Sixty-Five Short Stories

by Somerset William Maugham

  At last he stopped and turning round on his seat faced her. He did not speak.

  'What is it you want me to tell you?' she asked.

  They looked into one another's eyes.

  'I want you to tell me whether I have any chance of becoming in time a pianist in the first rank.'

  'Not in a thousand years.'

  For a moment there was dead silence. Freddy's head sank and he looked down at the carpet at his feet. His wife put out her hand and took his. But George continued to look steadily at Lea Makart.

  'Ferdy has told me the circumstances,' she said at last. 'Don't think I'm influenced by them. Nothing of this is very important.' She made a great sweeping gesture that took in the magnificent room with the beautiful things it contained and all of us. 'If I thought you had in you the makings of an artist I shouldn't hesitate to beseech you to give up everything for art's sake. Art is the only thing that matters. In comparison with art, wealth and rank and power are not worth a straw.' She gave us a look so sincere that it was void of insolence. 'We are the only people who count. We give the world significance. You are only our raw material.'

  I was not too pleased to be included with the rest under that heading, but that is neither here nor there.

  'Of course I can see that you've worked very hard. Don't think it's been wasted. It will always be a pleasure to you to be able to play the piano and it will enable you to appreciate great playing as no ordinary person can hope to do. Look at your hands. They're not a pianist's hands.'

  Involuntarily I glanced at George's hands. I had never noticed them before. I was astounded to see how podgy they were and how short and stumpy the fingers.

  'Your ear is not quite perfect. I don't think you can ever hope to be more than a very competent amateur. In art the difference between the amateur and the professional is immeasurable.'

  George did not reply. Except for his pallor no one would have known that he was listening to the blasting of all his hopes. The silence that fell was quite awful. Lea Makart's eyes suddenly filled with tears.

  'But don't take my opinion alone,' she said. 'After all, I'm not infallible. Ask somebody else. You know how good and generous Paderewski is. I'll write to him about you and you can go down and play to him. I'm sure he'll hear you.'

  George now gave a little smile. He had very good manners and whatever he was feeling did not want to make the situation too difficult for others.

  'I don't think that's necessary, I am content to accept your verdict. To tell you the truth it's not so very different from my master's in Munich.'

  He got up from the piano and lit a cigarette. It eased the strain. The others moved a little in their chairs. Lea Makart smiled at George.

  'Shall I play to you?' she said.

  'Yes, do.'

  She got up and went to the piano. She took off the rings with which her fingers were laden. She played Bach. I do not know the names of the pieces, but I recognized the stiff ceremonial of the frenchified little German courts and the sober, thrifty comfort of the burghers, and the dancing on the village green, the green trees that looked like Christmas trees, and the sunlight on the wide German country, and a tender cosiness; and in my nostrils there was a warm scent of the soil and I was conscious of a sturdy strength that seemed to have its roots deep in mother earth, and of an elemental power that was timeless and had no home in space. She played beautifully, with a soft brilliance that made you think of the full moon shining at dusk in the summer sky. With another part of me I watched the others and I saw how intensely they were conscious of the experience. They were rapt. I wished with all my heart that I could get from music the wonderful exaltation that possessed them. She stopped, a smile hovered on her lips, and she put on her rings. George gave a little chuckle.

  'That clinches it, I fancy,' he said.

  The servants brought in tea and after tea Lea Makart and I bade the company farewell and got into the car. We drove up to London. She talked all the way, if not brilliantly at all events with immense gusto; she told me of her early years in Manchester and of the struggle of her beginnings. She was very interesting. She never even mentioned George; the episode was of no consequence, it was finished and she thought of it no more.

  We little knew what was happening at Tilby. When we left George went out on the terrace and presently his father joined him. Freddy had won the day, but he was not happy. With his more than feminine sensitiveness he felt all that George was feeling, and George's anguish simply broke his heart. He had never loved his son more than then. When he appeared George greeted him with a little smile. Freddy's voice broke. In a sudden and overwhelming emotion he found it in him to surrender the fruits of his victory.

  'Look here, old boy,' he said, 'I can't bear to think that you've had such a disappointment. Would you like to go back to Munich for another year and then see?'

  George shook his head.

  'No, it wouldn't be any good. I've had my chance. Let's call it a day.'

  'Try not to take it too hard.'

  'You see, the only thing in the world I want is to be a pianist. And there's nothing doing. It's a bit thick if you come to think of it.'

  George, trying so hard to be brave, smiled wanly.

  'Would you like to go round the world? You can get one of your Oxford pals to go with you and I'll pay all the expenses. You've been working very hard for a long time.'

  'Thanks awfully, daddy, we'll talk about it. I'm just going for a stroll now.'

  'Shall I come with you?'

  'I'd rather go alone.'

  Then George did a strange thing. He put his arm round his father's neck, and kissed him on the lips. He gave a funny little moved laugh and walked away. Freddy went back to the drawing-room. His mother, Ferdy, and Muriel were sitting there.

