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 all that beauty and brilliancy before our eyes, of the darkness of the background.

Thus a rough-and-ready distinction would make us say that it is Marlow who comments, Conrad who creates. It would lead us, aware that we are on dangerous ground, to account for that change which, Conrad tells us, took place when he had finished the last story in the Typhoon volume—"a subtle change in the nature of the inspiration"—by some alteration in the relationship of the two old friends. " it seemed somehow that there was nothing more in the world to write about." It was Conrad, let us suppose, Conrad the creator, who said that, looking back with sorrowful satisfaction upon the stories he had told; feeling as he well might that he could never better the storm in The Nigger of the "Narcissus", or render more faithful tribute to the qualities of British seamen than he had done already in Youth and Lord Jim. It was then that Marlow, the commentator, reminded him how, in the course of nature, one must grow old, sit smoking on deck, and give up seafaring. But, he reminded him, those strenuous years had deposited their memories; and he even went so far perhaps as to hint that, though the last word might have been said about Captain Whalley and his relation to the universe, there remained on shore a number of men and women whose relationships, though of a more personal kind, might be worth looking into. If we further suppose that there was a volume of Henry James on board and that Marlow gave his friend the [315]