Conrad First The Joseph Conrad Periodical Archive
Extract (The Arrow of Gold: A Story Between Two Notes)

The Arrow of Gold

in Hearst's (New York, NY, USA)

pp.49, 62. Less an excerpt than a potted summary, this two-page serialization intersperses plot description with crudely composite 'quotations' from the following passages in Conrad's text:

"As a matter of fact, Henry Allegre caught her very early one morning in his own old garden full of thrushes and other small birds. She was sitting on a stone, a fragment of some old balustrade, with her feet in the damp grass, and reading a tattered book of some kind. She had on a short, black, two-penny frock (une petite robe de deux sous) and there was a hole in one of her stockings. She raised her eyes and saw him looking down at her thoughtfully over that ambrosian beard of his, like Jove at a mortal. They exchanged a good long stare, for at first she was too startled to move; and then he murmured, "Restez donc." She lowered her eyes again on her book and after a while heard him walk away on the path.

. . .

She crossed the street with a hole in her stocking. She had a hole in her stocking not because her uncle and aunt were poor (they had around them never less than eight thousand oranges, mostly in cases) but because she was then careless and untidy and totally unconscious of her personal appearance. She told me herself that she was not even conscious then of her personal existence.

. . .

She is of peasant stock, you know. This is the true origin of the 'Girl in the Hat' and of the 'Byzantine Empress' which excited my dear mother so much; of the mysterious girl that the privileged personalities great in art, in letters, in politics, or simply in the world, could see on the big sofa during the gatherings in Allegre's exclusive Pavilion: the Dona Rita of their respectful addresses, manifest and mysterious, like an object of art from some unknown period; the Dona Rita of the initiated Paris. Dona Rita and nothing more - unique and indefinable."

. . .

The woman of whom I had heard so much, in a sort of way in which I had never heard a woman spoken of before, was coming down the stairs, and my first sensation was that of profound astonishment at this evidence that she did really exist. And even then the visual impression was more of colour in a picture than of the forms of actual life. She was wearing a wrapper, a sort of dressing-gown of pale blue silk embroidered with black and gold designs round the neck and down the front, lapped round her and held together by a broad belt of the same material. Her slippers were of the same colour, with black bows at the instep. The white stairs, the deep crimson of the carpet, and the light blue of the dress made an effective combination of colour to set off the delicate carnation of that face, which, after the first glance given to the whole person, drew irresistibly your gaze to itself by an indefinable quality of charm beyond all analysis and made you think of remote races, of strange generations, of the faces of women sculptured on immemorial monuments and of those lying unsung in their tombs. While she moved downwards from step to step with slightly lowered eyes there flashed upon me suddenly the recollection of words heard at night, of Allegre's words about her, of there being in her "something of the women of all time."

. . .

It was past four o'clock before I left the house

. . .

But in those four hours since midday a complete change had come over me. For good or evil I left that house committed to an enterprise that could not be talked about

. . .

you may be sure of one thing, that she is both flesh and shadow more than any one that I have seen. Keep that well in your mind: She is for no man! She would be vanishing out of their hands like water that cannot be held."

. . .

I was about eleven years old then, and I was very friendly with the goats . . .

. . .

He had an unhappy mouth and unhappy eyes and he was always wretched about something: about the treatment he received, about being kept in the country and chained to work. He was moaning and complaining and threatening all the world, including his father and mother. He used to curse God, yes, that boy, sitting there on a piece of rock like a wretched little Prometheus with a sparrow peeking at his miserable little liver.

. . .

"One day he came up and sat down very dignified a little bit away from me and told me he had been thrashed for wandering in the hills. "'To be with me?' I asked. And he said: 'To be with you! No. My people don't know what I do.' I can't tell why, but I was annoyed. So instead of raising a clamour of pity over him, which I suppose he expected me to do, I asked him if the thrashing hurt very much. He got up, he had a switch in his hand, and walked up to me, saying, 'I will soon show you.' I went stiff with fright; but instead of slashing at me he dropped down by my side and kissed me on the cheek. Then he did it again, and by that time I was gone dead all over and he could have done what he liked with the corpse but he left off suddenly and then I came to life again and I bolted away.

. . .

