varia

December 3
Joseph Conrad, born Józef Teodor Konrad Korzeniowski (born 3 December, 1857; died 3 August, 1924), pictured above in a photograph made 1916 Alvin Langdon Coburn; in the collection of the National Portrait Gallery, London ‘The spirit of self-forgetfulness, the simple devotion to a vast humanitarian idea which inspired the thought and stress of that revolutionary time, had left its mark upon Giorgio in a sort of austere contempt for all personal advantage. This man, whom the lowest class in Sulaco suspected of having a buried hoard in his kitchen, had all his life despised money. The leaders of his youth had lived poor, had died poor. It had been a habit of his mind to disregard to-morrow. It was engendered partly by an existence of excitement, adventure, and wild warfare. But mostly it was a matter of principle. It did not resemble the carelessness of a condottiere, it was a puritanism of conduct, born of stern enthusiasm like the puritanism of religion. This stern devotion to a cause had cast a gloom upon Giorgio’s old age. It cast a gloom because the cause seemed lost. Too many kings and emperors flourished yet in the world which God had meant for the people. He was sad because of his simplicity. Though always ready to help his countrymen, and greatly respected by the Italian emigrants wherever he lived (in his exile he called it), he could not conceal from himself that they cared nothing for the wrongs of down-trodden nations. They listened to his tales of war readily, but seemed to ask themselves what he had got out of it after all. There was nothing that they could see. “We wanted nothing, we suffered for the love of all humanity!” he cried out furiously sometimes, and the powerful voice, the blazing eyes, the shaking of the white mane, the brown, sinewy hand pointing upwards as if to call heaven to witness, impressed his hearers. After the old man hadbroken off abruptly with a jerk of the head and a movement of the arm, meaning clearly, “But what’s the good of talking to you?” they nudged each other. There was in old Giorgio an energy of feeling, a personal quality of conviction, something they called “terribilita” - “an old lion,” they used to say of him. Some slight incident, a chance word would set him off talking on the beach to the Italian fishermen of Maldonado, in the little shop he kept afterwards (in Valparaiso) to his countrymen customers; of an evening, suddenly, in the cafe at one end of the Casa Viola (the other was reserved for the English engineers) to the select clientele of engine-drivers and foremen of the railway shops. With their handsome, bronzed, lean faces, shiny black ringlets, glistening eyes, broad-chested, bearded, sometimes a tiny gold ring in the lobe of the ear, the aristocracy of the railway works listened to him, turning away from their cards or dominoes. Here and there a fair-haired Basque studied his hand meantime, waiting without protest. No native of Costaguana intruded there. This was the Italian stronghold. Even the Sulaco policemen on a night patrol let their horses pace softly by, bending low in the saddle to glance through the window at the heads in a fog of smoke; and the drone of old Giorgio’s declamatory narrative seemed to sink behind them into the plain. Only now and then the assistant of the chief of police, some broad-faced, brown little gentleman, with a great deal of Indian in him, would put in an appearance. Leaving his man outside with the horses he advanced with a confident, sly smile, and without a word up to the long trestle table. He pointed to one of the bottles on the shelf; Giorgio, thrusting his pipe into his mouth abruptly, served him in person. Nothing would be heard but the slight jingle of the spurs. His glass emptied, he would take a leisurely, scrutinizing look all round the room, go out, and ride away slowly, circling towards the town.’ —from Nostromo (1904)

Joseph Conrad, born Józef Teodor Konrad Korzeniowski (born 3 December, 1857; died 3 August, 1924), pictured above in a photograph made 1916 Alvin Langdon Coburn; in the collection of the National Portrait Gallery, London

‘The spirit of self-forgetfulness, the simple devotion to a vast humanitarian idea which inspired the thought and stress of that revolutionary time, had left its mark upon Giorgio in a sort of austere contempt for all personal advantage. This man, whom the lowest class in Sulaco suspected of having a buried hoard in his kitchen, had all his life despised money. The leaders of his youth had lived poor, had died poor. It had been a habit of his mind to disregard to-morrow. It was engendered partly by an existence of excitement, adventure, and wild warfare. But mostly it was a matter of principle. It did not resemble the carelessness of a condottiere, it was a puritanism of conduct, born of stern enthusiasm like the puritanism of religion.
 
This stern devotion to a cause had cast a gloom upon Giorgio’s old age. It cast a gloom because the cause seemed lost. Too many kings and emperors flourished yet in the world which God had meant for the people. He was sad because of his simplicity. Though always ready to help his countrymen, and greatly respected by the Italian emigrants wherever he lived (in his exile he called it), he could not conceal from himself that they cared nothing for the wrongs of down-trodden nations. They listened to his tales of war readily, but seemed to ask themselves what he had got out of it after all. There was nothing that they could see. “We wanted nothing, we suffered for the love of all humanity!” he cried out furiously sometimes, and the powerful voice, the blazing eyes, the shaking of the white mane, the brown, sinewy hand pointing upwards as if to call heaven to witness, impressed his hearers. After the old man hadbroken off abruptly with a jerk of the head and a movement of the arm, meaning clearly, “But what’s the good of talking to you?” they nudged each other. There was in old Giorgio an energy of feeling, a personal quality of conviction, something they called “terribilita” - “an old lion,” they used to say of him. Some slight incident, a chance word would set him off talking on the beach to the Italian fishermen of Maldonado, in the little shop he kept afterwards (in Valparaiso) to his countrymen customers; of an evening, suddenly, in the cafe at one end of the Casa Viola (the other was reserved for the English engineers) to the select clientele of engine-drivers and foremen of the railway shops.

With their handsome, bronzed, lean faces, shiny black ringlets, glistening eyes, broad-chested, bearded, sometimes a tiny gold ring in the lobe of the ear, the aristocracy of the railway works listened to him, turning away from their cards or dominoes. Here and there a fair-haired Basque studied his hand meantime, waiting without protest. No native of Costaguana intruded there. This was the Italian stronghold. Even the Sulaco policemen on a night patrol let their horses pace softly by, bending low in the saddle to glance through the window at the heads in a fog of smoke; and the drone of old Giorgio’s declamatory narrative seemed to sink behind them into the plain. Only now and then the assistant of the chief of police, some broad-faced, brown little gentleman, with a great deal of Indian in him, would put in an appearance. Leaving his man outside with the horses he advanced with a confident, sly smile, and without a word up to the long trestle table. He pointed to one of the bottles on the shelf; Giorgio, thrusting his pipe into his mouth abruptly, served him in person. Nothing would be heard but the slight jingle of the spurs. His glass emptied, he would take a leisurely, scrutinizing look all round the room, go out, and ride away slowly, circling towards the town.’

—from Nostromo (1904)