  'Freddy, why don't you marry the boy?' said the old lady. 'He is twenty-three. It would take his mind off his troubles and when he is married and has a baby he will soon settle down like everybody else.'

  'Whom is he to marry, mamma?' asked Sir Adolphus, smiling.

  'That's not so difficult. Lady Frielinghausen came to see me the other day with her daughter Violet. She is a very nice maiden and she will have money of her own. Lady Frielinghausen gave me to understand that her Sir Jacob would come down very handsome if Violet made a good match.'

  Muriel flushed.

  'I hate Lady Frielinghausen. George is much too young to marry. He can afford to marry anyone he likes.'

  Old Lady Bland gave her daughter a strange look.

  'You are a very foolish girl, Miriam,' she said, using the name Muriel had long discarded. 'As long as I am here I shall not allow you to commit a foolishness.'

  She knew as well as if Muriel had said it in so many words that she wanted George to marry a Gentile, but she knew also that so long as she was alive neither Freddy nor his wife would dare to suggest it.

  But George did not go for a walk. Perhaps because the shooting season was about to open he took it into his head to go into the gun-room. He began to clean the gun that his mother had given him on his twentieth birthday. No one had used it since he went to Germany. Suddenly the servants were startled by a report. When they went into the gun-room they found George lying on the floor shot through the heart. Apparently the gun had been loaded and George while playing about with it had accidentally shot himself. One reads of such accidents in the paper often.

  The Creative Impulse

  I suppose that very few people know how Mrs Albert Forrester came to write The Achilles Statue; and since it has been acclaimed as one of the great novels of our time I cannot but think that a brief account of the circumstances that gave it birth must be of interest to all serious students of literature; and indeed, if, as the critics say, this is a book that will live, the following narrative, serving a better purpose than to divert an idle hour, may be regarded by the historian of the future as a curious footnote to the literary annals of our day.

  Everyone of course remembers the success that a
ttended the publication of The Achilles Statue. Month after month printers were kept busy printing, binders were kept busy binding, edition after edition; and the publishers, both in England and America, were hard put to it to fulfil the pressing orders of the booksellers. It was promptly translated into every European tongue and it has been recently announced that it will soon be possible to read it in Japanese and in Urdu. But it had previously appeared serially in magazines on both sides of the Atlantic and from the editors of these Mrs Albert Forrester's agent had wrung a sum that can only be described as thumping. A dramatization of the work was made, which ran for a season in New York, and there is little doubt that when the play is produced in London it will have an equal success. The film rights have been sold at a great price. Though the amount that Mrs Albert Forrester is reputed (in literary circles) to have made is probably exaggerated, there can be no doubt that she will have earned enough money from this one book to save her for the rest of her life from any financial anxiety.

  It is not often that a book meets with equal favour from the public and the critics, and that she, of all persons, had (if I may so put it) squared the circle must have proved the more gratifying to Mrs Albert Forrester, since, though she had received the commendation of the critics in no grudging terms (and indeed had come to look upon it as her due) the public had always remained strangely insensible to her merit. Each work she published, a slender volume beautifully printed and bound in white buckram, was hailed as a masterpiece, always to the length of a column, and in the weekly reviews which you see only in the dusty library of a very long-established club even to the extent of a page; and well-read persons read and praised it. But well-read persons apparently do not buy books, and she did not sell. It was indeed a scandal that so distinguished an author, with an imagination so delicate and a style so exquisite, should remain neglected of the vulgar. In America she was almost completely unknown; and though Mr Carl van Vechten had written an article berating the public for its obtuseness, the public remained callous. Her agent, a warm admirer of her genius, had blackmailed an American publisher into taking two of her books by refusing, unless he did so, to let him have others (trashy novels doubtless) that he badly wanted, and they had been duly published. The reception they received from the press was flattering and showed that in America the best minds were sensitive to her talent; but when it came to the third book the American publisher (in the coarse way publishers have) told the agent that any money he had to spare he preferred to spend on synthetic gin.

  Since The Achilles Statue Mrs Albert Forrester's previous books have been republished (and Mr Carl van Vechten has written another article pointing out sadly, but firmly, that he had drawn the attention of the reading world to the merits of this exceptional writer fully fifteen years ago), and they have been so widely advertised that they can scarcely have escaped the cultured reader's attention. It is unnecessary, therefore, for me to give an account of them; and it would certainly be no more than cold potatoes after those two subtle articles by Mr Carl van Vechten. Mrs Albert Forrester began to write early. Her first work (a volume of elegies) appeared when she was a maiden of eighteen; and from then on she published, every two or three years, for she had too exalted a conception of her art to hurry her production, a volume either of verse or prose. When The Achilles Statue was written she had reached the respectable age of fifty-seven, so that it will be readily surmised that the number of her works was considerable. She had given the world half a dozen volumes of verse, published under Latin titles, such as Felicitas, Pax Maris, and Aes Triplex, all of the graver kind, for her muse, disinclined to skip on a light, fantastic toe, trod a somewhat solemn measure. She remained faithful to the Elegy, and the Sonnet claimed much of her attention; but her chief distinction was to revive the Ode, a form of poetry that the poets of the present day somewhat neglect; and it may be asserted with confidence that her Ode to President FalliГЁres will find a place in every anthology of English verse. It is admirable not only for the noble sonority of its rhythms, but also for its felicitous description of the pleasant land of France. Mrs Albert Forrester wrote of the valley of the Loire with its memories of du Bellay, of Chartres and the jewelled windows of its cathedral, of the sun-swept cities of Provence, with a sympathy all the more remarkable since she had never penetrated further into France than Boulogne, which she visited shortly after her marriage on an excursion steamer from Margate. But the physical mortification of being extremely seasick and the intellectual humiliation of discovering that the inhabitants of that popular seaside resort could not understand her fluent and idiomatic French made her determine not to expose herself a second time to experiences that were at once undignified and unpleasant; and she never again embarked on the treacherous element which she, however, sang (Pax Maris) in numbers both grave and sweet.

