支配するs 始める，決める in Malaysia or thereabouts, of the date, say, of "Karain" from "Tales of 不安", or "The Lagoon", that was published in the same 容積／容量, 時代遅れの 1898. (In the 事柄 of 調書をとる／予約するs published in London in the nineties, dates of 出版（物）, if these are of any importance, are いつかs 煙霧のかかった. Thus the writer's first 調書をとる／予約する was published in 1891, but the date given on the 肩書を与える page is 1892. The ingenious publisher, who was also Conrad's, 攻撃する，衝突する on this stratagem, afterwards imitated by American magazines, with the idea of beguiling the possible 買い手 into the belief that he was 購入（する）ing a brand new 調書をとる／予約する eighteen months or so after it had been published.) "Karain", then, the one of his 早期に short stories that Conrad liked best, was published in Blackwood's in 1897 and then in a 容積／容量 that is 時代遅れの 1898. It was, as far as the writer's memory serves him, written in 1896.

ｧ

The 関係 of "Karain" to "The 救助（する）" is obvious. For two years Conrad carried the idea of the novel about with him and then, after the 出版（物） of "The Nigger of the Narcissus" by Heinemann in 1898, he definitely sketched the 陰謀（を企てる） of "The 救助（する）" to Heinemann himself. On this sketch he 得るd one of his 前進するs from that kindly man. すぐに afterwards he began his first 草案 of the novel...

ｧ

That 前進する remained an old man of the mountain for years and years. There were the glorious 計画／陰謀s for finishing off such and such a 調書をとる／予約する by such and such a date and then quickly 令状ing two or three stories like "Gaspar Ruiz" for a 定期刊行物 that paid 広大な／多数の／重要な prices, thus getting 解放する／自由な forever of indebtedness!...Then there （機の）カム always the grim remembrance, "There's that 前進する of Heinemann's on 'The 救助（する）.'..." That no 疑問 rather hypnotised his will when he attacked, as he 絶えず did, that particular 調書をとる／予約する. He made at least six separate beginnings of a 一時期／支部, or a 一時期／支部 and a half each, with every different 肉親，親類d of 協定 of paragraphs and 開始s. At last, に向かって 1906, Conrad, in one of his crises of rearrangement had got his 事件／事情／状勢s nearly straightened out. He then once more remembered with despair Heinemann's 前進する which, together with "The 救助（する）" itself, had remained out of sight for four or five years. So the writer said to Conrad, "You'd better give me those manuscripts and let me put together some sort of a beginning for you." Conrad was then 格闘するing with the 開始 一時期／支部 of "Chance" which he 推定する／予想するd with any luck to finish, slight 事件／事情／状勢 as it was going to be, in about three months. It was 現実に finished seven years later.

ｧ

開始s for us, as for most writers, were 事柄s of 広大な／多数の／重要な importance, but probably we more than most writers realised of what 最初の／主要な importance they were. A real short story must open with a breathless 宣告，判決; a long-short story may begin with an "as" or a "since" and some leisurely phrases. At any 率 the 開始 paragraph of 調書をとる／予約する or story should be of the 速度 of the whole 業績／成果. That is the r鑒le generale. Moreover, the reader's attention must be gripped by that first paragraph. So our ideal novel must begin either with a 劇の scene or with a 公式文書，認める that should 示唆する the whole 調書をとる／予約する. "The Nigger of the Narcissus" begins:

Mr. パン職人, 長，指導者 mate of the Narcissus, stepped in one stride out of his lighted cabin into the 不明瞭 of the ４半期/4分の1 deck...

"The Secret スパイ／執行官":

Mr. Verloc, going out in the morning, left his shop 名目上 in 告発（する），告訴（する）／料金 of his brother-inlaw...

"The End of the Tether":

For a long time after the course of the steamer Sophala had been altered...

this last 存在 the most fitting beginning for the long-short story that "The End of the Tether" is.

"Romance", on the other 手渡す begins:

To yesterday and to to-day I say my polite vaya usted 反対／詐欺 dios. What are those days to me? But that far-off day of my romance, when from between the blue and white bales in Don Ramon's darkened 蓄える／店 room in Kingston...

an 開始 for a long novel in which the 支配的な 利益／興味 lies far 支援する in the story and the 公式文書，認める must be struck at once.

"The Inheritors" first lines are:

"Ideas," she said. "Oh, as for ideas..."

an 開始 for a short novel.

ｧ

Conrad's 傾向 and 願望（する） made for the 劇の 開始; the writer's as a 支配する for the more pensive approach; but we each, as a 調書をとる／予約する would go on, were apt to find that we must 修正する our 開始s. This was more often the 事例／患者 with Conrad than with the writer, since Conrad's 調書をとる／予約するs depended much more on the working out of an intrigue which he would develop as the 調書をとる／予約する was in 令状ing: the writer has seldom begun on a 調書をとる／予約する without having, at least, the intrigue, the "事件／事情／状勢", 完全に settled in his mind.

ｧ

The disadvantage of the 劇の 開始 is that after the 劇の passage is done you have to go 支援する to getting your characters in, a 訴訟／進行 that the reader is apt to dislike. The danger with the reflective 開始 is that the reader is apt to 行方不明になる 存在 gripped at once by the story. 開始s are therefore of necessity always 事件／事情／状勢s of 妥協.

ｧ

The 公式文書，認める should here be struck that in all the 共謀s that went on at the Pent or 一連の会議、交渉／完成する the shores of the Channel there was 絶対 no mystery. We thought just 簡単に of the reader. Would this passage 支配する him? If not it must go. Will this word make him pause and so slow 負かす／撃墜する the story? If there is any danger of that, away with it. That is all that is meant by the dangerous word technique.

ｧ

Tremendous readers, both of us, we tried to gather from the 調書をとる／予約するs we had read what made one 調書をとる／予約する readable and the other not. English gentlemen of the Palmerston days, there was no nonsense about us; we tried to turn out the sort of 調書をとる／予約する that, from "Lady Audley's Secret" to Boswell's "Johnson", and from "Midshipman 平易な" to "Education Sentimentale", the English gentleman might read in his library, with the cedar trees on the lawn outside it—or the 旗 中尉／大尉／警部補, in harbour, during the dogwatches.

ｧ

We had the intimate 有罪の判決 that two and only two classes of 調書をとる／予約するs are of 全世界の／万国共通の 控訴，上告: the very best and the very worst. The very worst, 安全な・保証するing 即座の attention by way of some trick, 徐々に fade from the public memories; the very best, 存在 solid and shipshape 生産／産物s of solid and shipshape men with no nonsense about them, remain. We 試みる／企てるd then to turn out solid and shipshape 調書をとる／予約するs.

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There was really nothing more to it, Conrad 存在 the more solid, the more shipshape and the more 決定するd of the two, the writer 存在 the more tenacious..."You have a perfect 権利 to say that you are rather unchangeable," Conrad wrote not long before his end, "Unlike the serpent (which is Wise) you will die in your 初めの 肌."...That is to say that the writer never made 譲歩s. We (a)手の込んだ／(v)詳述するd 確かな 原則s and the writer saw to it that we did work along those lines. Conrad would occasionally try to 急ぐ a position, 存在 worn out by the long drag of work. That is why the ends of his 調書をとる／予約するs have いつかs the 空気／公表する of 存在 rather slight compared with the 巨大な fabrics to which they are the appendages. In 影響, Conrad was the more 決定するd—to get something done; the writer, more listless, never cared much whether a thing were done or not. He 主張するd, however, that if it were done it should be done to 契約.

It was a combination not really unfortunate. The 事例／患者s must be rare in which one man of letters can have had at his 処分 for a number of years the whole brain of another man of letters of an unpliant disposition. Conrad so had the writer's. For it was やめる definitely the writer's 有罪の判決 that the only 占領／職業 fitting for a proper man in these centuries is the 令状ing of novels—and that no novel 価値（がある） much could be written by himself or any other man—at any 率, by himself—before he has reached the age of forty. So till he had 達成するd that age the writer was 決定するd never to 試みる／企てる the 生産／産物 of anything that was not either a pastiche or a 小旅行する de 軍隊—just for practice in 令状ing. One must roll one's hump around the world first...Thus, rather listlessly and a little disdainfully, from time to time the writer turned out historical novels—which were received with very 広大な／多数の／重要な acclamations—and 調書をとる／予約するs of connected essays that were received with acclamations almost greater. But the writer was not 乱すd; a historical novel even at the best is nothing more than a 小旅行する de 軍隊, a 偽の more or いっそう少なく 本物の in inspiration and workmanship, but 非，不，無 the いっそう少なく a 偽の. Even "Salammbo" is that. A 調書をとる／予約する of connected essays...井戸／弁護士席, it is not a novel! In 新規加入 the writer did 試みる／企てる two pastiches in the manner of Mr. Henry James, written, one of them, as a variation on a 調書をとる／予約する of essays to give the 影響 of a 小旅行する in the 部隊d 明言する／公表するs—an international 事件／事情／状勢. The other was the 製品 of an emotion, as you get over things by 令状ing them 負かす／撃墜する in your diary.

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From time to time gentlemen of the 圧力（をかける） anxious to depreciate the writer have said that he imitated the work of Conrad. This was not the 事例／患者. It is a curious characteristic of the work of Conrad that, not only can you not recognisably imitate it, you hardly ever feel even the impulse to do so, and the one writer who really sedulously be-aped the more exotic romances of the author of "An Outpost of 進歩" 達成するd 業績／成果s so lugubrious that he seems to have 警告するd off any other imitators of his example. The fact is that Conrad, like Turgenev, is very little mannered; his temperament had no eccentricities that could be easily imitated; his vocabulary was as much the result of difficulties as of 独断的な 選択; his cadences were so intimately his own that they were 事実上 unimitable. The writer probably more than any other man must have had 適切な時期s of 熟考する／考慮するing the way prose （機の）カム to Conrad but the writer does not remember more than three 宣告，判決s that he ever wrote—apart from 宣告，判決s that he 現実に composed for Conrad himself—in which he either consciously tried for some 目的 or other to get the cadence of a 宣告，判決 of Conrad's, or as to which he felt, after having written them, the satisfaction which he might imagine himself feeling if he had written a Conrad 宣告，判決. If the 告訴，告発 had been of imitation of Mr. Henry James it might have been just enough, though a pastiche is not 正確に／まさに the same thing as an imitation, 存在 an 演習 in the manner of a writer rather than an 試みる／企てる to make a living by 隠すd plagiarism...

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Still, whatever may have been the writer's 占領／職業s, he was ready to be pulled off them at any moment at the instance of Conrad's necessities. And this probably was of service to the author of "The 救助（する）." ...As regards the 開始 of that 調書をとる／予約する the writer very 井戸／弁護士席 remembers how the rearrangement was made...In all Conrad's 草案s the 開始 was 劇の. In most of them it began with a speech of Tom Lingard's, one of them with the words, "You've been sleeping—you. 転換 the 舵輪／支配. She has got 厳しい way on her." One 見解／翻訳／版 even began as far 支援する, in the 調書をとる／予約する as it stands at 現在の, as an interview between Lingard and Mrs. Travers...Conrad had meant that to be the 劇の 開始; in that 事例／患者 he would have had to introduce an 巨大な retrospection giving the biographies of Lingard, of Carter, of the Travers, of Jaffir, of the Malay serangs ...of everybody and everything.

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On the impracticability of that we both agreed and the writer took the さまざまな 草案s away to Aldington to 熟考する／考慮する. A good many of the 草案s that the writer made opened with a passage of description, "Out of the level blue of a shallow sea Carimata raises a lofty barrenness of grey and yellow 色合いs, the 淡褐色 eminence of its arid 高さs," the writer thinking that a slow passage of geographical significance ought, 論理（学）上, to open what seemed likely to be a very long 調書をとる／予約する. Then one day it occurred to him to ask, "Why, after all, not have a historical 開始 and so 避ける, later on, the necessity to slow the story 負かす／撃墜する ーするために get in the history?" So at the 開始, at any 率 of one 草案, of 一時期／支部 two, he 設立する the passage beginning, "The shallow sea that 泡，激怒することs and murmurs on the shores of the thousand islands, big and little, which （不足などを）補う the Malay 群島 has been for centuries the scene of adventurous undertakings."

