Some Reminiscences. Джозеф Конрад

had been, I was informed in an affectedly careless tone, awaiting me for some fifteen years or so. It attracted no attention from the affectionate presence hovering round the son of the favourite sister.

      “You won't have many hours to yourself while you are staying with me, brother,” he said—this form of address borrowed from the speech of our peasants being the usual expression of the highest good humour in a moment of affectionate elation. “I shall be always coming in for a chat.”

      As a matter of fact we had the whole house to chat in, and were everlastingly intruding upon each other. I invaded the retirement of his study where the principal feature was a colossal silver inkstand presented to him on his fiftieth year by a subscription of all his wards then living. He had been guardian of many orphans of land-owning families from the three southern provinces—ever since the year 1860. Some of them had been my schoolfellows and playmates, but not one of them, girls or boys, that I know of has ever written a novel. One or two were older than myself—considerably older, too. One of them, a visitor I remember in my early years, was the man who first put me on horseback, and his four-horse bachelor turnout, his perfect horsemanship and general skill in manly exercises was one of my earliest admirations. I seem to remember my mother looking on from a colonnade in front of the dining-room windows as I was lifted upon the pony, held, for all I know, by the very Joseph—the groom attached specially to my grandmother's service—who died of cholera. It was certainly a young man in a dark blue, tailless coat and huge Cossack trousers, that being the livery of the men about the stables. It must have been in 1864, but reckoning by another mode of calculating time, it was certainly in the year in which my mother obtained permission to travel south and visit her family, from the exile into which she had followed my father. For that, too, she had had to ask permission, and I know that one of the conditions of that favour was that she should be treated exactly as a condemned exile herself. Yet a couple of years later, in memory of her eldest brother who had served in the Guards and dying early left hosts of friends and a loved memory in the great world of St. Petersburg, some influential personages procured for her this permission—it was officially called the “Highest Grace”—of a three months' leave from exile.

      This is also the year in which I first begin to remember my mother with more distinctness than a mere loving, wide-browed, silent, protecting presence, whose eyes had a sort of commanding sweetness; and I also remember the great gathering of all the relations from near and far, and the grey heads of the family friends paying her the homage of respect and love in the house of her favourite brother who, a few years later, was to take the place for me of both my parents.

      I did not understand the tragic significance of it all at the time, though indeed I remember that doctors also came. There were no signs of invalidism about her—but I think that already they had pronounced her doom unless perhaps the change to a southern climate could re-establish her declining strength. For me it seems the very happiest period of my existence. There was my cousin, a delightful quick-tempered little girl, some months younger than myself, whose life, lovingly watched over, as if she were a royal princess, came to an end with her fifteenth year. There were other children, too, many of whom are dead now, and not a few whose very names I have forgotten. Over all this hung the oppressive shadow of the great Russian Empire—the shadow lowering with the darkness of a newborn national hatred fostered by the Moscow school of journalists against the Poles after the ill-omened rising of 1863.

      This is a far cry back from the MS. of “Almayer's Folly,” but the public record of these formative impressions is not the whim of an uneasy egotism. These, too, are things human, already distant in their appeal. It is meet that something more should be left for the novelist's children than the colours and figures of his own hard-won creation. That which in their grown-up years may appear to the world about them as the most enigmatic side of their natures and perhaps must remain for ever obscure even to themselves, will be their unconscious response to the still voice of that inexorable past from which his work of fiction and their personalities are remotely derived.

      Only in men's imagination does every truth find an effective and undeniable existence. Imagination, not invention, is the supreme master of art as of life. An imaginative and exact rendering of authentic memories may serve worthily that spirit of piety towards all things human which sanctions the conceptions of a writer of tales, and the emotions of the man reviewing his own experience.