  There are some fine passages too in the Ode to Woodrow Wilson, and I regret that, owing to a change in her sentiments towards that no doubt excellent man, the author decided not to reprint it. But I think it must be admitted that Mrs Albert Forrester's most distinguished work was in prose. She wrote several volumes of brief, but perfectly constructed, essays on such subjects as Autumn in Sussex, Queen Victoria, Death, Spring in Norfolk, Georgian Architecture, Monsieur de Diaghileff, and Dante; she also wrote works, both erudite and whimsical, on the Jesuit Architecture of the Seventeenth Century and on the Literary Aspect of the Hundred Years War. It was her prose that gained her that body of devoted admirers, fit though few, as with her rare gift of phrase she herself put it that proclaimed her the greatest master of the English language that this century has seen. She admitted herself that it was her style, sonorous yet racy, polished yet eloquent, that was her strong point; and it was only in her prose that she had occasion to exhibit the delicious, but restrained, humour that her readers found so irresistible. It was not a humour of ideas, nor even a humour of words; it was much more subtle than that, it was a humour of punctuation: in a flash of inspiration she had discovered the comic possibilities of the semi-colon, and of this she had made abundant and exquisite use. She was able to place it in such a way that if you were a person of culture with a keen sense of humour, you did not exactly laugh through a horse-collar, but you giggled delightedly, and the greater your culture the more delightedly you giggled. Her friends said that it made every other form of humour coarse and exaggerated. Several writers had tried to imitate her; but in vain: whatever else you might say about Mrs Albert Forrester you were bound to admit that she was able to get every ounce of humour out of the semi-colon and no one else could get within a mile of her.

  Mrs Albert Forrester lived in a flat not far from the Marble Arch, which combined the advantage of a good address and a moderate rent. It had a handsome drawing-room on the street and a large bedroom for Mrs Albert Forrester, a darkish dining-room at the back, and a small poky bedroom, next door to the kitchen, for Mr Albert Forrester, who paid the rent. It was in the handsome drawing-room that Mrs Albert Forrester every Tuesday afternoon received her friends. It was a severe and chaste apartment. On the walls was a paper designed by William Morris himself, and on this, in plain black frames, mezzotints collected before mezzotints grew expensive; the furniture was of the Chippendale period, but for the roll-top desk, vaguely Louis XVI in character, at which Mrs Albert Forrester wrote her works. This was pointed out to visitors the first time they came to see her, and there were few who looked at it without emotion. The carpet was thick and the lights discreet. Mrs Albert Forrester sat in a straight-backed grandfather's chair covered with red damask. There was nothing ostentatious about it, but since it was the only comfortable chair in the room it set her apart as it were and above her guests. Tea was dispensed by a female of uncertain age, silent and colourless, who was never introduced to anyone but who was known to look upon it as a privilege to be allowed to save Mrs Albert Forrester from the irksome duty of pouring out tea. She was thus able to devote herself entirely to conversation, and it must be admitted that her conversation was excell
ent. It was not sprightly; and since it is difficult to indicate punctuation in speech it may have seemed to some slightly lacking in humour, but it was of wide range, solid, instructive, and interesting. Mrs Albert Forrester was well acquainted with social science, jurisprudence, and theology. She had read much and her memory was retentive. She had a pretty gift for quotation, which is a serviceable substitute for wit, and having for thirty years known more or less intimately a great many distinguished people she had a great many interesting anecdotes to tell, which she placed with tact and which she did not repeat more than was pardonable. Mrs Albert Forrester had the gift of attracting the most varied persons and you were liable at one and the same time to meet in her drawing-room an ex-Prime Minister, a newspaper proprietor, and the ambassador of a First Class Power. I always imagined that these great people came because they thought that here they rubbed shoulders with Bohemia, but with a Bohemia sufficiently neat and clean for them to be in no danger that the dirt would come off on them. Mrs Albert Forrester was deeply interested in politics and I myself heard a Cabinet Minister tell her frankly that she had a masculine intelligence. She had been opposed to Female Suffrage, but when it was at last granted to women she began to dally with the idea of going into Parliament. Her difficulty was that she did not know which party to choose.