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And all this passage seeming to him to be admirable, beautiful and engrossing prose, it struck him that it might be relied on at once to 支配する the reader's attention and to give the 公式文書，認める of the coming story. So in "The 救助（する）" you have the 開始 historical passage, the geographical passage and then Lingard's words:

"You've been sleeping—you. 転換 the 舵輪／支配. She has got 厳しい way on her."

II.

It might be 同様に here to put 負かす／撃墜する under separate headings, such as "Construction", "開発", and the like, what were the 決まり文句／製法 for the 令状ing of the novel at which Conrad and the writer had arrived, say in 1902 or so, before we finally took up and finished "Romance." The reader will say that that is to 出発／死 from the form of the novel in which form this 調書をとる／予約する pretends to be written. But that is not the 事例／患者. The novel more or いっそう少なく 徐々に, more or いっそう少なく deviously, lets you into the secrets of the characters of the men with whom it 取引，協定s. Then, having got them in, it 始める，決めるs them finally to work. Some novels, and still more short stories, will get a character in with a 一打／打撃 or two as does Maupassant in the celebrated 宣告，判決 in the "Reine Hortense" which doorway...That gentleman is so 十分に got in that you need know no more of him to understand how he will 行為／法令／行動する. He has been "got in" and can get to work at once. That is called by the 公式の／役人 British critics the static method and is, for some 推論する／理由 or other, contemned in England.

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Other novels, however, will take much, much longer to develop their characters. Some—and this one is an example—will take almost a whole 調書をとる／予約する to really get their characters in and will then 配置する／処分する／したい気持ちにさせる of the "活動／戦闘" with a 一時期／支部, a line, or even a word—or two. The most wonderful instance of all of that is the ending of the most wonderful of all Maupassant's stories, "Champs d'Oliviers", which, if the reader has not read, he should read at once. Let us now take a 長，率いるing. (This method has the advantage that the lay reader who cannot 利益／興味 himself in literary methods and the Critic-Annalist whose one passion is to 削減（する） the cackle and come to the horses can skip the whole 一時期／支部, 確かな that he will 行方不明になる 非，不，無 of the spicy titbits.)

GENERAL EFFECT

We agreed that the general 影響 of a novel must be the general 影響 that life makes on mankind. A novel must therefore not be a narration, a 報告（する）／憶測. Life does not say to you: In 1914 my next-door 隣人, Mr. Slack, 築くd a green house and painted it with Cox's green アルミ paint...If you think about the 事柄 you will remember, in さまざまな unordered pictures, how one day Mr. Slack appeared in his garden and 熟視する／熟考するd the 塀で囲む of his house. You will then try to remember the year of that occurrence and you will 直す／買収する，八百長をする it as August, 1914, because having had the foresight to 耐える the 地方自治体の 在庫／株 of the City of Liege you were able to afford a first-class season ticket for the first time in your life. You will remember Mr. Slack—then much thinner because it was before he 設立する out where to buy that cheap Burgundy of which he has since drunk an inordinate 量, though whisky you think would be much better for him! Mr. Slack again （機の）カム into his garden, this time with a pale, weaselly-直面するd fellow, who touched his cap from time to time. Mr. Slack will point to his house 塀で囲む several times at different points, the weaselly fellow touching his cap at each pointing. Some days after, coming 支援する from 商売／仕事, you will have 観察するd against Mr. Slack's 塀で囲む...At this point you will remember that you were then the 経営者／支配人 of the fresh-fish 支店 of Messrs. Catlin and Clovis in Fenchurch Street...What a change since then! Millicent had not yet put her hair up...You will remember how Millicent's hair looked, rather pale and burnished in plaits. You will remember how it now looks, henna'd; and you will see in one corner of your mind's 注目する，もくろむ a little picture of Mr. Mills the vicar talking—oh, very kindly—to Millicent after she has come 支援する from Brighton...But perhaps you had better not 危険 that. You remember some of the things said by means of which Millicent has made you cringe—and her 表現!...Cox's アルミ Paint!...You remember the half-empty tin that Mr. Slack showed you—he had a most undignified 冷淡な—with the 指名する in a horseshoe over a blue circle that 含む／封じ込めるd a red lion asleep in 前線 of a real-gold sun...

And, if that is how the building of your 隣人's 温室 comes 支援する to you, just imagine how it will be with your love 事件／事情／状勢s that are so much more 複雑にするd...

IMPRESSIONISM

We 受託するd without much 抗議する the stigma "Impressionists" that was thrown at us. In those days Impressionists were still considered to be bad people: Atheists, Reds, wearing red 関係 with which to 脅す householders. But we 受託するd the 指名する because Life appearing to us much as the building of Mr. Slack's 温室 comes 支援する to you, we saw that Life did not narrate, but made impressions on our brains. We in turn, if we wished to produce on you an 影響 of life, must not narrate but （判決などを）下す impressions.

SELECTION

We agreed that the whole of Art consists in 選択. To （判決などを）下す your remembrance of your career as a fish salesman might 高める the story of Mr. Slack's 温室, or it might not. A little image of iridescent, blue-（土地などの）細長い一片d, blackstriped, white fish on a white marble 厚板 with water trickling 負かす／撃墜する to them 一連の会議、交渉／完成する a 抱擁する 集まり of orange salmon 魚の卵; a vivid description of a horrible smell 原因（となる）d by a cat having stolen and hidden in the 厚い of your pelargoniums a cod's 長，率いる that you had brought 支援する as a perquisite, you having subsequently killed the cat with a 大打撃を与える, but long, long before you had rediscovered her fishy booty...Such little impressions might be useful as 与える／捧げるing to illustrate your character—one should not kill a cat with a 大打撃を与える! They might illustrate your sense of the beautiful—or your fortitude under affliction—or the disagreeableness of Mr. Slack, who had a delicate sense of smell—or the point of 見解（をとる） of your only daughter, Millicent.

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We should then have to consider whether your sense of the beautiful or your fortitude could in our （判決などを）下すing carry the story 今後 or 利益／興味 the reader. If it did we should 含む it; if in our opinion it was not likely to, we should leave it out. Or the story of the cat might in itself seem 十分に amusing to be 挿入するd as a 目的d longueur, so as to give the idea of the passage of time...It may be more amusing to read the story of a cat with your 行方不明の dinner than to read, "A fortnight elapsed..." Or it might be better after all to 令状 boldly, "Mr. Slack, after a fortnight had elapsed, 発言／述べるd one day very querulously, 'That smell seems to get worse instead of better.'"

SELECTION (SPEECHES)

That last would be 妥協, for it would be narration instead of （判決などを）下すing: it would be far better to give an idea of the passage of time by picturing a cat with a cod's 長，率いる, but the length of the story must be considered. いつかs to （判決などを）下す anything at all in a given space will （問題を）取り上げる too much room—even to （判決などを）下す the 影響 and 配達／演説／出産 of a speech. Then just boldly and remorselessly you must relate and 危険 the introduction of yourself as author, with the danger that you may destroy all the illusion of the story.

Conrad and the writer would have agreed that the ideal （判決などを）下すing of Mr. Slack's emotions would be as follows:

A scrawny, dark-brown neck, with an 巨大な Adam's apple quivering over the blue （土地などの）細長い一片s of a collar, 築くd itself between the sunflower 茎・取り除くs above the thin oaken flats of the dividing 盗品故買者. An unbelievably long, thin gap of a mouth opened itself beneath a 黒人／ボイコット-spotted handkerchief, to say that the unspeakable odour was 十分な to 殺す all the porters in Covent Garden. Last week it was only bad enough to 運動 a 連隊 of dragoons into a faint. The night before the people whom he had had to supper—I wondered who could eat any supper with any appetite under the gaze of those yellow 注目する，もくろむs—people, mind you, to whom he had hoped to sell a little bit of 所有物／資産／財産 in the neighbourhood. Good people. With more than a little bit in the bank. People whose 住居 would give the whole neighbourhood a 解除する. They had asked if he liked going out alone at night with so many undiscovered 殺人s about..."Undiscovered 殺人s!" he went on repeating, as if the words gave him an intimate sense of 救済. He 結論するd with the phrase, "I don't think!"

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That would be a very fair （判決などを）下すing of part of an episode: it would have the use of getting やめる a lot of Mr. Slack in; but you might want to get on に向かって recounting how you had the lucky idea of 購入（する）ing 株 in a newspaper against which Mr. Slack had counselled you...And you might have got Mr. Slack in already!

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The （判決などを）下すing in fact of speeches gave Conrad and the writer more trouble than any other department of the novel whatever. It introduced at once the whole 巨大な 支配する of under what 条約 the novel is to be written. For whether you tell it direct and as author—which is the more difficult way—or whether you put it into the mouth of a character—which is easier by far but much more cumbersome—the question of 報告（する）／憶測ing or （判決などを）下すing speeches has to be 直面するd. To pretend that any character or any author 令状ing 直接／まっすぐに can remember whole speeches with all their words for a 事柄 of twenty-four hours, let alone twenty-four years, is absurd. The most that the normal person carries away of a conversation after even a couple of hours is just a salient or characteristic phrase or two, and a mannerism of the （衆議院の）議長. Yet, if the reader stops to think at all, or has any acuteness whatever, to （判決などを）下す Mr. Slack's speech 直接／まっすぐに, "Thet there odour is enough to do all the porters in ありふれた Gorden in. Lorst week it wouldn' no more 'n 'v sent a ole squad of tinwiskets barmy on the crumpet..." and so on through an entire monologue of a page and a half, must 始める，決める the reader at some point or other wondering how the author or the 語り手 can かもしれない, even if they were 現在の, have remembered every word of Mr. Slack's long speech. Yet the 反対する of the 小説家 is to keep the reader 完全に oblivious of the fact that the author 存在するs—even of the fact that he is reading a 調書をとる／予約する. This is of course not possible to the bitter end, but a reader can be （判決などを）下すd very engrossed, and the nearer you can come to making him 完全に insensitive to his surroundings, the more you will have 後継するd.

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Then again, 直接／まっすぐに 報告（する）／憶測d speeches in a 調書をとる／予約する do move very slowly; by the use of indirect locutions, together with the （判決などを）下すing of the 影響s of other 部分s of speech, you can get a 広大な／多数の／重要な 取引，協定 more into a given space. There is a type of reader that likes what is called conversations—but that type is rather the reader in an 未開発の 明言する／公表する than the reader who has read much. So, wherever practicable, we used to arrange speeches much as in the paragraph 充てるd to Mr. Slack above. But やめる often we 妥協d and gave passages of direct enough speech.

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This was one of the 事柄s as to which the writer was more uncompromising than was Conrad. In the novel which he did at last begin on his forty-first birthday there will be 設立する to be hardly any direct speech at all, and probably 非，不，無 that is more than a couple of lines in length. Conrad indeed later arrived at the 結論 that, a novel 存在 in the end a 事柄 of 条約—and in the beginning too, for the 事柄 of that, since what are type, paper, bindings and all the 残り／休憩（する）, but 事柄s of 協定 and convenience—you might 同様に stretch 条約 a little さらに先に, and postulate that your author or your 語り手 is a person of a prodigious memory for the spoken. He had one minute passion with regard to conversations: he could not 耐える the repetition of "he said's" and "she said's", and would spend agitated hours in chasing those locutions out of his or our pages and 代用品，人ing "he replied", "she ejaculated", "answered Mr. Verloc" and the like. The writer was いっそう少なく moved by this consideration; it seemed to him that you could 雇う the words "he said" as often as you like, 受託するing them as 存在 unnoticeable, like "a", "the", "his", "her", or "very."

CONVERSATIONS

One unalterable 支配する that we had for the （判決などを）下すing of conversations—for 本物の conversations that are an 交流 of thought, not interrogatories or 声明s of fact—was that no speech of one character should ever answer the speech that goes before it. This is almost invariably the 事例／患者 in real life where few people listen, because they are always 準備するing their own next speeches. When, of a Saturday evening, you are conversing over the 盗品故買者 with your friend Mr. Slack, you hardly notice that he tells you he has seen an incredibly coloured petunia at a market gardener's, because you are dying to tell him that you have 決定するd to turn author to the extent of 令状ing a letter on 地元の politics to the newspaper of which, against his advice, you have become a large 株主.

