The Arrow of Gold · Chapters
Chapters explained
Chapter companions for The Arrow of Gold by Joseph Conrad.
Chapter 1
Epigraph
The chapter opens with a French epigraph from 'Caractères', suggesting that those who have only known polite and reasonable men either do not know man at all, or know him only halfway.
Chapter 2
Dedication
The book is dedicated to Richard Curle.
Chapter 3
Author's Note
In this Author's Note, Joseph Conrad explains the origins and intentions behind The Arrow of Gold. He addresses critics' suspicions about concealed facts and inadequate motives, asserting that the narrative is based on his own imperfect knowledge and understanding. He clarifies that the story is framed between two notes, which establish the historical circumstances of the twelve months covered. Conrad reveals that the book was written during the darkest hours of World War I, from autumn 1917 to summer 1918, and that the subject had long been a part of his memory. He acknowledges the connection to his earlier work The Mirror of the Sea, noting that the same Dominic and balancelle Tremolino appear, but that the new book explores a different kind of love—an initiation into a life of passion. He insists that the story is given complete, with all its imperfections, and that he chose sincerity over invention.
Chapter 4
The Arrow of Gold
The opening of 'The Arrow of Gold' presents the book's title and subtitle, 'A Story Between Two Notes,' establishing the narrative frame of a tale told between two distinct points or communications.
Chapter 5
First Note
The narrator introduces the manuscript as a story written for a childhood friend, recounting his first great adventure in Marseilles during the Carlist wars in Spain. The chapter sets up the background: Mills and Captain Blunt, on behalf of legitimist sympathizers, seek a young man to organize a supply of arms to Carlist detachments. They find the narrator, who becomes 'Monsieur George,' and plan to involve him in the enterprise, with Doña Rita as the persuader.
Chapter 6
I
The narrator, known as 'Young Ulysses,' sits alone in a café on the Cannebière during carnival, feeling detached from the festivities. He reflects on his recent return from a second West Indies voyage and his lack of interest in the political intrigue surrounding Don Carlos. He is joined by Mills and Captain Blunt, an elegant but insomniac man. After a brief encounter with a masked girl, the three men decide to leave the café and go to Blunt's rooms for a private supper, marking the beginning of a significant acquaintance.
Chapter 7
II
The narrator and Mills listen to Captain Blunt's account of Doña Rita's past with Henry Allègre, including her discovery, their life in Paris, and the reactions of society. Blunt also mentions Rita's sister Therese, who now runs the house, and hints at the precariousness of Rita's current situation.
Chapter 8
III
In the early hours after the carnival, the narrator, Mills, and Captain Blunt discuss Doña Rita's reputation and her role in royalist politics. Blunt reveals his mission involving Rita, his mother's correspondence with her, and her secret visit to the royal headquarters, while the narrator is invited to lunch with Rita.
Chapter 9
I
The narrator, accompanied by Mills, visits Doña Rita at her villa in Marseilles. They encounter Captain Blunt, who mentions Rita's habit of riding and her recent return. Rita descends the stairs, captivating the narrator with her beauty and presence. A journalist from Paris arrives uninvited, causing tension. The narrator feels a profound connection to Rita, sensing a shared youth and understanding.
Chapter 10
III
In this chapter, the narrator observes the dynamics between Mills, Doña Rita, and Mr. Blunt. Doña Rita confides in Mills about her past with Henry Allègre, describing her sheltered life and the profound impact of his death. She reflects on her isolation from other women and her fear of the world. The chapter reveals her complex feelings about her identity and her guardedness, while the narrator becomes increasingly enchanted by her.
Chapter 11
IV
The narrator leaves the house with Mills, feeling committed to a secret enterprise. He begins keeping notes in little black books, reflecting on his changed state. He parts with Mills, who is focused on the Legitimist Principle, while the narrator asserts his own independent choice. Late that night, he seeks out Dominic, a Mediterranean sailor with a shadowy past, and they plan to purchase a fast balancelle for the enterprise. A fortnight later, the narrator visits Doña Rita at the Prado, where they discuss the plans and she expresses a wish to meet Dominic.
