Of Human Bondage 人性的枷锁 Chapter 50

Philip could not get the unhappy event out of his head. What troubled him most was the uselessness of Fanny's effort. No one could have worked harder than she, nor with more sincerity¹; she believed in herself with all her heart; but it was plain that self-confidence meant very little, all his friends had it, Miguel Ajuria among the rest; and Philip was shocked by the contrast between the Spaniard's heroic endeavour and the triviality of the thing he attempted. The unhappiness of Philip's life at school had called up in him the power of self-analysis; and this vice², as subtle as drug-taking, had taken possession of him so that he had now a peculiar³ keenness in the dissection⁴ of his feelings. He could not help seeing that art affected⁵ him differently from others. A fine picture gave Lawson an immediate⁶ thrill. His appreciation⁷ was instinctive⁸. Even Flanagan felt certain things which Philip was obliged to think out. His own appreciation was intellectual. He could not help thinking that if he had in him the artistic⁹ temperament¹⁰ (he hated the phrase, but could discover no other) he would feel beauty in the emotional, unreasoning way in which they did. He began to wonder whether he had anything more than a superficial cleverness of the hand which enabled him to copy objects with accuracy. That was nothing. He had learned to despise technical dexterity¹¹. The important thing was to feel in terms of paint. Lawson painted in a certain way because it was his nature to, and through the imitativeness of a student sensitive to every influence, there pierced individuality. Philip looked at his own portrait of Ruth Chalice¹², and now that three months had passed he realised that it was no more than a servile copy of Lawson. He felt himself barren. He painted with the brain, and he could not help knowing that the only painting worth anything was done with the heart.

 

He had very little money, barely sixteen hundred pounds, and it would be necessary for him to practise the severest economy. He could not count on earning anything for ten years. The history of painting was full of artists who had earned nothing at all. He must resign himself to penury¹³; and it was worth while if he produced work which was immortal¹⁴; but he had a terrible fear that he would never be more than second-rate. Was it worth while for that to give up one's youth, and the gaiety of life, and the manifold chances of being? He knew the existence of foreign painters in Paris enough to see that the lives they led were narrowly provincial¹⁵. He knew some who had dragged along for twenty years in the pursuit of a fame which always escaped them till they sunk into sordidness¹⁷ and alcoholism. Fanny's suicide had aroused memories, and Philip heard ghastly stories of the way in which one person or another had escaped from despair. He remembered the scornful advice which the master had given poor Fanny: it would have been well for her if she had taken it and given up an attempt which was hopeless.

 

Philip finished his portrait of Miguel Ajuria and made up his mind to send it to the Salon¹⁸. Flanagan was sending two pictures, and he thought he could paint as well as Flanagan. He had worked so hard on the portrait that he could not help feeling it must have merit. It was true that when he looked at it he felt that there was something wrong, though he could not tell what; but when he was away from it his spirits went up and he was not dissatisfied. He sent it to the Salon and it was refused. He did not mind much, since he had done all he could to persuade himself that there was little chance that it would be taken, till Flanagan a few days later rushed in to tell Lawson and Philip that one of his pictures was accepted. With a blank face Philip offered his congratulations, and Flanagan was so busy congratulating himself that he did not catch the note of irony¹⁹ which Philip could not prevent from coming into his voice. Lawson, quicker-witted, observed it and looked at Philip curiously²⁰. His own picture was all right, he knew that a day or two before, and he was vaguely²¹ resentful of Philip's attitude. But he was surprised at the sudden question which Philip put him as soon as the American was gone.

 

'If you were in my place would you chuck the whole thing?'

 

'What do you mean?'

 

'I wonder if it's worth while being a second-rate painter. You see, in other things, if you're a doctor or if you're in business, it doesn't matter so much if you're mediocre²². You make a living and you get along. But what is the good of turning out second-rate pictures?'