He says, "権利 負かす／撃墜する 驚くべき／特命の／臨時の that petunia was..."

You say, "What would you think now of my..."

He says, "Diamond-形態／調整d （土地などの）細長い一片s it had, blueblack and salmon..."

You say, "I've always thought I had a bit of a gift..."

Your daughter Millicent interrupts, "Julia Gower has got a pair of snake-肌 shoes. She bought them at Wiston and Willocks's."

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You 行方不明になる Mr. Slack's next two speeches in wondering where Millicent got that bangle on her wrist. You will have to tell her more carefully than ever that she must not 受託する 現在のs from Tom, 刑事 and Harry. By the time you have come out of that reverie Mr. Slack is 発言／述べるing:

"I said to him use turpentine and 甘い oil, three parts to two. What do you think?"

SURPRISE

We agreed that the one 質 that gave 利益／興味 to Art was the 質 of surprise. That is very 井戸／弁護士席 illustrated in the snatch of conversation just given. If you 報告（する）／憶測d a long speech of Mr. Slack's to the 影響 that he was going to enter some of his petunias for the 地元の flower show and those, with his hydrangeas and ornamental sugar-beet, might 井戸／弁護士席 give him the Howard Cup for the third time in which 事例／患者 it would become his 所有物／資産／財産 out and out. He would then buy two silver and 削減（する）-glass epergnes, one to stand on each 味方する of the Cup on his sideboard. He always did think that a touch of silver and 削減（する） glass...If, after that, you gave a long speech of your own—after, 自然に, you had 追加するd a few commonplaces as a politeness to Mr. Slack—if you gave a long speech in which with modesty you dwelt on the 力／強力にするs of 観察 and of the pen that you had always considered yourself to 所有する, and in which you 発表するd that you certainly meant to 令状 a letter to the paper in which you had 株—on the statuary in the facade of the new town hall which was an offence to public decency...And if in 新規加入 to that you 追加するd a soliloquy from your daughter Millicent to the 影響 that she ーするつもりであるd to 得る on credit from your bootmakers, 非難する them to your account, a pair of scarlet morocco shoes with two-インチ heels with which to go joy-riding on the Sunday with a young actor who played under the 指名する of Hildebrand Hare and who had had his portrait in your paper...If you gave all these long speeches one after the other you might be aware of a 確かな dullness when you reread that compte rendu...But if you carefully broke up petunias, statuary, and flower-show 動機s and put them 負かす／撃墜する in little shreds, one contrasting with the Other, you would arrive at something much more coloured, animated, lifelike and 利益／興味ing, and you would 伝える a profoundly 重要な lesson as to the self-engrossment of humanity. Into that live scene you could then 減少（する） the piece of news that you 手配中の，お尋ね者 to 伝える and so you would carry the 一時期／支部 a good many 行う／開催する／段階s 今後.

ｧ

Here, again, 妥協 must やむを得ず come in: there must come a point in the 劇の working up of every scene in which the characters do 直接／まっすぐに answer each other, for a speech or for two or three speeches. It was in this department, as has already been pointed out, that Conrad was matchless and the writer very deficient. Or, again, a point may come in which it is necessary—in which at least it is to take the line of least 抵抗—to 報告（する）／憶測 直接／まっすぐに a whole tremendous 成果／努力 of eloquence as ebullient as an oration by Mr. Lloyd George on the hymns of the Welsh nation. For there are times when the paraphernalia of indirect speech, interruptions, and the 残り／休憩（する） retard your 活動／戦闘 too much. Then they must go; the sense of reality must stand 負かす／撃墜する before the necessity to get on.

ｧ

But, on the whole, the indirect, interrupted method of 扱うing interviews is invaluable for giving a sense of the 複雑さ, the tantalisation, the shimmering, the 煙霧, that life is. In the pre-War period the English novel began at the beginning of a hero's life and went straight on to his marriage without pausing to look aside. This was all very 井戸／弁護士席 in its way, but the very 広大な／多数の／重要な 反対 could be 申し込む／申し出d against it that such a story was too 限定するd to its characters and, too selfcentredly, went on, in vacuo. If you are so 始める，決める on the 事件／事情／状勢 of your daughter Millicent with the young actor that you forget that there are flower shows and town halls with nude statuary your intellect will appear a thing much more circumscribed than it should be. Or, to take a larger 事柄. A 広大な／多数の／重要な many 小説家s have 扱う／治療するd of the late War ーに関して／ーの点でs 単独で of the War: ーに関して／ーの点でs of pip squeaks, ざん壕 coats, wire aprons, 爆撃するs, mud, dust, and sending the bayonet home with a grunt. For that 推論する／理由 利益／興味 in the late War is said to have died. But, had you taken part 現実に in those 敵意s, you would know how infinitely little part the actual fighting itself took in your mentality. You would be lying on your stomach, in a beast of a funk, with an 巨大な, horrid German 一斉射撃，（質問などの）連発／ダム going on all over and 一連の会議、交渉／完成する you and with hell and all let loose. But, apart from the 時折の, petulant question, "When the ジュース will our fellows get going and shut 'em up?" your thoughts were really concentrated on something やめる distant: on your daughter Millicent's hair, on the 落ちる of the Asquith 省, on your 財政上の predicament, on why your regimental ferrets kept on dying, on whether Latin is really necessary to an education...You were there, but 広大な／多数の／重要な 軸s of thought from the outside, distant and unattainable world infinitely for the greater part 占領するd your mind.

It was that 影響, then, that Conrad and the writer sought to get into their work, that 存在 Impressionism.

But these two writers were not unaware that there are other methods; they were not rigid in their own methods; they were sensible to the fact that 妥協 is at all times necessary in the 死刑執行 of every work of art.

ｧ

Let us come, then, to the eternally 悩ますd seas of the Literary Ocean.

STYLE

We agreed on this axiom:

The first 商売／仕事 of Style is to make work 利益／興味ing: the second 商売／仕事 of Style is to make work 利益／興味ing: the third 商売／仕事 of Style is to make work 利益／興味ing: the fourth 商売／仕事 of Style is to make work 利益／興味ing: the fifth 商売／仕事 of Style...

ｧ

Style, then, has no other 商売／仕事.

A style 利益／興味s when it carries the reader along; it is then a good style. A style 中止するs to 利益／興味 when by 推論する／理由 of disjointed 宣告，判決s, over-used words, monotonous or jog-trot cadences, it 疲労，（軍の）雑役s the reader's mind. Too startling words, however apt, too just images, too 広大な／多数の／重要な 陳列する，発揮するs of cleverness are apt in the long run to be as 疲労，（軍の）雑役ing as the most over-used words or the most jog-trot cadences. That a 直面する 似ているs a Dutch clock has been too often said; to say that it 似ているs a ham is inexact and 伝えるs nothing; to say that it has the mournfulness of an old, squashed-in meat tin, cast away on a waste building lot, would be smart—but too much of that sort of thing would become a nuisance. To say that a 直面する was cramoisy is 望ましくない; few people nowadays know what the word means. Its 雇用 will make the reader marvel at the 使用者's erudition; in thus marvelling he 中止するs to consider the story and an impression of vagueness or length is produced on his mind. A succession of impressions of vagueness and length （判決などを）下す a 調書をとる／予約する in the end unbearable.

ｧ

There are, of course, pieces of 令状ing ーするつもりであるd to 伝える the sense of the author's cleverness, knowledge of obsolete words or 力／強力にする of inventing similes: with such 演習s Conrad and the writer never 関心d themselves.

ｧ

We used to say, the first lesson that an author has to learn is that of humility. Blessed are the humble because they do not get between the reader's 脚s. Before everything the author must learn to 抑える himself; he must learn that the first thing he has to consider is his story and the last thing that he has to consider is his story, and in between that he will consider his story.

We used to say that a passage of good style began with a fresh, usual word, and continued with fresh, usual words to the end; there was nothing more to it. When we felt that we had really got 持つ／拘留する of the reader, with a 広大な／多数の／重要な 取引，協定 of 警告を与える we would introduce a word not ありふれた to a very 限られた／立憲的な vernacular, but that only very occasionally. Very occasionally indeed; 事実上 never. Yet it is in that way that a language grows and keeps alive. People get tired of 審理，公聴会 the same words over and over again...It is again a 事柄 for 妥協.

ｧ

Our 長，指導者 masters in style were Flaubert and Maupassant: Flaubert in the greater degree, Maupassant in the いっそう少なく. In about the 割合 of a sensible man's whisky and soda. We stood as it were on those hills and thence regarded the world. We remembered long passages of Flaubert; (a)手の込んだ／(v)詳述するd long passages in his spirit and with his cadences and then translated them into passages of English as simple as the 支配する under 治療 would 耐える. We remembered short, staccato passages of Maupassant; invented short, staccato passages in his spirit and then translated them into English as simple as the 支配する would 耐える. 異なるing 支配するs 耐える 異なるing degrees of 簡単. To 適用する 正確に／まさに the same timbre of language to a dreadful interview between a father and a daughter as to the description of a child's bedroom at night is impracticable because it is unnatural. In thinking of the frightful scene with your daughter Millicent which 廃虚d your life, town 議員 and 議会の 候補者 though you had become, you will find that your mind 雇うs a verbiage やめる different from that which occurs when you remember Millicent asleep, her little mouth just わずかに opened, her toys beside the shaded night-light.

ｧ

Our vocabulary, then, was as simple as was practicable. But there are degrees of 簡単. We 雇うd as a 支配する in 令状ing the language that we 雇うd in talking the one to the other. When we used French in speaking we tried mentally to （判決などを）下す in English the least literary 同等（の） of the phrase. We were, however, apt to 雇う in our conversation words and periphrases that are not in use by, say, financiers. This was involuntary, we imagining that we talked 簡単に enough. But later a 団体／死体 of younger men with whom the writer spent some years would say, after dinner, "Talk like a 調書をとる／予約する, H...Do talk like a 調書をとる／予約する!" The writer would utter some speeches in the language that he 雇うd when talking with Conrad; but he never could utter more than a 宣告，判決 or two at a time. The whole mess would roar with laughter and, for some minutes, would （判決などを）下す his 発言する／表明する inaudible.

ｧ

If you will 反映する on the language you then 雇うd—and the writer—you will find that it was something like, "Cheerio, old bean. The beastly Adjutant's Parade is at five ack emma. Will you take my Johnnie's and let me get a real good fug in my downy bug-walk? I'm fair blind to the wide to-night." That was the 現在の language then and, in the earlier days of our conversations, some 同等（の） with which we were unacquainted must 普通は have 勝つ／広く一帯に広がるd. That we could hardly have used in our 調書をとる／予約するs, since within a very short time such languages become 理解できない. Even to-day the locution "ack emma" is no longer used and the 表現 "blind to the wide" is 理解できない—the very 明言する／公表する is unfamiliar—to more than half the English speaking 全住民s of the globe.

ｧ

So we talked and wrote a Middle-High English of as 影響を受けない a sort as would 表明する our thoughts. And that was all that there really was to our "style." Our greatest 賞賛 for a stylist in any language was given to W. H. Hudson of whom Conrad said that his 令状ing was like the grass that the good God made to grow and when it was there you could not tell how it （機の）カム.

ｧ

Carefully 診察するd, a good—an 利益／興味ing—style will be 設立する to consist in a constant succession of tiny, unobservable surprises. If you 令状—"His 範囲 of 支配する was very wide and his conversation very 変化させるd and unusual; he could rouse you with his perorations or なぎ you with his periods; therefore his conversation met with 広大な／多数の／重要な 評価 and he made several 急速な／放蕩な friends"—you will not find the world very apt to be engrossed by what you have 始める，決める 負かす／撃墜する. The results will be different if you put it, "He had the 力／強力にする to charm or 脅す rudimentary souls into an 悪化させるd witch-dance; he could also fill the small souls of the 巡礼者s with bitter 疑惑s; he had one 充てるd friend at least, and he had 征服する／打ち勝つd one soul in the world that was neither rudimentary nor tainted with self-捜し出すing."

