The Summing Up
In the production of his work, the author has fulfilled himself. But that is not to say that it has any value for anyone else. The reader of a book, the observer of a picture, is not concerned with the artist’s feelings. The artist has sought release, but the layman seeks for a communication, and he alone can judge whether the communication is valuable to him. To the artist the communication he offers is a by-product. I am not speaking now of those who practise an art to teach; they are propagandists and with them art is a side issue. Artistic creation is a specific activity that is satisfied by its own exercise. The work created may be good art or bad art. That is a matter for the layman to decide. He forms his decision from the æsthetic value of the communication that is offered to him. If it yields escape from the reality of the world he will welcome it, but is very likely at best to describe it only as minor art; if it enriches his soul and enlarges his personality he will rightly describe it as great. But this, I insist, has nothing to do with the artist; it is human that he should be pleased if he has given others pleasure or greater strength; but he should not take it amiss if they find nothing to their purpose in the results of his production. He has already had his reward in the satisfaction of his creative instinct. Now this is no counsel of perfection; it is the only condition on which the artist can work his way towards the unattainable perfection that is his aim. If he is a novelist he uses his experience of people and places, his apprehension of himself, his love and hate, his deepest thoughts, his passing fancies, to draw in one work after another a picture of life. It can never be more than a partial one, but if he is fortunate he will succeed in the end in doing something else; he will draw a complete picture of himself.
At all events to think thus is a consolation when you cast your eye over the publishers’ advertisements. When you read those long lists of books and when you discover that reviewers have extolled their wit, profundity, originality and beauty your heart sinks; how can you hope to compete with so much genius? The publishers will tell you that the average life of a novel is ninety days. It is hard to reconcile yourself to the fact that a book into which you have put, besides your whole self, several months of anxious toil, should be read in three or four hours and after so short a period forgotten. Though it will do him no good, there is no author so small-minded as not to have a secret hope that some part at least of his work will survive him for a generation or two. The belief in posthumous fame is a harmless vanity which often reconciles the artist to the disappointments and failure of his life. How unlikely he is to attain it we see when we look back on the writers who only twenty years ago seemed assured of immortality. Where are their readers now? And with the mass of books that are constantly produced and the ceaseless competition of those that have lived on, how small is the likelihood that work that has been once forgotten will ever be again remembered! There is one very odd, and some may think very unfair, thing about posterity; it seems to choose the works to which it gives attention from those of authors who have been popular in their lifetime. The writers who delight a clique and never reach the great public will never delight posterity, for posterity will never hear about them. It is a consolation to the popular authors who have had it impressed upon them that their popularity was sufficient proof of their worthlessness. It may be that Shakespeare, Scott and Balzac did not write for the minor sage of Chelsea, but it looks as though they did write for after ages. The writer’s only safety is to find his satisfaction in his own performance. If he can realize that in the liberation of soul which his work has brought him and in the pleasure of shaping it in such a way as to satisfy to some extent at least his æsthetic sense, he is amply rewarded for his labours, he can afford to be indifferent to the outcome.
FOR the disadvantages and dangers of the author’s calling are offset by an advantage so great as to make all its difficulties, disappointments, and maybe hardships, unimportant. It gives him spiritual freedom. To him life is a tragedy and by his gift of creation he enjoys the catharsis, the purging of pity and terror, which Aristotle tells us is the object of art. For his sins and his follies, the unhappiness that befalls him, his unrequited love, his physical defects, illness, privation, his hopes abandoned, his griefs, humiliations, everything is transformed by his power into material, and by writing it he can overcome it. Everything is grist to his mill, from the glimpse of a face in the street to a war that convulses the civilized world, from the scent of a rose to the death of a friend. Nothing befalls him that he cannot transmute into a stanza, a song or a story, and having done this be rid of it. The artist is the only free man.
Perhaps that is why the world on the whole has had the profound suspicion of him that we know. It is not sure that he can be trusted when he reacts to the common impulses of men so unaccountably. And indeed the artist, to the indignation of mankind, has never felt himself bound by ordinary standards. Why should he? With men in general the primary end of thought and action is to satisfy their needs and preserve their being; but the artist satisfies his needs and preserves his being by the pursuit of art: their pastime is his grim earnest and so his attitude to life can never be the same as theirs. He creates his own values. Men think him cynical because he does not attach importance to the virtues and is not revolted by the vices that move them. He is not cynical. But what they call virtue and what they call vice are not the sort of things that he takes any particular interest in. They are indifferent elements in the scheme of things out of which he constructs his own freedom. Of course common men are quite right to be indignant with him. But that isn’t going to do him any good. He is incorrigible.
