Of Human Bondage

  ‘What is the use of it?'

  The effort was so incommensurate with the result. The bright hopes of youth had to be paid for at such a bitter price of disillusionment. Pain and disease and unhappiness weighed down the scale so heavily. What did it all mean? He thought of his own life, the high hopes with which he had entered upon it, the limitations which his body forced upon him, his friendlessness, and the lack of affection which had surrounded his youth. He did not know that he had ever done anything but what seemed best to do, and what a cropper he had come! Other men, with no more advantages than he, succeeded, and others again, with many more, failed. It seemed pure chance. The rain fell alike upon the just and upon the unjust, and for nothing was there a why and a wherefore.

  Thinking of Cronshaw, Philip remembered the Persian rug which he had given him, telling him that it offered an answer to his question upon the meaning of life; and suddenly the answer occurred to him: he chuckled: now that he had it, it was like one of the puzzles which you worry over till you are shown the solution and then cannot imagine how it could ever have escaped you. The answer was obvious. Life had no meaning. On the earth, satellite of a star speeding through space, living things had arisen under the influence of conditions which were part of the planet's history; and as there had been a beginning of life upon it, so, under the influence of other conditions, there would be an end: man, no more significant than other forms of life, had come not as the climax of creation but as a physical reaction to the environment. Philip remembered the story of the Eastern King who, desiring to know the history of man, was brought by a sage five hundred volumes; busy with affairs of state, he bade him go and condense it; in twenty years the sage returned and his history now was in no more than fifty volumes, but the King, too old then to read so many ponderous tomes, bade him go and shorten it once more; twenty years passed again and the sage, old and grey, brought a single book in which was the knowledge the King had sought; but the King lay on his death-bed, and he had no time to read even that; and then the sage gave him the history of man in a single line; it was this: he was born, he suffered, and he died. There was no meaning in life, and man by living served no end. It was immaterial whether he was born or not born, whether he lived or ceased to live. Life was insignificant and death without consequence. Philip exulted, as he had exulted in his boyhood when the weight of a belief in God was lifted from his shoulders: it seemed to him that the last burden of responsibility was taken from him; and for the first time he was utterly free. His insignificance was turned to power, and he felt himself suddenly equal with the cruel fate which had seemed to persecute him; for, if life was meaningless, the world was robbed of its cruelty. What he did or left undone did not matter. Failure was unimportant and success amounted to nothing. He was the most inconsiderable creature in that swarming mass of mankind which for a brief space occupied the surface of the earth; and he was almighty because he had wrenched from chaos the secret of its nothingness. Thoughts came tumbling over one another in Philip's eager fancy, and he took long breaths of joyous satisfaction. He felt inclined to leap and sing. He had not been so happy for months.

  ‘Oh life,' he cried in his heart, ‘oh life, where is thy sting?'

  For the same uprush of fancy which had shown him with all the force of mathematical demonstration that life had no meaning, brought with it another idea; and that was why Cronshaw, he imagined, had given him the Persian rug. As the weaver elaborated his pattern for no end but the pleasure of his aesthetic sense, so might a man live his life, or if one was forced to believe that his actions were outside his choosing, so might a man look at his life, that it made a pattern. There was as little need to do this as there was use. It was merely something he did for his own pleasure. Out of the manifold events of his life, his deeds, his feelings, his thoughts, he might make a design, regular, elaborate, complicated, or beautiful; and though it might be no more than an illusion that he had the power of selection, though it might be no more than a fantastic legerdemain in which appearances were interwoven with moonbeams, that did not matter: it seemed, and so to him it was. In the vast warp of life (a river arising from no spring and flowing endlessly to no sea), with the background to his fancies that there was no meaning and that nothing was important, a man might get a personal satisfaction in selecting the various strands that worked out the pattern. There was one pattern, the most obvious, perfect, and beautiful, in which a man was born, grew to manhood, married, produced children, toiled for his bread, and died; but there were others, intricate and wonderful, in which happiness did not enter and in which success was not attempted; and in them might be discovered a more troubling grace. Some lives, and Hayward's was among them, the blind indifference of chance cut off while the design was still imperfect; and then the solace was comfortable that it did not matter; other lives, such as Cronshaw's, offered a pattern which was difficult to follow: the point of view had to be shifted and old standards had to be altered before one could understand that such a life was its own justification. Philip thought that in throwing over the desire for happiness he was casting aside the last of his illusions. His life had seemed horrible when it was measured by its happiness, but now he seemed to gather strength as he realized that it might be measured by something else. Happiness mattered as little as pain. They came in, both of them, as all the other details of his life came in, to the elaboration of the design. He seemed for an instant to stand above the accidents of his existence, and he felt that they could not affect him again as they had done before. Whatever happened to him now would be more motive to add to the complexity of the pattern, and when the end approached he would rejoice in its completion. It would be a work of art, and it would be none the less beautiful because he alone knew of its existence, and with his death it would at once cease to be.

