The Nature of a Crime

BY JOSEPH CONRAD AND FORD MADOX FORD (F. M. HUEFFER)

GARDEN CITY NEW YORK DOUBLEDAY, PAGE & COMPANY 1924

COPYRIGHT, 1924, BY DOUBLEDAY, PAGE & COMPANY ALL RIGHTS RESERVED PRINTED IN THE UNITED STATES AT THE COUNTRY LIFE PRESS, GARDEN CITY, N. Y. First Edition

The Nature of a Crime

BOOKS BY JOSEPH CONRAD

ALMAYER’S FOLLY AN OUTCAST OF THE ISLANDS THE NIGGER OF THE “NARCISSUS” TALES OF UNREST LORD JIM: A ROMANCE YOUTH: A NARRATIVE TYPHOON FALK, AND OTHER STORIES NOSTROMO: A TALE OF THE SEABOARD THE MIRROR OF THE SEA THE SECRET AGENT A SET OF SIX UNDER WESTERN EYES A PERSONAL RECORD ’TWIXT LAND AND SEA CHANCE WITHIN THE TIDES VICTORY THE SHADOW-LINE THE ARROW OF GOLD THE RESCUE NOTES ON LIFE AND LETTERS THE ROVER

With Ford Madox Ford (Hueffer)

ROMANCE: A NOVEL THE INHERITORS: AN EXTRAVAGANT STORY THE NATURE OF A CRIME

PREFACES

I

For years my consciousness of this small piece of collaboration has been very vague, almost impalpable, like fleeting visits from a ghost. If I ever thought of it, and I must confess that I can hardly remember ever doing it on purpose till it was brought definitely to my notice by my Collaborator, I always regarded it as something in the nature of a fragment. I was surprised and even shocked to discover that it was rounded. But I need not have been. Rounded as it is in form, using the word form in its simplest sense—printed form—it remains yet a fragment from its very nature and also from necessity. It could never have become anything[vi] else. And even as a fragment it is but a fragment of something else that might have been—of a mere intention.

But, as it stands, what impresses me most is the amount this fragment contains of the crudely materialistic atmosphere of the time of its origin, the time when the English Review was founded. It emerges from the depths of a past as distant from us now as the square-skirted, long frock-coats in which unscrupulous, cultivated, high-minded jouisseurs like ours here attended to their strange business activities and cultivated the little blue flower of sentiment. No doubt our man was conceived for purposes of irony; but our conception of him, I fear, is too fantastic.

Yet the most fantastic thing of all, it seems to me, is that we two who had so often discussed soberly the limits and methods of literary composition should have believed for a moment that a[vii] piece of work in the nature of an analytical confession (produced in articulo mortis as it were) could have been developed and achieved in collaboration!

What optimism! But it did not last long. I seem to remember a moment when I burst into earnest entreaties that all these people should be thrown overboard without more ado. This, I believe, is the real nature of the crime. Overboard. The neatness and dispatch with which it is done in Chapter VIII was wholly the act of my Collaborator’s good nature in the face of my panic.

After signing these few prefatory words I will pass the pen to him in the hope that he may be moved to contradict me on every point of fact, impression, and appreciation. I said “the hope.” Yes, eager hope. For it would be delightful to catch the echo of the desperate, earnest and funny quarrels[viii] which enlivened those 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.

J. C.

[ix]

II

No, I find nothing to contradict, for, the existence of this story having been recalled to my mind by a friend, the details of its birth and its attendant circumstances remain for me completely forgotten, a dark, blind-spot on the brain. I cannot remember the houses in which the writing took place, the view from the windows, the pen, the table cloth. At a given point in my life I forgot, literally, all the books I had ever written; but, if nowadays I re-read one of them, though I possess next to none and have re-read few, nearly all the phrases come back startlingly to my memory and I see glimpses of Kent, of Sussex, of Carcassonne—of New York, even; and fragments of furniture, mirrors, who knows[x] what? So that, if I didn’t happen to retain, almost by a miracle, for me, of retention, the marked up copy of “Romance” from which was made the analysis lately published in a certain periodical, I am certain that I could have identified the phrases exactly as they there stand. Looking at the book now I can hear our voices as we read one passage or another aloud for purposes

of correction. Moreover I could say: This passage was written in Kent and hammered over in Sussex; this, written in Sussex and worked on in Kent; or this again was written in the downstairs café and hammered in the sitting room on the first-floor, of an hotel that faces the sea on the Belgian coast.

