Of Human Bondage W. Somerset Maugham (epub e reader txt) 📖

I work at the school in the morning. After all, it’s better to sit to me than to do translations of legal documents.”

There were legends in the Latin quarter of a time when students of different countries lived together intimately, but this was long since passed, and now the various nations were almost as much separated as in an Oriental city. At Julian’s and at the Beaux Arts a French student was looked upon with disfavour by his fellow-countrymen when he consorted with foreigners, and it was difficult for an Englishman to know more than quite superficially any native inhabitants of the city in which he dwelt. Indeed, many of the students after living in Paris for five years knew no more French than served them in shops and lived as English a life as though they were working in South Kensington.

Philip, with his passion for the romantic, welcomed the opportunity to get in touch with a Spaniard; he used all his persuasiveness to overcome the man’s reluctance.

“I’ll tell you what I’ll do,” said the Spaniard at last. “I’ll sit to you, but not for money, for my own pleasure.”

Philip expostulated, but the other was firm, and at length they arranged that he should come on the following Monday at one o’clock. He gave Philip a card on which was printed his name: Miguel Ajuria.

Miguel sat regularly, and though he refused to accept payment he borrowed fifty francs from Philip every now and then: it was a little more expensive than if Philip had paid for the sittings in the usual way; but gave the Spaniard a satisfactory feeling that he was not earning his living in a degrading manner. His nationality made Philip regard him as a representative of romance, and he asked him about Seville and Granada, Velasquez and Calderón. But Miguel had no patience with the grandeur of his country. For him, as for so many of his compatriots, France was the only country for a man of intelligence and Paris the centre of the world.

“Spain is dead,” he cried. “It has no writers, it has no art, it has nothing.”

Little by little, with the exuberant rhetoric of his race, he revealed his ambitions. He was writing a novel which he hoped would make his name. He was under the influence of Zola, and he had set his scene in Paris. He told Philip the story at length. To Philip it seemed crude and stupid; the naive obscenity⁠—c’est la vie, mon cher, c’est la vie, he cried⁠—the naive obscenity served only to emphasise the conventionality of the anecdote. He had written for two years, amid incredible hardships, denying himself all the pleasures of life which had attracted him to Paris, fighting with starvation for art’s sake, determined that nothing should hinder his great achievement. The effort was heroic.

“But why don’t you write about Spain?” cried Philip. “It would be so much more interesting. You know the life.”

“But Paris is the only place worth writing about. Paris is life.”

One day he brought part of the manuscript, and in his bad French, translating excitedly as he went along so that Philip could scarcely understand, he read passages. It was lamentable. Philip, puzzled, looked at the picture he was painting: the mind behind that broad brow was trivial; and the flashing, passionate eyes saw nothing in life but the obvious. Philip was not satisfied with his portrait, and at the end of a sitting he nearly always scraped out what he had done. It was all very well to aim at the intention of the soul: who could tell what that was when people seemed a mass of contradictions? He liked Miguel, and it distressed him to realise that his magnificent struggle was futile: he had everything to make a good writer but talent. Philip looked at his own work. How could you tell whether there was anything in it or whether you were wasting your time? It was clear that the will to achieve could not help you and confidence in yourself meant nothing. Philip thought of Fanny Price; she had a vehement belief in her talent; her strength of will was extraordinary.

“If I thought I wasn’t going to be really good, I’d rather give up painting,” said Philip. “I don’t see any use in being a second-rate painter.”

Then one morning when he was going out, the concierge called out to him that there was a letter. Nobody wrote to him but his Aunt Louisa and sometimes Hayward, and this was a handwriting he did not know. The letter was as follows:

Please come at once when you get this. I couldn’t put up with it any more. Please come yourself. I can’t bear the thought that anyone else should touch me. I want you to have everything.

F. Price

I have not had anything to eat for three days.

Philip felt on a sudden sick with fear. He hurried to the house in which she lived. He was astonished that she was in Paris at all. He had not seen her for months and imagined she had long since returned to England. When he arrived he asked the concierge whether she was in.

“Yes, I’ve not seen her go out for two days.”

Philip ran upstairs and knocked at the door. There was no reply. He called her name. The door was locked, and on bending down he found the key was in the lock.

“Oh, my God, I hope she hasn’t done something awful,” he cried aloud.

He ran down and told the porter that she was certainly in the room. He had had a letter from her and feared a terrible accident. He suggested breaking open the door. The porter, who had been sullen and disinclined to listen, became alarmed; he could not take the responsibility of breaking into the room; they must go for the commissaire de police. They walked together to the bureau, and then they fetched a locksmith. Philip found that Miss Price