Of Human Bondage by W. Somerset Maugham (classic english novels .TXT) 📕

Philip pondered over the man who was willing to sacrifice everything, comfort, home, money, love, honour, duty, for the sake of getting on to canvas with paint the emotion which the world gave him. It was magnificent, and yet his courage failed him.

Thinking of Cronshaw recalled to him the fact that he had not seen him for a week, and so, when Clutton left him, he wandered along to the café in which he was certain to find the writer. During the first few months of his stay in Paris Philip had accepted as gospel all that Cronshaw said, but Philip had a practical outlook and he grew impatient with the theories which resulted in no action. Cronshaw’s slim bundle of poetry did not seem a substantial result for a life which was sordid. Philip could not wrench out of his nature the instincts of the middle-class from which he came; and the penury, the hack work which Cronshaw did to keep body and soul together, the monotony of existence between the slovenly attic and the café table, jarred with his respectability. Cronshaw was astute enough to know that the young man disapproved of him, and he attacked his philistinism with an irony which was sometimes playful but often very keen.

“You’re a tradesman,” he told Philip, “you want to invest life in consols so that it shall bring you in a safe three percent. I’m a spendthrift, I run through my capital. I shall spend my last penny with my last heartbeat.”

The metaphor irritated Philip, because it assumed for the speaker a romantic attitude and cast a slur upon the position which Philip instinctively felt had more to say for it than he could think of at the moment.

But this evening Philip, undecided, wanted to talk about himself. Fortunately it was late already and Cronshaw’s pile of saucers on the table, each indicating a drink, suggested that he was prepared to take an independent view of things in general.

“I wonder if you’d give me some advice,” said Philip suddenly.

“You won’t take it, will you?”

Philip shrugged his shoulders impatiently.

“I don’t believe I shall ever do much good as a painter. I don’t see any use in being second-rate. I’m thinking of chucking it.”

“Why shouldn’t you?”

Philip hesitated for an instant.

“I suppose I like the life.”

A change came over Cronshaw’s placid, round face. The corners of the mouth were suddenly depressed, the eyes sunk dully in their orbits; he seemed to become strangely bowed and old.

“This?” he cried, looking round the café in which they sat. His voice really trembled a little.

“If you can get out of it, do while there’s time.”

Philip stared at him with astonishment, but the sight of emotion always made him feel shy, and he dropped his eyes. He knew that he was looking upon the tragedy of failure. There was silence. Philip thought that Cronshaw was looking upon his own life; and perhaps he considered his youth with its bright hopes and the disappointments which wore out the radiancy; the wretched monotony of pleasure, and the black future. Philip’s eyes rested on the little pile of saucers, and he knew that Cronshaw’s were on them too.

Two months passed.

It seemed to Philip, brooding over these matters, that in the true painters, writers, musicians, there was a power which drove them to such complete absorption in their work as to make it inevitable for them to subordinate life to art. Succumbing to an influence they never realised, they were merely dupes of the instinct that possessed them, and life slipped through their fingers unlived. But he had a feeling that life was to be lived rather than portrayed, and he wanted to search out the various experiences of it and wring from each moment all the emotion that it offered. He made up his mind at length to take a certain step and abide by the result, and, having made up his mind, he determined to take the step at once. Luckily enough the next morning was one of Foinet’s days, and he resolved to ask him point-blank whether it was worth his while to go on with the study of art. He had never forgotten the master’s brutal advice to Fanny Price. It had been sound. Philip could never get Fanny entirely out of his head. The studio seemed strange without her, and now and then the gesture of one of the women working there or the tone of a voice would give him a sudden start, reminding him of her: her presence was more noticable now she was dead than it had ever been during her life; and he often dreamed of her at night, waking with a cry of terror. It was horrible to think of all the suffering she must have endured.

Philip knew that on the days Foinet came to the studio he lunched at a little restaurant in the Rue d’Odessa, and he hurried his own meal so that he could go and wait outside till the painter came out. Philip walked up and down the crowded street and at last saw Monsieur Foinet walking, with bent head, towards him; Philip was very nervous, but he forced himself to go up to him.

“Pardon, monsieur, I should like to speak to you for one moment.”

Foinet gave him a rapid glance, recognised him, but did not smile a greeting.

“Speak,” he said.

“I’ve been working here nearly two years now under you. I wanted to ask you to tell me frankly if you think it worth while for me to continue.”

Philip’s voice was trembling a little. Foinet walked on without looking up. Philip, watching his face, saw no trace of expression upon it.

“I don’t understand.”

“I’m very poor. If I have no talent I would sooner do something else.”

“Don’t you know if you have talent?”

“All my friends know they have talent, but I am aware some of them are mistaken.”

Foinet’s bitter mouth outlined the shadow of a smile, and he asked:

“Do you live near