But of “The Nature of a Crime” no phrase at all suggests either the tones of a voice or the colour of a day. When an old friend, last year, on a Parisian Boulevard said: “Isn’t there a story[xi] by yourself and Collaborator buried in the So & So?” I repudiated the idea with a great deal of heat. Eventually I had to admit the, as it were, dead fact. And, having admitted that to myself, and my Collaborator having corroborated it, I was at once possessed by a sort of morbid craving to get the story re-published in a definitive and acknowledged form. One may care infinitely little for the fate of one’s work and yet be almost hypochondriacally anxious as to the form its publication shall take—if the publication is likely to occur posthumously. I became at once dreadfully afraid that some philologist of that Posterity for which one writes, might, in the course of his hyena occupations, disinter these poor bones and, attributing sentence one to writer A and sentence two to B, maul at least one of our memories. With the nature of those crimes one

is only too well acquainted. Besides,[xii] though one may never read comments one desires to get them over. It is indeed agreeable to hear a storm rage in the distance and rumble eventually away.

Let me, however, since my Collaborator wishes it and in the name of Fun that is to-day hardly an echo, differ from him for a shade as to the nature of those passages of time. I protest against the word: quarrels. There were not any. And I should like to make the note that our collaboration was almost purely oral. We wrote and read aloud the one to the other. Possibly in the end we even wrote to read aloud the one to the other: for it strikes me very forcibly that “The Nature of a Crime” is for the most part prose meant for recitation, or of that type.

Anyhow, as the memory comes back to me overwhelmingly, I would read on and read on. One begins with a fine propulsion. Sometimes that would[xiii] last to the end. But, as often as not, by a real telepathy, with my eyes on the page and my voice going on I would grow aware of an exaggerated stillness on the part of my Collaborator in the shadows. It was an extraordinary kind of stillness: not of death: not of an ice age. Yes, it was the stillness of a prisoner on the rack determined to conceal an agony. I would read on, my voice gradually sticking to my jaws. When it became unbearable I would glance up. On the other side of the hearth I would have a glimpse of a terribly sick man, of a convulsed face, of fingers contorted. Guido Fawkes beneath the peine forte et dure looked like that. You are to remember that we were very serious about writing. I would read on. After a long time it would come: “Oh!... Oh, oh!... Oh my God.... My dear Ford.... My dear faller....” (That in those days[xiv] was the fashionable pronunciation of “fellow”.)

For myself, I would listen always with admiration. Always with an admiration that I have never since recaptured. And if there were admirablenesses that did not seem to me to fit in with the given scene I could at least, at the end of the reading, say with perfect sincerity: “Wonderful! How you do things!...” before beginning on: “But don’t you perhaps think....”

And I really do not believe that either my Collaborator or myself ever made an objection which was not jointly sustained. That is not quarrels. When I last looked through the bound proofs of Romance I was struck with the fact that whereas my Collaborator eliminated almost every word of action and eighty percent of the conversations by myself, I supplied almost all the descriptive passages of the really collaborated parts—and such softer sentiment[xv] as was called for. And my Collaborator let them get through.

All this took place long ago; most of it in another century during another reign; whilst an earlier but not less haughty and proud generation were passing away.

F. M. F.

The Nature of a Crime

The Nature of a Crime

I

YOU are, I suppose, by now in Rome. It is very curious how present to me are both Rome and yourself. There is a certain hill—you, and that is the curious part of it, will never go there—yet, yesterday, late in the evening, I stood upon its summit and you came walking from a place below. It is always midday there: the seven pillars of the Forum stand on high, their capitals linked together, and form one angle of a square. At their bases there lie some detritus, a broken marble lion, and I think but I am not certain, the bronze she-wolf suckling the two bronze children. Your dress brushed the herbs: it was[2] grey and tenuous: I suppose you do not know how you look when you are unconscious of being looked at? But I looked at you for a long time—at my You.