 

Lawson was fond of Philip and, as soon as he thought he was seriously distressed²³ by the refusal of his picture, he set himself to console him. It was notorious that the Salon had refused pictures which were afterwards famous; it was the first time Philip had sent, and he must expect a rebuff; Flanagan's success was explicable, his picture was showy and superficial: it was just the sort of thing a languid jury would see merit in. Philip grew impatient; it was humiliating that Lawson should think him capable of being seriously disturbed by so trivial a calamity²⁴ and would not realise that his dejection was due to a deep-seated distrust of his powers.

 

Of late Clutton had withdrawn²⁵ himself somewhat from the group who took their meals at Gravier's, and lived very much by himself. Flanagan said he was in love with a girl, but Clutton's austere²⁶ countenance²⁷ did not suggest passion; and Philip thought it more probable that he separated himself from his friends so that he might grow clear with the new ideas which were in him. But that evening, when the others had left the restaurant to go to a play and Philip was sitting alone, Clutton came in and ordered dinner. They began to talk, and finding Clutton more loquacious²⁸ and less sardonic²⁹ than usual, Philip determined³⁰ to take advantage of his good humour.

 

'I say I wish you'd come and look at my picture,' he said. 'I'd like to know what you think of it.'

 

'No, I won't do that.'

 

'Why not?' asked Philip, reddening.

 

The request was one which they all made of one another, and no one ever thought of refusing. Clutton shrugged³¹ his shoulders.

 

'People ask you for criticism, but they only want praise. Besides, what's the good of criticism? What does it matter if your picture is good or bad?'

 

'It matters to me.'

 

'No. The only reason that one paints is that one can't help it. It's a function like any of the other functions of the body, only comparatively few people have got it. One paints for oneself: otherwise one would commit suicide. Just think of it, you spend God knows how long trying to get something on to canvas, putting the sweat of your soul into it, and what is the result? Ten to one it will be refused at the Salon; if it's accepted, people glance at it for ten seconds as they pass; if you're lucky some ignorant fool will buy it and put it on his walls and look at it as little as he looks at his dining-room table. Criticism has nothing to do with the artist. It judges objectively, but the objective doesn't concern the artist.'

 

Clutton put his hands over his eyes so that he might concentrate his mind on what he wanted to say.

 

'The artist gets a peculiar sensation from something he sees, and is impelled³² to express it and, he doesn't know why, he can only express his feeling by lines and colours. It's like a musician; he'll read a line or two, and a certain combination of notes presents itself to him: he doesn't know why such and such words call forth³³ in him such and such notes; they just do. And I'll tell you another reason why criticism is meaningless: a great painter forces the world to see nature as he sees it; but in the next generation another painter sees the world in another way, and then the public judges him not by himself but by his predecessor³⁴. So the Barbizon people taught our fathers to look at trees in a certain manner, and when Monet came along and painted differently, people said: But trees aren't like that. It never struck them that trees are exactly how a painter chooses to see them. We paint from within outwards—if we force our vision on the world it calls us great painters; if we don't it ignores us; but we are the same. We don't attach any meaning to greatness or to smallness. What happens to our work afterwards is unimportant; we have got all we could out of it while we were doing it.'

 

There was a pause while Clutton with voracious³⁵ appetite devoured³⁶ the food that was set before him. Philip, smoking a cheap cigar, observed him closely. The ruggedness³⁷ of the head, which looked as though it were carved from a stone refractory³⁸ to the sculptor's chisel³⁹, the rough mane of dark hair, the great nose, and the massive bones of the jaw⁴⁰, suggested a man of strength; and yet Philip wondered whether perhaps the mask concealed⁴¹ a strange weakness. Clutton's refusal to show his work might be sheer vanity: he could not bear the thought of anyone's criticism, and he would not expose himself to the chance of a refusal from the Salon; he wanted to be received as a master and would not risk comparisons with other work which might force him to diminish his own opinion of himself. During the eighteen months Philip had known him Clutton had grown more harsh and bitter; though he would not come out into the open and compete with his fellows, he was indignant with the facile success of those who did. He had no patience with Lawson, and the pair were no longer on the intimate terms upon which they had been when Philip first knew them.