ｧ

Or, let us put the 事柄 in another way. The 目録 of an ironmonger's 蓄える／店 is uninteresting as literature because things in it are all 分類するd and thus obvious; the 目録 of a farm sale is more 利益／興味ing because things in it are contrasted. No one would for long read: Nails, drawn wire, 1/2 インチ, per lb...; nails, do., 3/4 インチ, per lb...; nails, do., インチ, per lb...But it is often not disagreeable to read desultorily: "Lot 267. Pair rabbit gins. Lot 268, Antique 砕く flask. Lot 269, Malay Kris. Lot 270, 始める，決める of six 冒険的な prints by Herring. Lot 271, Silver caudle cup..." for that, as far as it goes, has the 質 of surprise.

ｧ

That is, perhaps, enough about Style. This is not a technical 手動式の, and at about this point we arrive at a 地域 in which the writer's memory is not 絶対 （疑いを）晴らす as to the points on which he and Conrad were agreed. We made in 新規加入 an infinite number of 実験s, together and 分かれて, in points of style and cadence. The writer, as has been said, wrote one 巨大な 調書をとる／予約する 完全に in 宣告，判決s of not more than ten syllables. He read the 調書をとる／予約する over. He 設立する it read immensely long. He went through it all again. He joined short 宣告，判決s; he introduced 親族 条項s; he wrote in long 宣告，判決s that had a gentle sonority and ended with a dying 落ちる. The 調書をとる／予約する read いっそう少なく long. Much いっそう少なく long.

ｧ

Conrad also made 実験s, but not on such a 広大な／多数の／重要な 規模 since he could always have the 利益 of the writer's 業績／成果s of that sort. The writer only remembers 特に one instance of an 演習 on Conrad's part. He was 利益／興味d in blank 詩（を作る） at the moment—though he took no 利益／興味 in English 詩（を作る） as a 支配する—and the writer happening to 観察する that whole passages of "Heart of 不明瞭" were not very far off blank 詩（を作る）, Conrad tried for a short time to run a paragraph into decasyllabic lines. The writer remembers the paragraph やめる 井戸／弁護士席. It is the one which begins:

She walked with 手段d steps, draped in （土地などの）細長い一片d and fringed cloths, treading the earth proudly with a slight jingle and flash of barbarous ornaments...

ｧ

But he cannot remember what Conrad 追加するd or took away. There come 支援する ばく然と to him a line or two like:

She carried high her 長，率いる, her hair was done
In the 形態／調整 of a helmet; she had greaves of 厚かましさ／高級将校連
To the 膝; gauntlets of 厚かましさ／高級将校連 to th' 肘.
A crimson 位置／汚点／見つけ出す...

ｧ

That, however, may just 同様に be the writer's contrivance as Conrad's: it happened too long ago for the memory to be sure. A De mon soleil qui gagne
Les sommets, la mantagne,
De l'horizon.

There was a line or two more that the writer has forgotten.

That was Conrad's 独房監禁 試みる／企てる to 令状 詩（を作る）.

ｧ

We may 同様に put the 残り／休憩（する） of this 事柄 under a separate 長，率いるing:

CADENCE

This was the one 支配する upon which we never （機の）カム to any 協定. It was the writer's 見解（をとる） that every one has a natural cadence of his own from which in the end he cannot escape. Conrad held that a habit of good cadence could be acquired by the 熟考する／考慮する of models. His own he held （機の）カム to him from constant reading of Flaubert. He did himself probably an 不正.

ｧ

But questions of cadence and accentuation as of prosody in general we were chary of discussing. They were 事柄s as to which Conrad was very touchy. His ear was singularly 欠陥のある for one who was a 広大な／多数の／重要な writer of (a)手の込んだ／(v)詳述するd prose so that at times the writer used to wonder how the ジュース he did produce his 影響s of polyphonic closings to paragraphs. In speaking English he had 事実上 no idea of accentuation whatever, and indeed no particular habits. He would talk of Mr. Cunninghame Graham's 調書をとる／予約する "Success" alternately as "Success" and "Success" half a dozen times in the course of a conversation about the 作品 of that very wonderful writer. Over French he was not much better. He became やめる enraged when told that if the first line of his 詩（を作る） 引用するd above was to be regarded as decasyllabic—and it must by English people be regarded as decasyllabic—then the word 争う must be a monosyllable in spite of its termination in e. He had in the second line やめる 正確に 許すd for tristes as 存在 two syllables, and tombe in the third. In the 衝突／不一致 of French 詩（を作る）-theories of those days he might be 訂正する or incorrect without committing a solecism, but he could not be incorrect in the first line and formal in the others. Conrad's 直面する would cloud over. He would snatch up a 容積／容量 of Racine and read half a dozen lines. He would exclaim contemptuously, "Do you mean to say that each of those 詩（を作る）s 反対／詐欺sists of ten syllables?"...Yet he would have read the 詩（を作る） impeccably...He would 紅潮／摘発する up to the 注目する，もくろむs. He would cry, "Did you ever hear a Frenchman say 'vee-yeh' when he meant 'vee?' You never did! Jamais de la 争う!" And with fury he would read his 詩（を作る） aloud, making, with a slight stammer, 争う a monosyllable and, with impetus, two syllables each out of tristes and tombe. He would begin to gesticulate, his 注目する，もくろむs flashing...

ｧ

One would change the 支配する of discussion to the unfailing topic of the rottenness of French as a medium for poetry, finding perfect harmony again in the thought that French was as rotten for 詩（を作る）-poetry as was English for any sort of prose...

The curious thing was that when he read his prose aloud his accentuation was 絶対 faultless. So that it always seemed to the writer that Conrad's marvellous gift of language was, in the end, 劇の. When he talked his sense of phonetics was 活動停止中の, but the moment it （機の）カム to any 肉親，親類d of 業績／成果 the excitement would quicken the brain centres that 治める／統治するd his articulation. It was, indeed, the same with his French. When conversing desultorily with the writer, he had much of the accent and the 怠慢，過失 of an aristocratic, meridional lounger of the seventies...But when at Lamb House, Rye, he 演説（する）／住所d compliments to Mr. Henry James, you could imagine, if you の近くにd your 注目する，もくろむs, that it was the 上級の actor of the Th鰾tre Fran軋is, 演説（する）／住所ing an eulogium to the 破産した／（警察が）手入れする of Moli鑽e...

ｧ

Probably the mere thought of reading aloud subconsciously 誘発するd memories of once-heard orations of Mr. Gladstone or John 有望な; so, in 令状ing, even to himself he would accentuate and pronounce his words as had done those now longdefunct orators...And it is to be remembered that during all those years the writer wrote every word that he wrote with the idea of reading aloud to Conrad, and that during all those years Conrad wrote what he wrote with the idea of reading it aloud to this writer.

STRUCTURE

That gets rid, as far as is necessary ーするために give a pretty fair idea of Conrad's methods, of the questions that 関心 the texture of a 調書をとる／予約する. More 公式の／役人 or more learned writers who shall not be 小説家s shall 扱う／治療する of this author's prose with いっそう少なく lightness—but assuredly too with いっそう少なく love...Questions then of vocabulary, 選択 of 出来事/事件, style, cadence and the 残り／休憩（する） 関心 themselves with the colour and texture of prose and, since this writer, again, will leave to more suitable pens the profounder appraisements of Conrad's morality, philosophy and the 残り／休憩（する）, there remains only to say a word or two on the 支配する of form.

ｧ

Conrad, then, never wrote a true short story, a 事柄 of two or three pages of minutely considered words, ending with a smack...with what the French call a クーデター de canon. His stories were always what for 欠如（する） of a better phrase one has to call "long-short" stories. For these the form is 事実上 the same as that of the novel. Or, to 避ける the 関わりあい／含蓄 of 説 that there is only one form for the novel, it would be better to put it that the form of long-short stories may 変化させる as much as may the form for novels. The short story of Maupassant, of Tchekhov or even of the late O. Henry is 事実上 stereotyped—the introduction of a character in a word or two, a word or two for atmosphere, a few paragraphs for story, and then, click! a sharp 宣告，判決 that flashes the 照明 of the idea over the whole.

ｧ

This Conrad—and for the 事柄 of that, the writer—never so much as 試みる／企てるd, either apart or in 共同. The 推論する／理由 for this lies in all that is behind the mystic word "justification." Before everything a story must 伝える a sense of

inevitability: that which happens in it must seem to be the only thing that could have happened. Of course a character may cry, "If I had then 行為／法令／行動するd 異なって how different everything would now be." The problem of the author is to make his then 活動／戦闘 the only 活動／戦闘 that character could have taken. It must be 必然的な, because of his character, because of his 家系, because of past illness or on account of the 漸進的な coming together of the thousand small circumstances by which 運命, who is inscrutable and august, will 押し進める us into one 確かな predicament. Let us illustrate:

In （判決などを）下すing your long friendship with, and ultimate bitter 敵意 に向かって, your 隣人 Mr. Slack, who had a 温室 painted with Cox's アルミ paint, you will, if you wish to get yourself in with the scrupulousness of a Conrad, have to 供給する yourself, in the first place, with an 家系 at least as far 支援する as your grandparents. To account for your own 安定 of character and physical robustness you will have to give yourself two dear old grandparents in a 宿泊する at the gates of a 広大な／多数の／重要な nobleman: if necessary you will have to give them a brightly polished 巡査 kettle simmering on a spotless hob, with silhouettes on each 味方する of the mantel: ーするために account for the lamentable 手続き of your daughter Millicent you must 供給する yourself with an actress or gipsy-grandmother. Or at least with a French one. This grandmother will have lived, unfortunately unmarried, with some one of eloquence—かもしれない with the 広大な／多数の／重要な Earl-総理大臣 at whose gates is 据えるd the humble abode of your other grandparents—at any 率 she will have lived with some one from whom you will have 相続するd your eloquence. From her will have descended the artistic gifts to which the reader will 借りがある your admirable autobiographic novel.

If you have any physical 証拠不十分, to counterbalance the robustness of your other grandparents, you will 供給する your mother, の直前に your birth, with an attack of typhoid fever, 予定 to a visit to Venice in company with your father, who was a gentleman's 特使 in the family in which your mother was a lady's maid. Your father, ーするために be a 特使, will have had, 借りがあるing to his illegitimacy, to live abroad in very poor circumstances. The very poor circumstances will illustrate the avarice of his 政治家 father—an avarice which will have descended to you in the 形態／調整 of that carefulness in money 事柄s that, 反応するing on the detrimental 傾向s 相続するd by Millicent from her actress-grandmother, so lamentably 影響（力）s your daughter's 運命.

And of course there will have'to'be a 広大な／多数の／重要な 取引，協定 more than that, always supposing you to be as scrupulous as was Conrad in this 事柄 of justification. For Conrad—and for the 事柄 of that the writer—was never 満足させるd that he had really and 十分に got his characters in; he was never 納得させるd that he had 納得させるd the reader; this accounting for the 広大な／多数の／重要な lengths of some of his 調書をとる／予約するs. He never introduced a character, however 子会社, without 供給するing that character with 家系 and hereditary 特徴, or at least with home surroundings—always supposing that character had any 影響（力） on the inevitability of the story. Any policeman who 逮捕（する）d any character must be "正当化するd", because the manner in which he 影響d the 逮捕（する）, his mannerisms, his vocabulary and his 発言する／表明する, might have a 永久の 影響 on the psychology of the 囚人. The writer remembers Conrad using almost those very words during the discussion of the 陰謀（を企てる） of "The Secret スパイ／執行官."

ｧ

This method, unless it is very carefully 扱うd, is apt to have the 墓／厳粛／彫る／重大な defect of 持つ／拘留するing a story 支援する very かなり. You must as a 支配する bring the biography of a character in only after you have introduced the character; yet, if you introduce a policeman to make an 逮捕（する） the （判決などを）下すing of his biography might 井戸／弁護士席 retard the 活動／戦闘 of an exciting point in the story...It becomes then your 職業 to arrange that the very 逮捕（する）ing of the 活動／戦闘 is an incitement of 利益／興味 in the reader, just as, if you serialise a novel, you take care to let the words "to be continued in our next" come in at as harrowing a moment as you can contrive.