I saw your husband yesterday at the club and he said that you would not be returning till the end of April. When I got back to my chambers I found a certain letter. I will tell you about it afterwards—but I forbid you to look at the end of what I am writing now. There is a piece of news coming: I would break it to you if I could—but there is no way of breaking the utterly unexpected. Only, if you read this through you will gather from the tenor, from the tone of my thoughts, a little inkling, a small preparation for my disclosure. Yes: it is a “disclosure.”

... Briefly, then, it was this letter—a business letter—that set me thinking: that made that hill rise before me. Yes, I stood upon it and there[3] before me lay Rome—beneath a haze, in the immense sea of plains. I have often thought of going to Rome—of going with you, in a leisurely autumn of your life and mine. Now—since I have received that letter—I know that I shall never see any other Rome than that from an imagined hilltop. And when, in the wonderful light and shadelessness of that noon, last evening, you came from a grove of silver poplars, I looked at you—my you—for a very long while. You had, I think, a parasol behind your head, you moved slowly, you looked up at the capitals of those seven pillars.... And I thought that I should never—since you will not return before the end of April—never see you again. I shall never see again the you that every other man sees....

You understand everything so well that already you must understand the nature of my disclosure. It is, of[4] course, no disclosure to tell you that I love you. A very great reverence is due to youth—and a very great latitude is due to the dead. For I am dead: I have only lived through you for how many years now! And I shall never speak with you again. Some sort of burial will have been given to me before the end of April. I am a spirit. I have ended my relations with the world. I have balanced all my books, my will is made. Only I have nothing to leave—save to you, to whom I leave all that is now mine in the world—my memory.

It is very curious—the world now. I walked slowly down here from Gordon Square. I walked slowly—for all my work is done. On the way I met Graydon Bankes, the K. C. It would have astonished him if he could have known how unreal he looked to me. He is six feet high, and upon his left cheek there is a brown mole. I found it difficult to imagine why he existed. And all sorts[5] of mists hurried past him. It was just outside the Natural History Museum. He said that his Seaford Railway Bill would come before Committee in June. And I wondered: what is June?... I laughed and thought: why June will never come!

June will never come. Imagine that for a moment. We have discussed the ethics of suicide. You see why June will never come!

You remember that ring I always wear? The one with a bulging, greenish stone. Once or twice you have asked me what stone it was. You thought, I know, that it was in bad taste and I told you I wore it for the sake of associations. I know you thought—but no: there has never been any woman but you.

You must have felt a long time ago that there was not, that there could not have been another woman. The associations of the ring are not with the[6] past of a finished affection, or hate, or passion, with all these forms of unrest that have a term in life: they looked forward to where there is no end—whether there is rest in it God alone knows. If it were not bad taste to use big words in extremities I would say there was Eternity in the ring—Eternity which is the negation of all that life may contain of losses and disappointments. Perhaps you have noticed that there was one note in our confidence that never responded to your touch. It was that note of universal negation contained within the glass film of the ring. It is not you who brought the ring into my life: I had it made years ago. It was in my nature always to anticipate a touch on my shoulder, to which the only answer could be an act of defiance. And the ring is my weapon. I shall raise it to my teeth, bite through the glass: inside there is poison.

I haven’t concealed anything from[7] you. Have I? And, with the great wisdom for which I love you, you have tolerated these other things. You would have tolerated this too, you who have met so many sinners and have never sinned....

Ah, my dear one—that is why I have so loved you. From our two poles we have met upon one common ground of scepticism—so that I am not certain whether it was you or I who first said: “Believe nothing: be harsh to no one.” But at least we have suffered. One does not drag around with one such a cannon-ball as I have done all these years without thinking some wise thoughts. And well I know that in your dreary and terrible life you have gained your great wisdom. You have been envied; you too have thought: Is any prospect fair to those among its trees? And I have been envied for my gifts, for my talents, for my wealth, for my official position, for the letters after[8] my name, for my great and empty house, for my taste in pictures—for my ... for my opportunities.