 

'Lawson's all right,' he said contemptuously, 'he'll go back to England, become a fashionable portrait painter, earn ten thousand a year and be an A. R. A. before he's forty. Portraits done by hand for the nobility and gentry⁴²!'

 

Philip, too, looked into the future, and he saw Clutton in twenty years, bitter, lonely, savage⁴³, and unknown; still in Paris, for the life there had got into his bones, ruling a small cenacle with a savage tongue, at war with himself and the world, producing little in his increasing passion for a perfection he could not reach; and perhaps sinking at last into drunkenness. Of late Philip had been captivated by an idea that since one had only one life it was important to make a success of it, but he did not count success by the acquiring of money or the achieving of fame; he did not quite know yet what he meant by it, perhaps variety of experience and the making the most of his abilities. It was plain anyway that the life which Clutton seemed destined⁴⁴ to was failure. Its only justification⁴⁵ would be the painting of imperishable masterpieces. He recollected⁴⁶ Cronshaw's whimsical metaphor⁴⁷ of the Persian carpet; he had thought of it often; but Cronshaw with his faun-like humour had refused to make his meaning clear: he repeated that it had none unless one discovered it for oneself. It was this desire to make a success of life which was at the bottom of Philip's uncertainty⁴⁸ about continuing his artistic career. But Clutton began to talk again.

 

'D'you remember my telling you about that chap I met in Brittany? I saw him the other day here. He's just off to Tahiti. He was broke to the world. He was a brasseur d'affaires, a stockbroker⁴⁹ I suppose you call it in English; and he had a wife and family, and he was earning a large income. He chucked it all to become a painter. He just went off and settled down in Brittany and began to paint. He hadn't got any money and did the next best thing to starving.'

 

'And what about his wife and family?' asked Philip.

 

'Oh, he dropped them. He left them to starve on their own account.'

 

'It sounds a pretty low-down thing to do.'

 

'Oh, my dear fellow, if you want to be a gentleman you must give up being an artist. They've got nothing to do with one another. You hear of men painting pot-boilers to keep an aged⁵⁰ mother—well, it shows they're excellent sons, but it's no excuse for bad work. They're only tradesmen. An artist would let his mother go to the workhouse. There's a writer I know over here who told me that his wife died in childbirth. He was in love with her and he was mad with grief, but as he sat at the bedside watching her die he found himself making mental notes of how she looked and what she said and the things he was feeling. Gentlemanly, wasn't it?'

 

'But is your friend a good painter?' asked Philip.

 

'No, not yet, he paints just like Pissarro. He hasn't found himself, but he's got a sense of colour and a sense of decoration. But that isn't the question. it's the feeling, and that he's got. He's behaved like a perfect cad to his wife and children, he's always behaving like a perfect cad; the way he treats the people who've helped him—and sometimes he's been saved from starvation merely by the kindness of his friends—is simply beastly. He just happens to be a great artist.'

 

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 cafe 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 sordid¹⁶. Philip could not wrench⁵¹ out of his nature the instincts of the middle-class from which he came; and the penury, the hack⁵² work which Cronshaw did to keep body and soul together, the monotony of existence between the slovenly⁵³ attic⁵⁴ and the cafe table, jarred with his respectability. Cronshaw was astute⁵⁵ enough to know that the young man disapproved⁵⁶ 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 per cent. 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 slur⁵⁷ upon the position which Philip instinctively⁵⁸ 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 placid⁵⁹, round face. The corners of the mouth were suddenly depressed⁶⁰, the eyes sunk dully in their orbits; he seemed to become strangely bowed and old.

 

'This?' he cried, looking round the cafe 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 astonishment⁶¹, 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.

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