ｧ

And of course the introducing of the biography of a character may have the 広大な／多数の／重要な use of giving contrast to the トン of the 残り／休憩（する） of the 調書をとる／予約する...Supposing that in your history of your 事件／事情／状勢 with Mr. Slack you think that the 公式文書，認める of your 整然とした middle-class home is growing a little monotonous, it would be very handy if you could discover that Mr. Slack had a secret, dipsomaniacal wife, 限定するd in a country cottage under the care of a rather 犯罪の old couple; with a few pages of biography of that old couple you could give a very pleasant 救済 to the sameness of your narrative. In that way the sense of reality is procured.

PHILOSOPHY, ETC.

We agreed that the novel is 絶対 the only 乗り物 for the thought of our day. With the novel you can do anything: you can 問い合わせ into every department of life, you can 調査する every department of the world of thought. The one thing that you can not do is to propagandise, as author, for any 原因（となる）. You must not, as author, utter any 見解（をとる）s; above all, you must not 偽の any events. You must not, however 人道的な you may be, over-(a)手の込んだ／(v)詳述する the 恐れる felt by a coursed rabbit.

ｧ

It is 明白に best if you can contrive to be without 見解（をとる）s at all; your 商売／仕事 with the world is （判決などを）下すing, not alteration. You have to （判決などを）下す life with such exactitude that more specialised 存在s than you, learning from you what are the secret needs of humanity, may 裁判官 how many white-tiled bathrooms are, or to what extent 議会の 代表 is, necessary for the happiness of men and women. If, however, your yearning to 修正する the human race is so 広大な／多数の／重要な that you cannot かもしれない keep your fingers out of the watch-springs there is a 装置 that you can 可決する・採択する.

ｧ

Let us suppose that you feel tremendously strong 見解（をとる）s as to 性の immorality or temperance. You feel that you must 表明する these, yet you know that like, say, M. Anatole フラン, who is also a propagandist, you are a 最高の 小説家. You must then invent, 正当化する and 始める，決める going in your novel a character who can convincingly 表明する your 見解（をとる）s. If you are a gentleman you will also invent, 正当化する and 始める，決める going characters to 表明する 見解（をとる）s opposite to those you 持つ／拘留する...

ｧ

You have reached the 最高潮 of your long 関係 with Mr. Slack; you are just going to 演説（する）／住所 a deputation that has come to 招待する you to 代表する your native city in the 立法機関 of your country. The deputation is just 予定. Five minutes before it arrives to 現在の you with the proudest emotion of your life, you learn that your daughter Millicent is going to have a child by Mr. Slack. (Him, of course, you will have already "正当化するd" as the likely seducer of a young lady whose cupidity in the 事柄 of bangles and shoes you, by your pecuniary carefulness, have kept perpetually on the stretch.) Mr. Slack has a dipsomaniac wife so there is no chance of his making the 事柄 good...

You thus have an admirable 適切な時期 of 表明するing with 強調 やめる a number of 見解（をとる）s through the mouth of the character whom you have so carefully "正当化するd" as yourself. やめる a number of 見解（をとる）s!

ｧ

That then was, cursorily 明言する／公表するd, the technique that we 発展させるd at the Pent. It will be 設立する to be nowadays pretty 一般に 受託するd as the normal way of 扱うing the novel. It is 設立するd on ありふれた sense and some of its maxims may therefore stand 永久的に. Or they may not.

PROGRESSION D'EFFET

There is just one other point. In 令状ing a novel we agreed that every word 始める，決める on paper—every word 始める，決める on paper—must carry the story 今後 and that, as the story 進歩d, the story must be carried 今後 faster and faster and with more and more intensity. That is called progression d'effet, words for which there is no English 同等（の）.

ｧ

One might go on to その上の 専門的事項s, such as how to squeeze the last 減少（する） out of a 支配する. The writer has, however, given an instance of this in 述べるing how we piled 危険，危なくするs of the hangman's rope on the unfortunate John Kemp. To go deeper into the 事柄 would be to be too technical. Besides enough has been said in this 一時期／支部 to show you what was the character, the scrupulousness and the ありふれた sense of our hero.

ｧ

There remains to 追加する once more:

But these two writers were not unaware—were not unaware—that there are other methods of 令状ing novels. They were not rigid even in their own methods. They were sensible to the fact that 妥協 is at all times necessary to the 死刑執行 of a work of art.

The lay reader will be astonished at this repetition and at these italics. They are 挿入するd for the 利益 of gentlemen and ladies who comment on 調書をとる／予約するs in the 圧力（をかける）.

LANGUAGE

It would be disingenuous to 避ける the 支配する of language. This is the only 事柄 on which the writer ever 異なるd fundamentally from Conrad. It was one upon which the writer felt so 深く，強烈に that, for several years, he 避けるd his friend's society. The 苦痛 of approaching the question is thus very 広大な／多数の／重要な.

ｧ

Conrad's dislike for the English language, then, was, during all the years of our 協会, extreme, his contempt for his medium unrivalled. Again and again during the 令状ing of, say, "Nostromo" he 表明するd 熱烈な 悔いる that it was then too late to hope to make a living by 令状ing in French, and as late as 1916 he 表明するd to the writer an almost 平等に 熱烈な envy of the writer who was in a position to 令状 in French, 宣伝 for the 政府 of the French 共和国...And Conrad's contempt for English as a prose language was not, as in the writer's 事例／患者, mitigated by love for English as the language for versepoetry. For, to the writer, English is as much superior to French in the one particular as French to English in the other.

ｧ

Conrad, however, knew nothing of, and cared いっそう少なく for, English 詩（を作る）—and his 憎悪 for English as a prose medium reached such terrible 高さs that during the 令状ing of "Nostromo" the continual 負わせる of Conrad's 不景気 broke the writer 負かす／撃墜する. We had then published "Romance" and Conrad, breaking, in the 利益／興味s of that work, his eremitic habits, decided that we せねばならない show ourselves in Town. The writer therefore took a very large, absurd house on Campden Hill and proceeded to "entertain." Conrad had lodgings also on Campden Hill. At this time "Nostromo" had begun to run as a serial in a very popular 定期刊行物, and on the 掲示s of that 定期刊行物 Conrad's 指名する appeared on every hoarding in London. This publicity 原因（となる）d Conrad an unbelievable agony, he conceiving himself for ever dishonoured by such vicarious pandering to 人気.

ｧ

It was the most terrible period of Conrad's life and of the writer's. Conrad at that time considered himself 完全に 不成功の; ignored by the public; ill-扱う／治療するd by the critics (he was certainly at that date 存在 扱う／治療するd with unusual stupidity by the critics); he was 納得させるd that he would never make a decent living. And he was 納得させるd that he would never master English. He used to 宣言する that English was a language in which it was impossible to 令状 a direct 声明. That was true enough. He used to 宣言する that to make a direct 声明 in English is like trying to kill a mosquito with a forty-foot 在庫／株 whip when you have never before 扱うd a 在庫／株 whip. One evening he made, in French, to the writer, the 情熱的な 宣言 which will be 設立する in French at the end of this 容積／容量. On the に引き続いて afternoon he made a terrible scene at the writer's house...

ｧ

The writer was at the time very much 悩ますd. The expense of keeping up a rather portentous 設立 made it 絶対 necessary that he should 追加する かなり to his income with his pen—a predicament with which he had not yet been 直面するd. There was nothing in that except that it was almost impossible to find time to 令状. An 疫病／流行性の of influenza running through the house 手足を不自由にする／（物事を）損なうd its 国内の staff so that all sorts of 世帯 仕事s had of necessity to be 成し遂げるd by the writer: there were, in 新規加入, social 義務s—and the 絶対の necessity of carrying Conrad every afternoon through a 確かな quantum of work without which he must 行方不明になる his 週刊誌 instalments in the popular 定期刊行物...

ｧ

At an At Home there, amongst eminently decorous people, a 井戸／弁護士席-meaning but unfortunate gentleman congratulated Conrad on the fact that his 指名する appeared on all the hoardings and Conrad considered that these congratulations were ironical gibes at him because his desperate circumstances had 軍隊d him to agree to the dishonour of serialisation in a popular 定期刊行物...

ｧ

Conrad's 起訴，告発 of the English language was this, that no English word is a word; that all Eaglish words are 器具s for exciting blurred emotions. "Oaken" in French means "made of oak 支持を得ようと努めるd"—nothing more. "Oaken" in English connotes innumerable moral せいにするs: it will connote stolidity, 決意／決議, honesty, blond features, 親族 unbreakableness, 絶対の unbendableness—also, made of oak...The consequence is that no English word has clean 辛勝する／優位s: a reader is always, for a fraction of a second, uncertain as to which meaning of the word the writer ーするつもりであるs. Thus, all English prose is blurred. Conrad 願望（する）d to 令状 prose of extreme limpidity...

We may let it go at that. In later years Conrad 達成するd a 確かな fluency and a 広大な／多数の／重要な limpidity of language. He then regretted that for him all the romance of 令状ing was gone—the result 存在 "The Rover", which strikes the writer as 存在 a very serene and beautiful work...In between the two he made 尊敬の印s to the glory of the English language, by 関わりあい／含蓄 contemning the tongue that Flaubert used. This struck the writer, at that time in a 明言する／公表する of exhausted 不景気, as 許すことの出来ない—as the very betrayal of Dain by Tom Lingard...Perhaps it was. If it were Conrad 直面するd the fact in that 調書をとる／予約する. There are predicaments that beset 広大な／多数の／重要な Adventurers, in dark hours, in the shallows: the overtired 神経 will fail...We may 井戸／弁護士席 let it go at that...

ｧ

"For it would be delightful to catch the echo of the desperate and funny quarrels that enlivened these old days. The pity of it is that there comes a time when all the fun of one's life must be looked for in the past..."

ｧ

Those were Conrad's last words on all the 事柄s of our 共同s here 扱う／治療するd of. They were, too, almost his last words...For those who can catch them here, then, are the echoes...

Part IV. THAT, TOO, IS ROMANCE...

With the turn of the century we took up again "Romance."

ｧ

For a long time we had talked of going to Bruges ーするために get 静かな in which to finish this work; this not because the Pent was noisy, but its corners seemed to be filled with the whispering echoes of our struggles. The crux of the difficulties in this 調書をとる／予約する had arrived. By that time a 広大な／多数の／重要な 取引，協定 of it was finished and in about its 現在の 条件.

ｧ

Conrad's allotment of the authorship of the parts of this work had better be given here again.

"I suppose our recollections agree," he 令状s to the author. "地雷 in their simplest form, are:

"First part, yours; Second part, おもに yours, with a little by me on points of seamanship and suchlike small 事柄s; Third part about 60 per cent, 地雷 with important touches by you. Fourth part 地雷, with here and there an important 宣告，判決 by you: Fifth part 事実上 all yours, 含むing the famous 宣告，判決 at which we both exclaimed: 'This is Genius' (Do you remember what it was?) with perhaps half a dozen lines by me."

ｧ

The writer's recollection agrees except as to the Fourth part, which does not 含む／封じ込める one word by the writer. How that （機の）カム about shall now be recounted.

ｧ

The writer with his family and paraphernalia had 輸送（する）d themselves to Bruges to を待つ Conrad and his. Bruges is a grey, silent town with crowstep gables to the house 前線s, its 影をつくる／尾行するs 存在 発射 with the gleams from canals that run through the streets. Its roof-level is 支配するd by an 巨大な belfry from which there descend chimes. The chimes are 事実上 never silent. Beautifully and drowsily five minutes before every ４半期/4分の1 of the hour they begin to 発表する that the ４半期/4分の1 is about to strike; for ten minutes after the ４半期/4分の1 has struck they go on 発表するing that the ４半期/4分の1 has struck. The hour is 迎える／歓迎するd for a ４半期/4分の1 of an hour by chimes that 発表する that the hour is about to strike; for forty-five minutes after the hour has struck they continue to 発表する that the hour has struck. The hours and the ４半期/4分の1s are struck on 広大な／多数の／重要な bells whose overtones go on reverberating for fifty and for ten minutes それぞれ.

...That is impressionism: the impressionism of those who in Bruges 嘘（をつく） awake at night. There are in Bruges a 広大な／多数の／重要な number of churches—all with bells—and some very lovely, 有望な little pictures by 先頭 Eyck. There was also an English 年金 to which we had agreed to go. Conrad liked to be amongst English people when abroad...Bruges is also very relaxing: except at night it is difficult not to sleep.