Great criminals and the very patient learn one common lesson: Believe in nothing, be harsh to no one!

But you cannot understand how immensely leisurely I feel. It is one o’clock at night. I cannot possibly be arrested before eleven to-morrow morning. I have ten hours in which, without the shadow of a doubt, I can write to you: I can put down my thoughts desultorily and lazily. I have half a score of hours in which to speak to you.

The stress of every secret emotion makes for sincerity in the end. Silence is like a dam. When the flood is at its highest the dam gives way. I am not conceited enough to think that I can sweep you along, terrified, in the rush of my confidences. I have not the elemental force. Perhaps it is just that form of “greatness” that I have lacked[9] all my life—that profound quality which the Italians call terribilita. There is nothing overpowering or terrible in the confession of a love too great to be kept within the bounds of the banality which is the safeguard of our daily life. Men have been nerved to crime for the sake of a love that was theirs. The call of every great passion is to unlawfulness. But your love was not mine, and my love for you was vitiated by that conventional reverence which, as to nine parts in ten, is genuine, but as to the last tenth a solemn sham behind which hide all the timidities of a humanity no longer in its youth. I have been of my time—altogether of my time—lacking courage for a swoop, as a bird respects a

ragged and nerveless scarecrow. Altogether a man of my time. Observe, I do not say “our time.” You are of all time—you are the loved Woman of the first cry that broke the silence and of the last song that shall mark the[10] end of this ingenious world to which love and suffering have been given, but which has in the course of ages invented for itself all the virtues and all the crimes. And being of this world and of my time I have set myself to deal ingeniously with my suffering and my love.

Now everything is over—even regrets. Nothing remains of finite things but a few days of life and my confession to make to you—to you alone of all the world.

It is difficult. How am I to begin? Would you believe it—every time I left your presence it was with the desire, with the necessity to forget you. Would you believe it?

This is the great secret—the heart of my confession. The distance did not count. No walls could make me safe. No solitude could defend me; and having no faith in the consolations of eternity I suffered too cruelly from your absence.

[11]If there had been kingdoms to conquer, a crusade to preach—but no. I should not have had the courage to go beyond the sound of your voice. You might have called to me any time! You never did. Never. And now it is too late. Moreover, I am a man of my time, the time is not of great deeds but of colossal speculations. The moments when I was not with you had to be got through somehow. I dared not face them empty-handed lest from sheer distress I should go mad and begin to execrate you. Action? What form of action could remove me far enough from you whose every thought was referred to your existence? And as you were to me a soul of truth and serenity I tried to forget you in lies and excitement. My only refuge from the tyranny of my desire was in abasement. Perhaps I was mad. I gambled. I gambled first with my own money and then with money that was not mine.[12] You know my connection with the great Burden fortune. I was trustee under my friend’s, Alexander Burden’s will. I gambled with a determined recklessness, with closed eyes. You understand now the origin of my houses, of

my collections, of my reputation, of my taste for magnificence—which you deigned sometimes to mock indulgently with an exquisite flattery as at something not quite worthy of me. It was like a break-neck ride on a wild horse, and now the fall has come. It was sudden. I am alive but my back is broken. Edward Burden is going to be married. I must pay back what I have borrowed from the Trust. I cannot. Therefore I am dead. (A mouse has just come out from beneath one of the deed-boxes. It looks up at me. It may have been eating some of the papers in the large cupboard. To-morrow morning I shall tell Saunders to get a cat. I have never seen a mouse[13] here before. I have never been here so late before. At times of pressure, as you know, I have always taken my papers home. So that these late hours have been, as it were, the prerogative of the mouse. No. I shall not get a cat. To that extent I am still a part of the world: I am master of the fate of mice!) I have, then, ten hours, less the time it has taken me to chronicle the mouse, in which to talk to you. It is