WHEN, having achieved success as a dramatist, I determined to devote the rest of my life to play-writing I reckoned without my host. I was happy, I was prosperous, I was busy, my head was full of plays that I wanted to write; I do not know whether it was that success did not bring me all I had expected or whether it was a natural reaction from success: I was but just firmly established as a popular playwright when I began to be obsessed by the teeming memories of my past life. The loss of my mother and then the break-up of my home, the wretchedness of my first years at school for which my French childhood had so ill-prepared me and which my stammering made so difficult, the delight of those easy, monotonous and exciting days in Heidelberg, when I first entered upon the intellectual life, the irksomeness of my few years at the hospital and the thrill of London; it all came back to me so pressingly, in my sleep, on my walks, when I was rehearsing plays, when I was at a party, it became such a burden to me that I made up my mind that I could only regain my peace by writing it all down in the form of a novel. I knew it would be a long one and I wanted to be undisturbed, so I refused the contracts managers were anxious to give me and temporarily retired from the stage.
I had written a novel on the same themes when, after taking my medical degrees, I went to Seville. Luckily for me Fisher Unwin refused to give me the hundred pounds I wanted for it and no other publisher would have it at any price; or I should have lost a subject which I was then too young to make proper use of. The manuscript still exists, but I have not looked at it since I corrected the typescript; I have no doubt it is very immature. I was not far enough away from the events I described to see them reasonably and I had not had a number of experiences that later went to enrich the book I finally wrote. It seems to me that if the writing of this first novel did not finally repress into my unconscious the unhappy memories with which it was concerned it is because the writer is not finally disembarrassed of his subject till his work is published. When it is delivered to the public, however heedless the public be, it is his no longer and he is free from the burden that oppressed him. I called my book Beauty from Ashes, which is a quotation from Isaiah, but finding that this title had been recently used, I chose instead the title of one of the books in Spinoza’s Ethics and called it Of Human Bondage. It is not an autobiography, but an autobiographical novel; fact and fiction are inextricably mingled; the emotions are my own, but not
I WAS tired. I was tired not only of the people and thoughts that had so long occupied me; I was tired of the people I lived with and the life I was leading. I felt that I had got all that I was capable of getting out of the world in which I had been moving; my success as a playwright and the luxurious existence it had brought me; the social round, the grand dinners at the houses of the great, the brilliant balls and the week-end parties at country houses; the company of clever and brilliant people, writers, painters, actors; the love affairs I had had and the easy companionship of my friends; the comfortableness and security of life. It was stifling me and I hankered after a different mode of existence and new experiences. But I did not know where to turn for them. I thought of travelling. I was tired of the man I was, and it seemed to me that by a long journey to some far distant country I might renew myself. Russia was very much in the thoughts of people then and I had a mind to go there for a year, learn the language of which I already knew the rudiments and immerse myself in the emotion and mystery of that vast country. I thought that there perhaps I might find something that would give sustenance and enrichment to my spirit. I was forty. If I meant to marry and have children it was high time I did so, and for some time I had amused my imagination with pictures of myself in the married state. There was no one I particularly wanted to marry. It was the condition that attracted me. It seemed a necessary motif in the pattern of life that I had designed, and to my ingenuous fancy (for though no longer young and thinking myself so worldly wise, I was still in many ways incredibly naïve) it offered peace; peace from the disturbance of love affairs, casual it might be in the beginning, but bringing in their train such troublesome complications (for it takes two to make a love affair and a man’s meat is too often a woman’s poison); peace that would enable me to write all I wanted to write without the loss of precious time or disturbance of mind; peace and a settled and dignified way of life. I sought freedom and thought I could find it in marriage. I conceived these notions when I was still at work on Of Human Bondage, and turning my wishes into fiction, as writers will, towards the end of it I drew a picture of the marriage I should have liked to make. Readers on the whole have found it the least satisfactory part of my book.
But my uncertainties were resolved by an event over which I had no control. The war broke out. A chapter of my life had finished. A new chapter began.
I HAD a friend who was a cabinet minister and I wrote and asked him to help me to do something, whereupon I was invited to present myself at the War Office; but fearing that I should be set to clerical work in England and anxious to get out to France at once I joined a unit of ambulance cars. Though I do not think I was less patriotic than another my patriotism was mingled with the excitement the new experience offered me and I began keeping a note-book the moment I landed in France. I kept it till the work grew heavy and then at the end of the day I was too tired to do anything but go to bed. I enjoyed the new life I was thrown into and the lack of responsibility. It was a pleasure to me who had never been ordered about since I was at school to be told to do this and that and when it was done to feel that my time was my own. As a writer I had never felt that; I had felt on the contrary that I had not a minute to lose. Now with a clear conscience I wasted long hours at estaminets in idle chatter. I liked meeting a host of people, and, though writing no longer, I treasured their peculiarities in my memory. I was never in any particular danger. I was anxious to see how I should feel when exposed to it; I have never thought myself very courageous nor did I think there was any necessity for me to be so. The only occasion upon which I might have examined myself was when in the Grande Place at Ypres a shell blew up a wall against which I had been standing just as I had moved over to get a view of the ruined Cloth Makers Hall from the other side; but I was too much surprised to observe my state of mind.