ｧ

The Contents page of "Romance" looks like this:

PART FIRST
The Quarry and the Beach

PART SECOND
The Girl with the Lizard

PART THIRD
Casa Riego

PART FOURTH
Blade and Guitar

PART FIFTH
The Lot of Man

...whose 指名するs are five 甘い symphonies in the capa y espada manner. They are all Conrad's, those 指名するs. There was nothing he loved so much as inventing 肩書を与えるs for Parts: it was like 存在 a 先触れ（する） 布告するing war from the steps of St. Paul's...

ｧ

On arrival in Bruges the author was carrying the manuscript of Parts One, Two and Three 完全にする. The end of the 調書をとる／予約する was also done by then, 正確に／まさに as it stands, except for the peroration over which, subsequently, we worked for twenty hours on end. We were to 会合，会う, 元気づけるd by the new atmosphere of Bruges and, in a 急ぐ, finish off Part Four and the 開始 of Part Five...In three or four days. Then we would take a week's holiday and look at the churches. We had also planned an excursion to Ghent: two sailors 岸に after a four years' voyage. For, by that time, we had been, on and off, four years over "Romance."

ｧ

So there we were in Bruges, in the English 年金, waiting for Conrad. The English 年金 seemed to be distinguished 主として by brown linoleum, bentwood 議長，司会を務めるs in long 視野s, long teeth in withered 直面するs, dimness and 掲示s forbidding you to take water between 確かな hours from 確かな taps—and by 完全にする, 絶対の, unshakable lassitude. There was no place in which to 令状. When, with a desperate struggle of the will, the writer took a 私的な sitting room on the ground 床に打ち倒す, little boys from the school opposite used to throw in at the windows envelopes 十分な of 署名／調印する which made a delectable mess. About the shadowy streets and along the 薄暗い canals the Briton was 追求するd by （人が）群がるs of little boys whose shouts of Vivent les Boers! gave 一時的な 活気／アニメーション to Bruges la Morte.

ｧ

Conrad 延期するd to come..."Romance" was thus hung up. We had agreed that the writer would work in the mornings on "Romance" whilst Conrad wrote—probably "台風"—at the same time. We would play 支配s in agreeable caf駸 during the afternoons and after dinner 共同製作する gaily. The work would take only a few days...

ｧ

It was impossible to do anything during the day in Bruges but 嘘（をつく） on one's bed; at night it was impossible to sleep for chimes and mosquitoes...Conrad 延期するd to come...The diet of the English 年金—thin slices of 冷淡な mutton, potatoes boiled in water, "greens" boiled in water which remained with the greens—began 本気で to 悪化する a digestion used to food more (a)手の込んだ／(v)詳述する. The taste of the greens was never out of the mouth...We hesitated to change our 宿泊するing because Conrad was coming to-morrow. He liked to be amongst English people when abroad. It was perhaps "To-morrow" that he was then 令状ing, or both "To-morrow" and "台風." The withered 直面するs and the long teeth that phantasmally ぼんやり現れるd in the more 薄暗い places of the English 年金 were curious to know why we needed a 私的な sitting room...To 令状 a 調書をとる／予約する in?...A novel? Oh, good gracious...They had never been in a 年金 with a 小説家 before...Was it やめる...Of course you locked your door at night...But they had always thought...Like ありふれた 兵士s, you know...Not 許すd in the best...

ｧ

電報電信s went 支援する and 前へ／外へ between the 年金 and the Pent..."調書をとる／予約する just 存在 finished," （機の）カム the cheerful news from the Pent. Pinker would come 負かす／撃墜する with large sum...The 早期に summer 病弱なd; the dog-days were intolerable there...The French-スイスの governess, 不可欠の, 宣言するd she would not stop another day in Bruges...Little boys calling her Sale Anglaise had thrown 署名／調印する over her pink-（土地などの）細長い一片d, best dimity dress...Agitated packings began. In the 中央 of them a 電報電信 from Sandling Junction to say, "Starting."

ｧ

There was, of course, a 急ぐ to Ostend where the boat comes in. Travellers not coming by boat are not 許すd on the Ostend-Bruges 表明する. The writer visited the sous chef de gare: Statie-Onderovoorste. He 除去するd his hat, 屈服するing with exquisite politeness, and 発表するd to a 制服を着た man as big as a sea-lion "qu'il serait infiniment reconnaissant si M. Le Chef de Gare lui accorderait la 許可..." The sea-lion mumbled, "Wat wolt gi?...Wadger want?" The writer 手配中の，お尋ね者 許可 to travel by the Ostend-Bruges 表明する. The sea-lion waved a flapper and cried: "Vat do I kerr?...Do wadger want...Ko er-way..."

ｧ

Conrad appeared on the 壇・綱領・公約, overburdened by the 負わせる of a large-small boy, not very 井戸／弁護士席...持参人払いのs staggering after that Congo caravan...The 脅すd 直面する of Amy Foster, maid, who had never been abroad...A 群れている of 脅すd ticket collectors running と一緒に. Conrad infuriated...The caravan is assimilated by the 表明する...The timid ticket collectors waver 一連の会議、交渉／完成する the open door of the carriage bleating, "Tickets, pliss. Billets. Koupangs...Bitte die Fahrkarten..." Conrad, exhausted but volanic, sunk on the cushions, exclaims, "Dirt: foreigners...Sales Beiges...Damn, damn, damn!..." The sea-lion in an unbuttoned blue tunic with gilt buttons—a tunic large enough to be a トラックで運ぶ cover—waddles like a 広大な／多数の／重要な （種を）蒔く amongst a poultry yard of ticket collectors. He exclaims, "Det maakt mix...Verrokter Engelsker...Ko away..." The ticket collectors 分散させる...Whether Conrad had any tickets the writer never knew. He certainly never showed them...It is perhaps in that way that one ought to 扱う foreigners...

ｧ

Conrad remained wrapped in a comminative gloom, the train going over the flat lands. He contrived to communicate to the milder writer that all ...all...all these things: the train, the boat, the mislaid trunks, the ticket collectors and the whole dreary waste of foreigners were his—the writer's—fault...One せねばならない be English...The writer せねばならない be English...Why wasn't he English to the soul? Asking 許可 of a Statie-Onderovoorste! ...It made these fellows not know their places...But it would be all 権利 when we got to the English 年金, amongst English people...

ｧ

At the first sight of the first 掲示 on the first 上陸, surrounded by long teeth that peeped from the gloom of 回廊（地帯）s, Conrad 強化するd, like a sudden 死体.

WATER MUST NOT BE DRAWN FROM THIS TAP BETWEEN THE HOURS OF ELEVEN AND TEN MORNING OR EVENING. GUESTS WILL BE STRICTLY SILENT ON THE STAIRS. A FINE OF ONE FRANC TWENTYFIVE WILL BE ENACTED FOR EVERY FIVE MINUTES LATE AT MEALS. No SMOKING IN THE DININGROOM SALONS STAIRS BATH ROOMS OR W.C.S. BOOTS ARE NOT CLEANED IN THE CORRIDORS. ANGLICAN SERVICE DAILY IN THE DINING-ROOM FROM NINE THIRTY TO ONE...

ｧ

Thus England spoke.

What Conrad said made all the 微光ing teeth 消える from those 回廊（地帯）s for the next seven hours. He disappeared. Gone.

ｧ

He seemed to be gone for days...But within seven hours we were all 船内に the tram for Knocke...He had met an admirable Abbe in the Place du Beffroi...He had been directed to that seashore. Admirable hotel...Wonderful 支配 players...Charming Dutch, French, Spanish, German fellow guests...ベルギーs not so bad...Best class...Director of Brussels orchestra...Wagnerian cantatrice...Unsurpassed sands...Cooking...Hum, hum...Four フランs a day bath and vin compris...r A little music with the charming when, at meals, her 発言する／表明する was not shaking the glasses on the trays in the sixth-床に打ち倒す 支援する bedroom where we tried to 共同製作する...

ｧ

式のs! A child fell ill; the 調書をとる／予約する would not go in the mornings in the 最高の，を越す room; "Romance" in the mornings would not go, either, on 嫌疑者，容疑者／疑うd...借りがあるing to the illness of the child it was impossible for Conrad to invent the escape of John Kemp from the Casa Riego in Rio マスコミ. The writer was 始める，決める to invent...He invented John Kemp 搭乗 the Lion, or some other ship, with the fainting Seraphina on one arm: Kemp 群れているing up a rope with his 重荷（を負わせる） and 狙撃 two negroes whose white teeth gleamed at the wheel...It became touch and go with the child. Conrad had very bad gout, his wrist all wapped up. He groaned all day long in the 最高の，を越す room. 令状ing was impossible. From time to time he would smile distractedly to the writer and say, "If I didn't know that you, mon vieux, were 令状ing away at that 調書をとる／予約する I should go mad..."

ｧ

ｧ

The writer almost turned. Not because Conrad did not like John Kemp's ピストル practice, but because Conrad's belief in the writer's omniscience should have put him to the 職業 of 令状ing sea adventures, which was trying him altogether too high. For Conrad really had that belief; that is the one certainty that the writer has as to how Conrad really regarded him. He may have had affection for the writer or he may not; he may have had 賞賛 for his gifts or he may not. The one thing 確かな is that he really regarded him as omniscient. さもなければ he would never have put him at the 職業s that he did put him at. For of our 設立 the writer was 法案 the Lizard. It was, "Here 法案...Where's 法案?...法案, the master says that you've got to go up the chimney!" all day long...And proud, too! The writer would have to 供給（する） authentic （警察などへの）密告，告訴（状） about Anarchists as about 閣僚 大臣s, about 法廷，裁判所s of 司法（官） as about the emotions of women, about 賃貸し（する）s, 採掘 株, brands of cigarettes, the 詩（を作る） of Christina Rossetti...He did, too, and was mostly 扱う／治療するd with an 誇張するd politeness. As to the 告訴，告発 of omniscience and the politeness there is 文書の 証拠: you may read in the preface of "The Secret スパイ／執行官" of "the omniscient friend who first gave me the first suggestion of the 調書をとる／予約する." Or again—-this is Conrad giving you the writer:

The 支配する of "The Secret スパイ／執行官"—I mean the tale—（機の）カム to me in the 形態／調整 of a few words uttered by a friend, in a casual conversation about anarchists or rather anarchists' activities; how brought about I do not remember now...

I remember, however, 発言／述べるing on the 犯罪の futility of the whole thing, doctrine, 活動／戦闘, mentality...Presently ...we 解任するd the already old story of the 試みる／企てる to 爆発する Greenwich 観測所...That 乱暴／暴力を加える could not be laid 持つ／拘留する of mentally in any sort of a way...

I pointed all this out to my friend who remained silent for a while, and then 発言／述べるd in his characteristically casual and omniscient manner: "Oh, that fellow was half an idiot. His sister committed 自殺 afterwards." ...It never occurred to me later to ask how he arrived at his knowledge. I am sure that if he had once in his life seen the 支援する of an anarchist, that must have been the whole of his 関係 with the 暗黒街...

That passage is curiously characteristic Conrad...For what the writer really did say to Conrad was, "Oh, that fellow was half an idiot! His sister 殺人d her husband afterwards and was 許すd to escape by the police. I remember the funeral..." The 自殺 was invented by Conrad. And the writer knew—and Conrad knew that the writer knew—a 広大な／多数の／重要な many anarchists of the Goodge Street group, 同様に as a 広大な／多数の／重要な many of the police who watched them. The writer had 供給するd Conrad with anarchist literature, with memoirs, with introductions to at least one anarchist young lady who 人物／姿／数字s in "The Secret スパイ／執行官." Indeed, the writer's first poems were 始める，決める up by that very young lady on an anarchist printing 圧力（をかける）.

