quality:correction
Language

Conrad spoke his native Polish and the French language fluently from childhood and only acquired English in his twenties. He would probably have spoken some Ukrainian as a child; he certainly had to have some knowledge of German and Russian. His son Borys records that, though Conrad had insisted that he spoke only a few words of German, when they reached the Austrian frontier in the family's attempt to leave Poland in 1914, Conrad spoke German "at considerable length and extreme fluency". Russia, Prussia, and Austria had divided up Poland among them, and he was officially a Russian subject until his naturalization as a British subject. As a result, up to this point, his official documents were in Russian. His knowledge of Russian was good enough that his uncle Tadeusz Bobrowski wrote him (22 May 1893) advising that, when Conrad came to visit, he should "telegraph for horses, but in Russian, for Oratów doesn't receive or accept messages in an 'alien' language."

Conrad chose, however, to write his fiction in English. He says in his preface to A Personal Record that writing in English was for him "natural", and that the idea of his having made a deliberate choice between English and French, as some had suggested, was in error. He explained that, though he had been familiar with French from childhood, "I would have been afraid to attempt expression in a language so perfectly 'crystallized'." In 1915, as Jo Davidson sculpted his bust, Conrad answered his question: "Ah… to write French you have to know it. English is so plastic—if you haven't got a word you need you can make it, but to write French you have to be an artist like Anatole France." These statements, as so often in Conrad's "autobiographical" writings, are subtly disingenuous. In 1897 Conrad was visited by a fellow Pole, the philosopher Wincenty Lutosławski, who asked Conrad, "Why don't you write in Polish?" Lutosławski recalled Conrad explaining: "I value our beautiful Polish literature too much to bring into it my clumsy efforts. But for the English my gifts are sufficient and secure my daily bread."

Conrad wrote in A Personal Record that English was "the speech of my secret choice, of my future, of long friendships, of the deepest affections, of hours of toil and hours of ease, and of solitary hours, too, of books read, of thoughts pursued, of remembered emotions—of my very dreams!" In 1878 Conrad's four-year experience in the French merchant marine had been cut short when the French discovered he did not have a permit from the Imperial Russian consul to sail with the French. This, and some typically disastrous Conradian investments, had left him destitute and had precipitated a suicide attempt. With the concurrence of his mentor-uncle Tadeusz Bobrowski, who had been summoned to Marseilles, Conrad decided to seek employment with the British merchant marine, which did not require Russia's permission. Thus began Conrad's sixteen years' seafarer's acquaintance with the British and with the English language.

Had Conrad remained in the Francophone sphere or had he returned to Poland, the son of the Polish poet, playwright, and translator Apollo Korzeniowski —from childhood exposed to Polish and foreign literature, and ambitious to himself become a writer —he might have ended up writing in French or Polish instead of English. Certainly his Uncle Tadeusz thought Conrad might write in Polish; in an 1881 letter he advised his 23-year-old nephew:

As, thank God, you do not forget your Polish... and your writing is not bad, I repeat what I have... written and said before—you would do well to write... for Wędrowiec in Warsaw. We have few travelers, and even fewer genuine correspondents: the words of an eyewitness would be of great interest and in time would bring you... money. It would be an exercise in your native tongue—that thread which binds you to your country and countrymen—and finally a tribute to the memory of your father who always wanted to and did serve his country by his pen.

In the opinion of some biographers, Conrad's third language, English, remained under the influence of his first two languages—Polish and French. This makes his English seem unusual. Najder writes that:

e was a man of three cultures: Polish, French, and English. Brought up in a Polish family and cultural environment... he learned French as a child, and at the age of less than seventeen went to France, to serve... four years in the French merchant marine. At school he must have learned German, but French remained the language he spoke with greatest fluency (and no foreign accent) until the end of his life. He was well versed in French history and literature, and French novelists were his artistic models. But he wrote all his books in English—the tongue he started to learn at the age of twenty. He was thus an English writer who grew up in other linguistic and cultural environments. His work can be seen as located in the borderland of auto-translation.

Inevitably for a trilingual Polish–French–English-speaker, Conrad's writings occasionally show linguistic spillover: " Franglais " or " Poglish "—the inadvertent use of French or Polish vocabulary, grammar, or syntax in his English writings. In one instance, Najder used "several slips in vocabulary, typical for Conrad (Gallicisms) and grammar (usually Polonisms)" as part of internal evidence against Conrad's sometime literary collaborator Ford Madox Ford 's claim to have written a certain instalment of Conrad's novel Nostromo, for publication in T. P.'s Weekly, on behalf of an ill Conrad.

The impracticality of working with a language which has long ceased to be one's principal language of daily use is illustrated by Conrad's 1921 attempt at translating into English the Polish physicist, columnist, story-writer, and comedy-writer Bruno Winawer 's short play, The Book of Job. Najder writes:

he language is easy, colloquial, slightly individualized. Particularly Herup and a snobbish Jew, "Bolo" Bendziner, have their characteristic ways of speaking. Conrad, who had had little contact with everyday spoken Polish, simplified the dialogue, left out Herup's scientific expressions, and missed many amusing nuances. The action in the original is quite clearly set in contemporary Warsaw, somewhere between elegant society and the demimonde; this specific cultural setting is lost in the translation. Conrad left out many accents of topical satire in the presentation of the dramatis personae and ignored not only the ungrammatical speech (which might have escaped him) of some characters but even the Jewishness of two of them, Bolo and Mosan.

As a practical matter, by the time Conrad set about writing fiction, he had little choice but to write in English. Poles who accused Conrad of cultural apostasy because he wrote in English instead of Polish missed the point—as do Anglophones who see, in Conrad's default choice of English as his artistic medium, a testimonial to some sort of innate superiority of the English language.

According to Conrad's close friend and literary assistant Richard Curle, the fact of Conrad writing in English was "obviously misleading" because Conrad "is no more completely English in his art than he is in his nationality". Conrad, according to Curle, "could never have written in any other language save the English language....for he would have been dumb in any other language but the English."

Conrad always retained a strong emotional attachment to his native language. He asked his visiting Polish niece Karola Zagórska, "Will you forgive me that my sons don't speak Polish?" In June 1924, shortly before his death, he apparently expressed a desire that his son John marry a Polish girl and learn Polish, and toyed with the idea of returning for good to now independent Poland.

Conrad bridled at being referred to as a Russian or "Slavonic" writer. The only Russian writer he admired was Ivan Turgenev. "The critics", he wrote an acquaintance on 31 January 1924, six months before his death, "detected in me a new note and as, just when I began to write, they had discovered the existence of Russian authors, they stuck that label on me under the name of Slavonism. What I venture to say is that it would have been more just to charge me at most with Polonism." However, though Conrad protested that Dostoyevsky was "too Russian for me" and that Russian literature generally was "repugnant to me hereditarily and individually", Under Western Eyes is viewed as Conrad's response to the themes explored in Dostoyevsky's Crime and Punishment.

Conrad had an awareness that, in any language, individual expressions – words, phrases, sentences – are fraught with connotations. He once wrote: "No English word has clean edges." All expressions, he thought, carried so many connotations as to be little more than "instruments for exciting blurred emotions." This might help elucidate the impressionistic quality of many passages in his writings. It also explains why he chose to write his literary works not in Polish or French but in English, with which for decades he had had the greatest contact.