Chapter 12
I
The narrator returns from his first trip and introduces Dominic to Doña Rita, who is impressed by his fidelity and courage. Their meeting establishes a deep connection, and Rita suggests the narrator move into her house on the street of the Consuls. The chapter reveals Rita's past, including her adoption of the name Lastaola after Henry Allègre's death, and her memories of her childhood with goats and her uncle, a priest. She recounts a visit to her uncle, bringing him snuff from the King, and her decision to send for her sister to manage her house for Carlist officers.
Chapter 13
II
The narrator reflects on his growing fascination with Doña Rita, contrasting her with her sister Therese. He recounts his first meeting with Rita, his doubts about her existence, and his realization of her profound charm. The chapter also details his involvement in a risky smuggling enterprise with Dominic, marked by a nighttime expedition and a conversation about their dangerous work and devotion to Rita.
Chapter 14
III
The narrator returns from an expedition with Dominic, visits Madame Léonore's café, and later encounters Therese at his lodging, who informs him of Mr. Blunt's arrival from Navarre.
Chapter 15
IV
The narrator spends a sleepless night consumed by his intense, almost mystical fixation on Doña Rita. He visits her the next morning, where he finds her with Captain Blunt. Their conversation reveals the complex dynamics between them, with Rita expressing frustration at not being believed and Blunt maintaining a detached, ironic demeanor. The narrator's own feelings oscillate between devotion and bitterness, culminating in a moment of intimate yet painful connection with Rita.
Chapter 16
I
The narrator reflects on his intense and tormenting love for Doña Rita, feeling haunted by her every aspect. He recalls a conversation with Therese, Rita's sister, who condemns Rita as wicked and claims ownership of the house. The narrator is disturbed by Therese's fanaticism and her revelation that Rita cried on his shoulder after being made to cry by someone else, leading him to feel a profound sense of despair and emotional exhaustion.
Chapter 17
II
The narrator meets Captain Blunt and his mother, Mrs. Blunt, in a studio in Paris. Mrs. Blunt, an aristocratic American exile, engages the narrator in conversation, revealing her concerns about her son's involvement in the Carlist cause and her own complex personality. The chapter explores themes of aristocracy, exile, and the ambiguities of the Blunt family's social position.
Chapter 18
Chapter III
The narrator confronts Mrs. Blunt, who reveals her plan for her son to marry Doña Rita, seeing her as a suitable match for his noble character and fortune. The narrator is disturbed by this revelation and the implications for his own feelings and involvement.
Chapter 19
IV
In this chapter, the narrator and Doña Rita engage in a tense and intimate conversation. Rita reveals her correspondence with an aristocratic old lady, discusses her past with Henry Allègre, and recounts a visit from a nobleman who is in love with her but cannot accept her as she is. The narrator struggles with jealousy and resentment, while Rita defends her maid Rose and shows her vulnerability and independence.
Chapter 20
V
The narrator is at Doña Rita's house, lost in a dreamlike state of intimacy with her. Their conversation touches on her past, her feelings of captivity, and her enigmatic nature. The narrator reveals he is about to leave on another supply expedition. Their intimate moment is interrupted when Rita rings for the lights, and the narrator learns that Dominic is waiting for him in the hall. The chapter explores the deep, complex bond between them and the impending separation.
Chapter 21
I
The narrator, consumed by obsessive longing for Doña Rita, searches desperately for any trace of her in his studio, even the smallest object or hair. He reflects on his deteriorating mental state, comparing himself to a man in an asylum who was driven mad by a woman. His relationship with Therese has cooled, as she seems preoccupied with her own thoughts and avoids discussing her sister. The narrator finds some solace in the company of the old father of the dancing girls who live below, and in the dummy in his studio, which he learns was made for Rita's Imperial Byzantine robes and the 'Girl in the Hat' portrait. His obsessive search yields nothing, and he confronts Therese, who speaks of Rita's hardness of heart and a man in Paris who loves her, suggesting a dark history and a connection to the Carlist intrigue.