ｧ

Acquiring such knowledge is the 転換 of most 青年s, the writer having once been young. There are few English boys of spirit who have not at one time or other dressed up in sweaters and, with handkerchiefs 一連の会議、交渉／完成する their necks, gone after experience amongst the cutthroats at Wapping Old Stairs...But Conrad, when he met the writer after the 出版（物） of "The Secret スパイ／執行官" with preface in 1920, 発言／述べるd almost at once and solicitously:

"You know...The preface to 'The Secret スパイ／執行官.'...I did not give you away too much...I was very 用心深い."...He had wished politely to throw a 隠す of eternal respectability over the writer. And he had been afraid that the suggestion that the writer had once known some anarchists, thirty-five years before, might 廃虚 the writer's career!...And of course few men in self-発覚s and prefaces have ever so contrived under an 面 of lucidity to throw over themselves 隠すs of 混乱.

ｧ

For the sake of 完全にするing the picture of 協力者s at work, whilst we are 引用するing, the writer will 引用する here a passage from Stephen Crane that has always pleased the writer very much. "You must not be 感情を害する／違反するd," he 令状s to some one, "by Hueffer's manner. He patronises Mr. James, he patronises Mr. Conrad. Of course he patronises me, and he will patronise Almighty God when they 会合，会う, but God will get used to it, for Hueffer is all 権利." With the 付加 （警察などへの）密告，告訴（状） that it was によれば Conrad that Henry James always referred to the writer as votre ami, le jeune homme modeste, the writer will leave the reader to make what he can of it. 関係s are extraordinarily indefinable things.

ｧ

But with the Fourth Part of "Romance" the writer really did momentarily feel that he was 存在 tried too high. And he 抗議するd. He pointed out that he knew nothing about the sea, except that it was salt and bitter. He ought not to have been 始める，決める to contrive the escape of John Kemp by sea. He could have done it 陸路の, and would have made Kemp just as hangable.

ｧ

Conrad 不平（をいう）d rather suspiciously that the writer had managed all 権利 with the 著作権侵害者 attack on the 微風 in Part II. The writer pointed out that it was one thing to (a)手の込んだ／(v)詳述する a scene from the 証拠 of a 裁判，公判 and to 令状: "a ４半期/4分の1 of a mile astern and between the land and us, a little schooner, rather low in the water, curtsying under a cloud of white canvas—a wonderful thing to look at." Any one who could 述べる a pint マリファナ could 令状 that. But with the impression that the writer knew all about his, Conrad's past, at the 支援する of his mind, Conrad said, still suspiciously, "That's all 権利...What's the 事柄 with it?..." The 関わりあい／含蓄 存在 that the writer really knew all about seafaring and had just not tried when he invented those niggers at the wheel.

ｧ

...The fact was that Conrad 嫌疑者，容疑者／疑うd the writer of not having taken trouble with the passage, because of going joy-riding with 行方不明になる Benny on a sand-ヨット into Holland. Something like that...

In any 事例／患者, that was the end of the writer's 発明 of parts of "Romance." Conrad took over the Fourth Part which begins, "There was a slight, almost imperceptible jar, a faint grating noise, a whispering sound of sand—and the boat, without a splash, floated." In the literature of romantic adventure there is nothing more admirable—unless only, Conrad would have 追加するd, "The Purple Land."

So the writer failed Conrad as any other King Tom always fails any Malay Prince, for the 労働s Conrad put into that 巨大な wad out of the 調書をとる／予約する must have been agonising, and in that 事柄 the writer was past help...

ｧ

But it must not be imagined that that ended our 労働s. The Parts once joined up, we went 権利 over the 調書をとる／予約する again, working upon every passage with microscopes. It then went to the printers and there was an interval. But the proof 是正s we made were so 圧倒的な that when we were halfway through the Second Part, Messrs. Smith and 年上の sent the manuscript 支援する, 示唆するing that we might 同様に make our 是正s on that. We went through it all again and, even after that, 訂正するd elaborately. On the last section of the proof we worked at the Pent from ten in the morning till 解雇する／砲火／射撃-lighting time of the next morning. What our 労働s 量d to was what follows. This passage from the end of "Romance" has been printed どこかよそで 同様に. The reader may not have seen that 調書をとる／予約する. We worked all that day on those passages, putting in 宣告，判決s and taking them out; there was a 広大な／多数の／重要な 取引，協定 more Conrad at one time, a 広大な／多数の／重要な 取引，協定 more Hueffer at another. It all went but what here is given. We were, you see, 縮めるing, 縮めるing, 縮めるing—for the sake of progression d'effet.

PART V. THE END

It takes long enough to realise that some one is dead at a distance. I had done that. But how long, how long it needs to know that the life of your heart has come 支援する from the dead. For years afterwards I could not 耐える to have her out of my sight.

Of our first 会合 in London all I can remember is a speechlessness that was like the awed hesitation of our overtried souls before the greatness of a change from the 瀬戸際 of despair to the 開始 of a 最高の joy. The whole world, the whole of life, with her return had changed all around me; it enveloped me, it enfolded me so lightly as not to be felt, so suddenly as not to be believed in, so 完全に that that whole 会合 was an embrace, so softly that at last it lapsed into a sense of 残り／休憩（する） that was like the 落ちる of a beneficent and welcome death.

For 苦しむing is the lot of man, but not 必然的な 失敗 or worthless despair which is without end—苦しむing, the 示す of manhood, which 耐えるs within its 苦痛 a hope of felicity like a jewel 始める，決める in アイロンをかける...

Her first words were:

"You broke our compact. You went away from me whilst I was sleeping." Only the deepness of her reproach 明らかにする／漏らすd the depth of her love, and the 苦しむing she too had 耐えるd to reach a union that was to be without end—and to 許す.

And, looking 支援する, we see Romance—that subtle thing that is しん気楼—that is life. It is the goodness of the years we have lived through, of the old time when we did this or that, when we dwelt here or there. Looking 支援する it seems a wonderful enough thing that I who am this and she who is that, 開始するing so far away a life that, after such sufferings borne together and apart, ended so tranquilly there in a world so stable—that she and I should have passed through so much, good chance and evil chance, sad hours and joyful, all lived 負かす／撃墜する and swept away into the little heap of dust that is life. That, too, is Romance.

ｧ

L'ENVOI

The writer has always considered that that man may be said to have lived happily who has a happy death. What are all the glories of Napoleon as 始める，決める against his fretted and fretful end? Death is no 疑問 to all 肉親，親類d; a dulling of the faculties 始める，決めるs in and it is, however 急速な／放蕩な, a 漸進的な, restful 事件／事情／状勢. But how 肉親，親類d must death be to the faithful 労働者, who, having toiled all his life, can say with his last breath, I have 達成するd. His last backward ちらりと見ること must show all his 逆転するs as mere 逆転するs; but all his 進歩s have had such permanence as is vouchsafed to us mortals. So the writer in these sad months and years has one 確かな happiness...

ｧ

In the days here mostly 扱う／治療するd of, Conrad had a very dreadful, a very agonising life. Few men can so much have 苦しむd; there was about all his depressed moments a 公式文書，認める of 苦痛—of agony indeed—that coloured our whole 関係; that 原因（となる）d one to have an almost constant 質 of solicitude. It is all very 井戸／弁護士席 to say that he had his marvellous resilience. He had, and that was his greatness. But the 公式文書，認める of a sailor's life cannot be called preponderantly cheerful whose whole 存在 is passed in a series of ninety-day passages, in 労働ing ships, beneath appalling 天候s, amongst 義務s and work too 激しい, in continual 不快 and 激烈な／緊急の physical 苦痛—with, in between each voyage, a few days spent as Jack-岸に. And that, in 影響, was the life of Conrad.

ｧ

His resilience was his own; his 圧迫s were the work of humanity or of 運命. That is why his personality struck so strong a 公式文書，認める of humour. The personality of Conrad as it remains uppermost in the reader's mind was threefold, with very 示すd 分割s. There was the Conrad with the sharp, agonising intake of the breath who 恐れるd your approach because you might jar his gout-martyrised wrist, or the approach of 運命／宿命 with the sharp 苦痛 of new 災害. There was the 暗い／優うつな aristocrat—as man and as intellect—who mused unceasingly upon the treacheries, the muddles, the 欠如（する） of imagination, the imbecilities which （不足などを）補う the 行為／行う of human 事件／事情／状勢s; who said after the relation of each new story of incapacity and cruelness: "Cela vous donne une fi鑽e id馥 de l'homme"...But most 示すd in the writer's mind was the 警報, dark, 極端に polished and tyrannous personality, tremendously awake, tremendously 利益／興味d in small things, peering through his monocle at something の近くに to the ground, taking in a characteristic and laughing consumedly—at a laborious child 進歩ing engrossedly over a sloping lawn, at a bell-押し進める that 機能（する）／行事d of itself in the doorpost of a gentleman who had written about an invisible man—or at the phrase: "Excellency, a few goats..."

ｧ

Once the writer, in one of his more gorgeous でっちあげる，人を罪に陥れるs of mind, was standing outside his bank, wearing a dazzling huit-reflets, a long-tailed morning coat, beautiful trousers and spats, a very high collar that was like enamel, a 黒人／ボイコット satin 在庫／株, and dangling a clouded 茎...Just like that! Bored stiff! Thinking nothing at all he gazed 負かす／撃墜する 棺／かげり 商店街...There approached him an old, shrunken, wizened man, in an unbrushed bowler, an 古代の burst-seamed overcoat, one wrist wrapped in flannel, the other 手渡す helping him to lean on a hazel walking stick, 削減（する） from a hedge and 用意が出来ている at home. It had in one 拷問d 注目する，もくろむ a 一連の会議、交渉／完成する piece of dirty window glass. It said, "Ford..." "How dare..." The writer said to himself, "this atrocious old usurer..." For 自然に, no one but a moneylender would have dared ...in such a get-up.

ｧ

But, within three minutes, as he stood and talked, the bowler hat was jetty 黒人／ボイコット, the overcoat just come from Poole's, the 耐えるd torpedo-形態／調整d, 黒人／ボイコット, and 反抗的な, the 確信して accents dusky and caressing; the monocle sparkled like 削減（する） 水晶, the 注目する，もくろむs glowed. And, almost more wonderfully, 棺／かげり 商店街 became alive as we went に向かって the Bodega; it became alive as towns of the true belief awaken in the presence of the Prince of True 信奉者s, come to saunter through his slave market...That, too, was Romance...

ｧ

But, indeed, with Conrad in it, London was another place. The writer knows his London, has written about it silly 調書をとる／予約するs that have been violently if undeservedly belauded; there is not much that you could tell him about what lies two miles or so west of Piccadilly and no one should go anywhere else—at any 率, not in that でっちあげる，人を罪に陥れる of mind. But with Conrad at your 肘 it became extraordinarily altered and more vivid. It was not, of course, that he discoursed archaeologies or told you what famous men had lived in such a house in Panton Street. It was 簡単に that he looked at a house 前線 and laughed; or at a hat on a cabman, or his horse, or a tree in a London square, or the skirt of a girl with a bandbox, crossing the road in 前線 of the Ritz, or at the Foreign Office facade...Once we were sitting in the 前線 列／漕ぐ／騒動 of the 立ち往生させるs at the Empire—and Conrad was never tired of wondering at the changes that had come over places of musical entertainment since his time, when they had 宿泊するd in cellars, with sanded 床に打ち倒すs, マリファナs of beer and chairmen. On that night at the Empire there was at least one clergyman with a number of women; ladies is meant...And, during 賞賛 by the audience of some too middle-class joke, one of us leaned over に向かって the other and said, "Doesn't one feel lonely in this beastly country!"...Which of us it was that spoke neither remembered after, the other had been at that moment thinking so 正確に／まさに the same thing.

And that must not be taken as want of patriotism to 広大な／多数の／重要な Britain on the part of either of us. To the 手段 of our abilities we were ready to do our bits each for the little bit of scarlet on the 地図／計画する, and that seems to be all that is 手配中の，お尋ね者...But in any popular 議会, anywhere, the artist must needs feel a foreigner and lonely. He must have the feeling that not one soul of all those thousands would understand one word of what he was talking of if he really talked of the things that 占領するd his mind. You are a part of the 暴徒, at times with some of the 暴徒-psychology yourself. But if you draw into yourself and 再開する your individuality you are 脅すd. That is what it is. You are 脅すd. If that House knew what you were thinking of their entertainment and themselves they would 涙／ほころび you to pieces on the instant—正確に as a foreigner. That is the same all over the world; but it is at its worst in Anglo-Saxondom.