Later on I joined the Intelligence Department where it looked as though I could be more useful than in somewhat inadequately driving an ambulance. The work appealed both to my sense of romance and my sense of the ridiculous. The methods I was instructed to use in order to foil persons who were following me; the secret interviews with agents in unlikely places; the conveying of messages in a mysterious fashion; the reports smuggled over a frontier; it was all doubtless very necessary but so reminiscent of what was then known as the shilling shocker that for me it took most of its reality away from the war, and I could not but look upon it as little more than material that might one day be of use to me. But it was so hackneyed that I doubted whether I should ever be able to profit by it. After a year in Switzerland my work there came to an end. It had entailed a good deal of exposure, the winter was bitter and I had to take journeys across the Lake of Geneva in all weathers. I was in very poor health. There seemed nothing much for me to do at the moment, so I went to America where two of my plays were about to be produced. I wanted to recover my peace of mind shattered through my own foolishness and vanity by occurrences upon which I need not dwell and so made up my mind to go to the South Seas. I had wanted to go ever since as a youth I had read The Ebb-Tide and The Wrecker, and I wanted besides to get material for a novel I had long been thinking over based on the life of Paul Gauguin.
I went, looking for beauty and romance and glad to put a great ocean between me and the trouble that harassed me. I found beauty and romance, but I found also something I had never expected. I found a new self. Ever since I left St. Thomas’s Hospital I had lived with people who attached value to culture. I had come to think that there was nothing in the world more important than art. I looked for a meaning in the universe, and the only one I could find was the beauty that men here and there produced. On the surface my life was varied and exciting; but beneath it was narrow. Now I entered a new world, and all the instinct in me of a novelist went out with exhilaration to absorb the novelty. It was not only the beauty of the islands that took me, Herman Melville and Pierre Loti had prepared me for that, and though it is a different beauty it is not a greater beauty than that of Greece or Southern Italy; nor was it their ramshackle, slightly adventurous, easy life; what excited me was to meet one person after another who was new to me. I was like a naturalist who comes into a country where the fauna are of an unimaginable variety. Some I recognized; they were old types that I had read of, and they gave me just the same feeling of delighted surprise that I had once in the Malayan Archipelago when I saw sitting on the branch of a tree a bird that I had never seen before but in a zoo. For the first moment I thought it must have escaped from a cage. Others were strange to me, and they thrilled me as Wallace was thrilled when he came upon a new species. I found them easy to get on with. They were of all sorts; indeed, the variety would have been bewildering but that my powers of observation were by now well trained and I found it possible without conscious effort to pigeon-hole each one in my awareness. Few of them had culture. They had learnt life in a different school from mine and had come to different conclusions. They led it on a different plane; I could not, with my sense of humour, go on thinking mine a higher one. It was different. Their lives too formed themselves to the discerning eye into a pattern that had order and finally coherence.
I stepped off my pedestal. It seemed to me that these men had more vitality than those I had known hitherto. They did not burn with a hard, gem-like flame, but with a hot, smoky, consuming fire. They had their own narrownesses. They had their prejudices. They were often dull and stupid. I did not care. They were different. In civilized communities m
I RETURNED to America and shortly afterwards was sent on a mission to Petrograd. I was diffident of accepting the post, which seemed to demand capacities that I did not think I possessed; but there seemed to be no one more competent available at the moment and my being a writer was very good ‘cover’ for what I was asked to do. I was not very well. I still knew enough medicine to guess the meaning of the haemorrhages I was having. An X-ray photograph showed clearly that I had tuberculosis of the lungs. But I could not miss the opportunity of spending certainly a considerable time in the country of Tolstoi, Dostoievski and Chekov; I had a notion that in the intervals of the work I was being sent to do I could get something for myself that would be of value; so I set my foot hard on the loud pedal of patriotism and persuaded the physician I consulted that under the tragic circumstances of the moment I was taking no undue risk. I set off in high spirits with unlimited money at my disposal and four devoted Czecks to act as liaison officers between me and Professor Masaryk who had under his control in various parts of Russia something like sixty thousand of his compatriots. I was exhilarated by the responsibility of my position. I went as a private agent, who could be disavowed if necessary, with instructions to get in touch with parties hostile to the government and devise a scheme that would keep Russia in the war and prevent the Bolsheviks, supported by the Central Powers, from seizing power. It is not necessary for me to inform the reader that in this I failed lamentably, and I do not ask him to believe me when I state that it seems to me at least possible that if I had been sent six months before I might quite well have succeeded. Three months after my arrival in Petrograd the crash came and put an end to all my plans.