Chapter 22
II
The narrator, despite his misanthropy, remains involved in Royalist affairs, partly due to his connection to Doña Rita. He meets with a banker and the Marquis of Villarel, discussing matters related to the Carlist cause. The Marquis, a fanatical Royalist, questions the narrator's motives and youth, but the narrator asserts his commitment without seeking personal reward. The chapter explores the narrator's obsession with Rita and his internal conflict between his adventurous life and his emotional turmoil.
Chapter 23
III
The narrator, now a baron, is approached by the Commissary General of the Carlist forces, who is distressed about Doña Rita's journey to Tolosa and the need to convey news without interception. He asks the narrator to meet an agent, José Ortega, at the station and escort him. The narrator agrees, though his mind is consumed by the idea of 'never again' and memories of Rita. The chapter then flashes back to the narrator's desperate months of gunrunning with Dominic, marked by danger and near-misses, culminating in a shipwreck that destroys the enterprise and leaves him destitute in Marseilles during Carnival. He returns to his lodgings, where Therese, though frightened, cares for him.
Chapter 24
IV
The narrator escorts Señor Ortega to his studio after a chance encounter, realizing the man is the source of Doña Rita's fears. Ortega's erratic behavior and obsessive talk about Rita reveal his instability. The narrator grapples with the dilemma of preventing Ortega from traveling to Tolosa, where Rita is, while also dealing with his own intense feelings for her. He ultimately decides to keep Ortega under watch and arrange for his departure elsewhere.
Chapter 25
V
The narrator, George, confronts Doña Rita in her room after the failure of the expedition. Their conversation reveals the depth of their connection and the sense of betrayal and loss. Rita explains her flight from Paris and her desire to hide, while George expresses his disillusionment with life's betrayals. The chapter also reveals Therese's manipulative behavior towards Rita and George's determination to protect Rita from the threats posed by Ortega.
Chapter 26
Chapter VI
In this tense chapter, the narrator confesses to Doña Rita that he has brought a man named Ortega into the house, a Jacobin and a Spaniard who seems to know her from early days. Doña Rita reacts with terror and attempts to flee, but the narrator restrains her. Their conversation is interrupted by a mysterious noise, and the chapter ends with Doña Rita's desperate plea that Ortega must not be there.
Chapter 27
VII
In a state of heightened tension, the narrator and Doña Rita find themselves trapped in her room while José Ortega, driven mad by jealousy, prowls in the fencing-room. Therese has given Ortega the key, and the narrator realizes the danger. He urges Rita to remain silent and still, but she pleads to be taken away. The chapter explores the psychological turmoil of all involved, with the narrator analyzing Ortega's madness and Therese's fanaticism.
Chapter 28
Chapter VIII
After the doctor leaves, the narrator confronts Therese, who descends with a candle, her face hard and unyielding. He directs her to the studio where Captain Blunt lies. He then enters the room to find Doña Rita in a state of shock, cold and immobile. He dresses her in a fur coat and leads her to his own room, carrying her when she cannot walk. In his room, he prepares a makeshift bed by the fire. Rita, in a fragile state, speaks of being 'killed' by the events and insists she is not evil. Therese appears at the door, waiting to take her sister away, but Rita slams the door in her face. Rita gives the narrator the golden arrow, but when he tries to speak of love, she stops him, saying words are profane in that house. She then seals his lips with a kiss.
Chapter 29
Second Note
The narrator reflects on the six months following the last night of Carnival, a period of deep and joyous tenderness between George and Doña Rita in a small house in the Maritime Alps. The narrative is largely suppressed, but the facts are given: their retreat, their childlike companionship, and their eventual separation. George, recovering from a duel, learns from Mills that Rita has left, having sacrificed their love for the integrity of his life. She leaves him an arrow as a keepsake, which he says has found its mark, signifying an end to his dreaming. The chapter also touches on the fate of Henry Allègre's fortune and the curiosity of the outside world about the couple's disappearance.