ｧ

Indeed, in that でっちあげる，人を罪に陥れる of mind, Conrad was very impartial. He used to shock the writer who, as a Briton, knows nothing about his 皇室の 所有／入手s, by 宣言するing that the French were the only European nation who knew how to colonise; they had 非，不，無 of the spirit of Mr. Kipling's "You-血まみれの-niggerisms" about them, but regarded 黒人／ボイコット or tan or 黒人／ボイコット and tan as all one humanity with themselves, intermarrying, working 平和的に 味方する by 味方する, and 味方する by 味方する, in Algerian caf駸 of an evening, sitting and drinking their aperitifs. And they 供給するd the nigger with 正確に／まさに the same mairies, frescoes, statuary in the 中央 of ジャングルs, 代表 in Paris and maddening 規則s for 得るing permis de chasse or money from the 地位，任命する Office as are 供給するd in any French town from Pont l'Ev鑷ue to Aigues Mortes. That seemed to Conrad the way to colonise: and indeed one never heard of any 脱退論者 movements in the French 植民地s, from Algeria to Annam. But be that as it may, with all his gloomily fatalistic 見解（をとる）s of the incapacity of Anglo-Saxons as colonists other than by butchery and the sjambok, in "Heart of 不明瞭" it is a French, not a British, ship-of-war that 砲撃するs the unanswering bush from the tepid seas of African coasts.

There wasn't even a shed there and she was 爆撃する the bush...Her ensign dropped limp like a rag; the muzzles of the long six-インチ guns stuck out all over the low 船体; the greasy, slimy swell swung her up lazily and let her 負かす／撃墜する. In the empty immensity of earth, sky, and water, there she was, 理解できない, 解雇する／砲火／射撃ing into a continent. Pop, would go one of the six-インチ guns; a small 炎上 would dart and 消える, a little white smoke would disappear, a tiny 発射物 give a feeble screech—and nothing happened. Nothing could happen. There was a touch of insanity in the 訴訟／進行...

It was not that Conrad was markedly 人道的な; it was that he disliked waste of human 成果／努力 even when it is expended in meaningless cruelty.

ｧ

So, against the cruelties of 運命／宿命, he stood up...There was an occasion when the whole of the manuscript of the last instalment of "The End of the Tether" for Blackwood's was burnt すぐに before it was 予定 for 出版（物）. That sounds a small thing. But the instalments of Blackwood are pretty long and the idea of letting Maga 行方不明になる an instalment appalled: it was the almost 考えられない 罪，犯罪...The manuscript had been lying on the 一連の会議、交渉／完成する, Madox Brown （米）棚上げする／（英）提議する, under a paraffin lamp with a glass 貯蔵所, no 疑問 also an eighteen-forty contrivance: the 貯蔵所 had burst...For a day or so it was like a funeral: then for moral support or because his 令状ing room was burnt out, Conrad drove over to Winchelsea, to which 古代の town the writer had 除去するd. Then you should have seen Romance! It became a 事柄 of days; then of hours. Conrad wrote; the writer 訂正するd the manuscript behind him or wrote in a 宣告，判決—the writer in his 熟考する／考慮する on the street, Conrad in a two-roomed cottage that we had 雇うd すぐに opposite. The 世帯 sat up all night keeping soups warm. In the middle of the night Conrad would open his window and shout, "For heaven's sake give me something for sale pochard; it's been 持つ／拘留するing me up for an hour." The writer called 支援する, "Confounded swilling pig!" across the dead-still, grass-grown street...

ｧ

電報電信s went 支援する and 前へ／外へ between 古代の Winchelsea and the 古代の house of Blackwood in Edinburgh. So 古代の was that house that it was said to send its proofs from London to Edinburgh and 支援する by horse-messenger. We started the manuscript like that. Our 電報電信s would ask what was the 最新の day, the 最新の hour, the 最新の half-minute that would do if "The End of the Tether" was to catch the 圧力（をかける）s. Blackwoods answered, at first Wednesday morning, then Thursday. Then Friday night would be just possible...At two in the morning the 損なう—another 損なう by then—was saddled by the writer and the stable boy. The stable boy was to ride to the junction with the manuscript and catch the six in the morning mail train. The soup kept hot; the writers wrote. By three the writer had done all that he could in his room. He went across the road to where Conrad was still at it. Conrad said, "For God's sake...Another half-hour; just finishing..." At four the writer looked over Conrad's shoulder. He was 令状ing, "The blow had come, 軟化するd by the spaces of the earth, by the years of absence." The writer said, "You must finish now." To Ashford junction was eighteen miles. Conrad muttered, "Just two paragraphs more." He wrote, "There had been whole days when she had not thought of him at all—had no time." The writer said, "You 絶対 must stop!" Conrad wrote on, "But she loved him, she felt that she had loved him after all," and muttered, "Two paragraphs..." The writer shouted—it had come to him as an inspiration—"In the 指名する of God, don't you know you can 令状 those two paragraphs into the proofs when you get them 支援する?..."

ｧ

That was what life was like with us. At our last sitting over "Romance" we began, at the Pent, at ten in the morning. We worked solidly till dinner, not lunch time; played two games of chess, began again at nine and, just as we finished, the dilapidated 追跡（する） fell 支援する and dropped the kindling-faggot 支持を得ようと努めるd wrapped in newspaper that he was bringing in to light the 解雇する／砲火／射撃 with...As for the last two paragraphs of "The End of the Tether", they never got written. Conrad disliked the story as 存在 too sentimental and never 手配中の，お尋ね者 to touch it again. So the の近くに remains, for Conrad, a trifle bald. It was to have ended with two polyphonic paragraphs in a の近くにing rhythm—as it might be: the coming-on of an incommensurable 不明瞭!

ｧ

And then we had the Jack-岸に touch. It brought into play Conrad's incomparable 商売／仕事 力／強力にするs. The 保険 Man （機の）カム to look at the blistered （米）棚上げする／（英）提議する and the 穴を開けるs in the carpet, both of which had belonged to Madox Brown. They were therefore on their last 脚s. The 保険 Man, a 暗い／優うつな sportsman in a long overcoat, sat on a small 議長，司会を務める, gazing at the 廃虚s and leaning his chin on the crook of his umbrella. "It looks a very old carpet," he said. "Almost time the moths had it, isn't it?" "But that's just what makes its value," Conrad said. "My dear faller, consider the feet that have walked on it." "The （米）棚上げする／（英）提議する's very old, too," the 保険 Man said gloomily. "That's why it's so immensely 価値のある," Conrad said. "Consider all the people with 広大な／多数の／重要な 指名するs that have sat 一連の会議、交渉／完成する it. It's an historic （米）棚上げする／（英）提議する. That's what it is." "I'm afraid," the 保険 Man said, "that we can't 支払う／賃金 for historic 協会s." "But that's just 正確に／まさに what you do have to 支払う／賃金 for," Conrad cried. "That before everything. Consider what you would have to 支払う／賃金 if Windsor 城 燃やすd 負かす／撃墜する. Yet that's most incommodious as a 住居. Dreadfully oldfashioned." The 保険 Man shivered and drove away more depressed than ever...結局 the Company 修理d the （米）棚上げする／（英）提議する so that the 最高の，を越す shone as it can never have shone since 1840: they 取って代わるd the carpet and paid やめる a 相当な sum for the of almost no horse 力／強力にする. It broke 負かす／撃墜する eight times in thirty-six miles and we 押し進めるd it hilariously up the slightest incline. But it was a good beanfeast. Conrad had 雇うd that machine from the retired master 水夫 who, all unconsciously, had sat to him for "Falk." He was という評判の to have become a cannibal after the screw dropped off his 大型船 in the 南極の, drifting helpless for months. The disappointing thing about that ride was that the children were in no sort of a way impressed. It was no good pointing out to them that that carriage ran without horses; they just 受託するd that fact along with every other 現象 and considered that a carriage with a horse or two was a much more spirited 事件／事情／状勢.

ｧ

We went in that 乗り物 through Postling, through Lyminge, Barham and Elham along the shallow 不景気 that is the Elham Valley—past the house, about eight miles from the Pent, in which he 結局 died—to Canterbury, where he lies buried. That was a happy day. We put up at the Falstaff Inn where, as they say, Chaucer stayed with his 巡礼者s...And the happy thought of which the writer spoke at the beginning of this 一時期／支部 is this...Yesterday a young lady （機の）カム into his office and said that she had interviewed Conrad just before—for a Kansas paper—Conrad who had never 許すd himself to be interviewed. He had received her with 広大な／多数の／重要な charm; had told her many beautiful things; the writer does not 干渉する with the charming young lady's story by here repeating them...But he must have been just the old Conrad of the old days. And he did not have to say, 式のs! that there comes a day when all the fun of life lies in the past. For, after lunch he had out his own car and drove the young lady all over Barham 負かす／撃墜するs, by Stelling Minnis and Upper and Lower Hardres—in the forgotten valleys of "The Inheritors" 開始. From time to time he said, "This is what I like; this is what I really like in life." And he stopped the car in Postling Gap that looks over the lands of the Pent, 権利 away over the Stour Valley that is like the end of a bowl, over the Channel, to フラン on a （疑いを）晴らす day. He said, "This is the 見解（をとる） I love best in the world!" That was his last Wednesday but one and the writer hopes that he will never speak with any one who saw Conrad later.

ｧ

For that is the happy memory to have. He surely could look 支援する on life, so much of it passing in that country that he loved, and could say with his dying breath that all his 逆転するs had been 一時的な but that his 業績／成就s truly had all such permanence as is vouchsafed to us men...That is to be 認めるd what we Papists call the cross of the happy death.

APPENDIX

FOR those not dreading more emotion than the English language will 耐える, the writer appends what follows, which was written すぐに after learning of the death of Conrad. It 含む／封じ込めるs something that is not in the foregoing pages. The writer could not si鐵le de grands gentilshommes qui "suivaient la fortune sur la mer" et qui 騁aient des grands po鑼es.

La 加える forte 影響（力） qui s'est fait sentir sur la 争う de Conrad—sur sa 争う litt駻空気／公表する, sur ses voyages, sur la fa輟n dont il affronta sa carri鑽e p駭ible et glorieuse—駑ane des romans du Capitaine Marryatt. Un grand—un tr鑚 grand romancier-marin anglais. Les livres de Marryatt parlent presque exclusivement de la guerre des fr馮ates dans la M馘iterran馥 du temps de Napol駮n Ier...Et, au moment de sa mort, Conrad 騁ait en train d'馗rire un roman sur ce m麥e sujet.

"Peter Simple", "Percival Keene", "Japhet in Search of a Father", "Midshipman 平易な"...surtout peut-黎re "Midshipman 平易な"...ce sont les livres qu'il faut lire si l'on veut comprendre la simple philosophie de l'穃e anglaise—et de l'穃e de Conrad...

鎮圧する est la profession de foi d'un Anglais du dix-neuvi鑪e si鐵le? Il pense que dans les questions de 海洋 militaire, il le 加える grand ma?re, le 加える grand dompteur de ces choses sauvages que sont les mots, les rythmes, les phrases et les cadences de la langue anglaise—le 加える grand que nos ?es aient vu...

Plut? petit de taille, les 駱aules tr鑚 larges, les bras longs, billets; en achetant le Daily Mail que jamais, jamais de ma 争う je n'acheterai 加える; et m麥e en lisant les mots: Sudden Death of Joseph Conrad.

Je m'occupais de la recherche des mots justes qui rendraient ces fan馥s...Et, dans les taches d'ombre noires, et les taches k lumi鑽e blanches, il 騁ait une heure du matin, et debout, Conrad parlait...

Il nous racontait comment, sous les palmiers des ?es malaisiennes, assis, les jambes crois馥s, par terre, il enseigna,

Que voulez-vous? Je ne deviserai jamais devant des litt駻ateurs fran軋is sur le mot juste...La modestie m'en d馭end! Et jamais je ne reverrai Joseph Conrad qui 騁ait le dernier Don Quixote de la Manza du mot juste en Angleterre. Mettez si vous voulez que la g駭ie du monde...Ni 非，不，無 加える si vous 黎es le dernier, le 加える 感染させる 子孫 de...Ponson du Terrail..."

THE END

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