After that he made my life very lively for me. Sometimes he used to come on me unawares and then I had to sit still and listen to his miserable ravings, because he would catch me round the waist and hold me very tight. And yet, I often felt inclined to laugh. But if I caught sight of him at a distance and tried to dodge out of the way he would start stoning me into a shelter I knew of and then sit outside with a heap of stones at hand so that I daren't show the end of my nose for hours.

. . .

Then as the sun was about to set he would make me swear that I would marry him when I was grown up. 'Swear, you little wretched beggar,' he would yell to me. And I would swear. I was hungry, and I didn't want to be made black and blue all over with stones. Oh, I swore ever so many times to be his wife. Thirty times a month for two months. I couldn't help myself. "

. . .

It never entered my head. How could it? The Rita that haunted me had no history; she was but the principle of life charged with fatality. Her form was only a mirage of desire decoying one step by step into despair.

. . .

"Tell me," he said, "between men, you know, has this - wonderful celebrity - what does she call herself? How long has she been your mistress?"

. . .

There was between us a most horrible fellowship; the association of his crazy torture with the sublime suffering of my passion. We hadn't been a quarter of an hour together when that woman had surged up fatally between us; between this miserable wretch and myself. We were haunted by the same image. But I was sane! I was sane!

. . .

It came on me suddenly, and I asked myself with rage and astonishment: "Must I then kill that brute?" There didn't seem to be any alternative. Between him and Dona Rita I couldn't hesitate. I believe I gave a slight laugh of desperation.

. . .

I discovered that however much I had imagined I had given up Rita, that whatever agonies I had gone through, my hope of her had never been lost. Plucked out, stamped down, torn to shreds, it had remained with me secret, intact, invincible. Before the danger of the situation it sprang, full of life, up in arms - the undying child of immortal love.

. . .

"Do you expect a fellow to forget your tricks, you wicked little devil? Haven't you ever seen me dodging about to get a sight of you amongst those pretty gentlemen, on horseback, like a princess, with pure cheeks like a carved saint? I wonder I didn't throw stones at you, I wonder I didn't run after you shouting the tale - curse my timidity! But I daresay they knew as much as I did. More. All the new tricks - if that were possible." While he was making this uproar, Dona Rita put her fingers in her ears and then suddenly changed her mind and clapped her hands over my ears.

. . .

Determined to prevent this, but indeed without thinking very much what I was doing, I got hold of her arm. That struggle was silent, too; but I used the least force possible and she managed to give me an unexpected push. Stepping back to save myself from falling I overturned the little table, bearing the six-branched candlestick. It hit the floor, rebounded with a dull ring on the carpet, and by the time it came to a rest every single candle was out. He on the other side of the door naturally heard the noise and greeted it with a triumphant screech:

. . .

He must have been at the end of his strength.

. . .

She was sitting up, two masses of tawny hair fell on each side of her tense face. I threw away the pillows from which she had risen and sat down behind her on the couch. "Perhaps like this," I suggested, drawing her head gently on my breast. She didn't resist, she didn't even sigh, she didn't look at me

. . .

When he woke up after an hour, or a day, or a month, there was dusk in the room; but he recognized it perfectly. It was his apartment in Dona Rita's house

. . .

"Well, then, ask Rita to come in." "I can't do that, my dear boy," said Mills with affectionate gentleness. He hesitated a moment. "Dona Rita went away yesterday," he said softly.

. . .

"Before she left the house she gave me that arrow she used to wear in her hair to hand over to you as a keepsake and also to prevent you, she said, from dreaming of her. This message sounds rather cryptic."

. . .

"Oh, I understand perfectly," said Monsieur George. "Don't give me the thing now. Leave it somewhere where I can find it some day when I am alone. But when you write to her you may tell her that now at last - surer than Mr. Blunt's bullet - the arrow has found its mark. There will be no more dreaming. Tell her. She will understand."

. . .

"And elusive," struck in Mills in a low voice. "Some of them are like that. She will never change. Amid all the shames and shadows of that life there will always lie the ray of her perfect honesty. I don't know about your honesty, but yours will be the easier lot. You will always have your . . . other love - you pig-headed enthusiast of the sea."