Nostromo: A Tale of the Seaboard. Джозеф Конрад
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you have told me about that silver?”
The cynical ruffian was not alarmed in the least. He actually laughed. “You fool, if you dare talk like that on shore about me you will get a knife stuck in your back. Every man, woman, and child in that port is my friend. And who’s to prove the lighter wasn’t sunk? I didn’t show you where the silver is hidden. Did I? So you know nothing. And suppose I lied? Eh?”
Ultimately the sailor, disgusted with the sordid meanness of that impenitent thief, deserted from the schooner. The whole episode takes about three pages of his autobiography. Nothing to speak of; but as I looked them over, the curious confirmation of the few casual words heard in my early youth evoked the memories of that distant time when everything was so fresh, so surprising, so venturesome, so interesting; bits of strange coasts under the stars, shadows of hills in the sunshine, men’s passions in the dusk, gossip half-forgotten, faces grown dim. … Perhaps, perhaps, there still was in the world something to write about. Yet I did not see anything at first in the mere story. A rascal steals a large parcel of a valuable commodity—so people say. It’s either true or untrue; and in any case it has no value in itself. To invent a circumstantial account of the robbery did not appeal to me, because my talents not running that way I did not think that the game was worth the candle. It was only when it dawned upon me that the purloiner of the treasure need not necessarily be a confirmed rogue, that he could be even a man of character, an actor and possibly a victim in the changing scenes of a revolution, it was only then that I had the first vision of a twilight country which was to become the province of Sulaco, with its high shadowy Sierra and its misty Campo for mute witnesses of events flowing from the passions of men short-sighted in good and evil.
Such are in very truth the obscure origins of “Nostromo”—the book. From that moment, I suppose, it had to be. Yet even then I hesitated, as if warned by the instinct of self-preservation from venturing on a distant and toilsome journey into a land full of intrigues and revolutions. But it had to be done.
It took the best part of the years 1903–4 to do; with many intervals of renewed hesitation, lest I should lose myself in the ever-enlarging vistas opening before me as I progressed deeper in my knowledge of the country. Often, also, when I had thought myself to a standstill over the tangled-up affairs of the Republic, I would, figuratively speaking, pack my bag, rush away from Sulaco for a change of air and write a few pages of the “Mirror of the Sea.” But generally, as I’ve said before, my sojourn on the Continent of Latin America, famed for its hospitality, lasted for about two years. On my return I found (speaking somewhat in the style of Captain Gulliver) my family all well, my wife heartily glad to learn that the fuss was all over, and our small boy considerably grown during my absence.
My principal authority for the history of Costaguana is, of course, my venerated friend, the late Don Jose Avellanos, Minister to the Courts of England and Spain, etc., etc., in his impartial and eloquent “History of Fifty Years of Misrule.” That work was never published—the reader will discover why—and I am in fact the only person in the world possessed of its contents. I have mastered them in not a few hours of earnest meditation, and I hope that my accuracy will be trusted. In justice to myself, and to allay the fears of prospective readers, I beg to point out that the few historical allusions are never dragged in for the sake of parading my unique erudition, but that each of them is closely related to actuality; either throwing a light on the nature of current events or affecting directly the fortunes of the people of whom I speak.
As to their own histories I have tried to set them down, Aristocracy and People, men and women, Latin and Anglo-Saxon, bandit and politician, with as cool a hand as was possible in the heat and clash of my own conflicting emotions. And after all this is also the story of their conflicts. It is for the reader to say how far they are deserving of interest in their actions and in the secret purposes of their hearts revealed in the bitter necessities of the time. I confess that, for me, that time is the time of firm friendships and unforgotten hospitalities. And in my gratitude I must mention here Mrs. Gould, “the first lady of Sulaco,” whom we may safely leave to the secret devotion of Dr. Monygham, and Charles Gould, the Idealist-creator of Material Interests whom we must leave to his Mine—from which there is no escape in this world.
About Nostromo, the second of the two racially and socially contrasted men, both captured by the silver of the San Tome Mine, I feel bound to say something more.
I did not hesitate to make that central figure an Italian. First of all the thing is perfectly credible: Italians were swarming into the Occidental Province at the time, as anybody who will read further can see; and secondly, there was no one who could stand so well by the side of Giorgio Viola the Garibaldino, the Idealist of the old, humanitarian revolutions. For myself I needed there a Man of the People as free as possible from his class-conventions and all settled modes of thinking. This is not a side snarl at conventions. My reasons were not moral but artistic. Had he been an Anglo-Saxon he would have tried to get into local politics. But Nostromo does not aspire to be a leader in a personal game. He does not want to raise himself above the mass. He is content to feel himself a power—within the People.
But mainly Nostromo is what he is because I received the inspiration for him in my early days from a Mediterranean sailor. Those who have read certain pages of mine will see at once what I mean when I say that Dominic, the padrone of the Tremolino, might under given circumstances have been a Nostromo. At any rate Dominic would have understood the younger man perfectly—if scornfully. He and I were engaged together in a rather absurd adventure, but the absurdity does not matter. It is a real satisfaction to think that in my very young days there must, after all, have been something in me worthy to command that man’s half-bitter fidelity, his half-ironic devotion. Many of Nostromo’s speeches I have heard first in Dominic’s voice. His hand on the tiller and his fearless eyes roaming the horizon from within the monkish hood shadowing his face, he would utter the usual exordium of his remorseless wisdom: “Vous autres gentilhommes!” in a caustic tone that hangs on my ear yet. Like Nostromo! “You hombres finos!” Very much like Nostromo. But Dominic the Corsican nursed a certain pride of ancestry from which my Nostromo is free; for Nostromo’s lineage had to be more ancient still. He is a man with the weight of countless generations behind him and no parentage to boast of. … Like the People.
In his firm grip on the earth he inherits, in his improvidence and generosity, in his lavishness with his gifts, in his manly vanity, in the obscure sense of his greatness and in his faithful devotion with something despairing as well as desperate in its impulses, he is a Man of the People, their very own unenvious force, disdaining to lead but ruling from within. Years afterwards, grown older as the famous Captain Fidanza, with a stake in the country, going about his many affairs followed by respectful glances in the modernized streets of Sulaco, calling on the widow of the cargador, attending the Lodge, listening in unmoved silence to anarchist speeches at the meeting, the enigmatical patron of the new revolutionary agitation, the trusted, the wealthy comrade Fidanza with the knowledge of his moral ruin locked up in his breast, he remains essentially a Man of the People. In his mingled love and scorn of life and in the bewildered conviction of having been betrayed, of dying betrayed he hardly knows by what or by whom, he is still of the People, their undoubted Great Man—with a private history of his own.
One more figure of those stirring times I would like to mention: and that is Antonia Avellanos—the “beautiful Antonia.” Whether she is a possible variation of Latin-American girlhood I wouldn’t dare to affirm. But, for me, she is. Always a little in the background by the side of her father (my venerated friend) I hope she has yet relief enough to make intelligible what I am going to say. Of all the people who had seen with me the birth of the Occidental Republic, she is the only one who has kept in my memory the aspect of continued life. Antonia the Aristocrat and Nostromo the Man of the People are the artisans of the New Era, the true creators of the New State; he by his legendary and daring feat, she, like a woman, simply by the force of what she is: the only being capable of inspiring a sincere passion in the heart of a trifler.
If anything could induce me to revisit Sulaco (I should hate to see all these changes) it would be Antonia. And the true reason for that—why not be frank about it?—the true reason is that I have modelled her on my first love. How we, a band of tallish schoolboys, the chums of her two brothers,