  Philip was happy.

  CVII

  MR SAMPSON, the buyer, took a fancy to Philip. Mr Sampson was very dashing, and the girls in his department said they would not be surprised if he married one of the rich customers. He lived out of town and often impressed the assistants by putting on his evening clothes in the office. Sometimes he would be seen by those on sweeping duty coming in next morning still dressed, and they would wink gravely to one another while he went into his office and changed into a frock-coat. On these occasions, having slipped out for a hurried breakfast, he also would wink at Philip as he walked up the stairs on his way back and rub his hands.

  ‘What a night! What a night!' he said. ‘My word!'

  He told Philip that he was the only gentleman there, and he and Philip were the only fellows who knew what life was. Having said this, he changed his manner suddenly, called Philip Mr Carey instead of old boy, assumed the importance due to his position as buyer, and put Philip back into his place of shop-walker.

  Lynn and Sedley received fashion papers from Paris once a week and adapted the costumes illustrated in them to the needs of their customers. Their clientele was peculiar. The most substantial part consisted of women from the smaller manufacturing towns, who were too elegant to have their frocks made locally and not sufficiently acquainted with London to discover good dressmakers within their means. Besides these, incongruously, was a large number of music-hall artistes. This was a connexion that Mr Sampson had worked up for himself and took great pride in. They had begun by getting their stage-costumes at Lynn's, and he had induced many of them to get their other clothes there as well.

  ‘As good as Paquin and half the price,' he said.

  He had a persuasive, hail-fellow-well-met air with him which appealed to customers of this sort, and they said to one another:

  ‘What's the good of throwing money away when you can get a coat and skirt at Lynn's that nobody knows don't come from Paris?'

  Mr Sampson was very proud of his friendship with the popular favourites whose frocks he made, and when he went out to dinner at two o'clock on Sunday with Miss Victoria Virgo—‘she was wearing that powder blue we made her and I lay she didn't let on it cam
e from us, I 'ad to tell her meself that if I 'adn't designed it with my own hands I'd have said it must come from Paquin'—at her beautiful house in Tulse Hill, he regaled the department next day with abundant details. Philip had never paid much attention to women's clothes, but in course of time he began, a little amused at himself, to take a technical interest in them. He had an eye for colour which was more highly trained than that of anyone in the department, and he had kept from his student days in Paris some knowledge of line. Mr Sampson, an ignorant man conscious of his incompetence, but with a shrewdness that enabled him to combine other people's suggestions, constantly asked the opinion of the assistants in his department in making up new designs; and he had the quickness to see that Philip's criticisms were valuable. But he was very jealous, and would never allow that he took anyone's advice. When he had altered some drawing in accordance with Philip's suggestion, he always finished up by saying:

  ‘Well, it comes round to my own idea in the end.'

  One day, when Philip had been at the shop for five months, Miss Alice Antonia, the well-known serio-comic, came in and asked to see Mr Sampson. She was a large woman, with flaxen hair, and a boldly painted face, a metallic voice, and the breezy manner of a comédienne accustomed to be on friendly terms with the gallery boys of provincial music-halls. She had a new song and wished Mr Sampson to design a costume for her.

  ‘I want something striking,' she said. ‘I don't want any old thing, you know. I want something different from what anybody else has.'

  Mr Sampson, bland and familiar, said he was quite certain they could get her the very thing she required. He showed her sketches.

  ‘I know there's nothing here that would do, but I just want to show you the kind of thing I would suggest.'

  ‘Oh no, that's not the sort of thing at all,' she said, as she glanced at them impatiently. ‘What I want is something that'll just hit 'em in the jaw and make their front teeth rattle.'

  ‘Yes, I quite understand, Miss Antonia,' said the buyer, with a bland smile, but his eyes grew blank and stupid.

  ‘I expect I shall 'ave to pop over to Paris for it in the end.'

  ‘Oh, I think we can give you satisfaction, Miss Antonia. What you can get in Paris you can get here.'

  When she had swept out of the department Mr Sampson, a little worried, discussed the matter with Mrs Hodges.

  ‘She's a caution and no mistake,' said Mrs Hodges.

  ‘Alice, where art thou?' remarked the buyer, irritably, and thought he had scored a point against her.

  His ideas of music-hall costumes had never gone beyond short skirts, a swirl of lace, and glittering sequins; but Miss Antonia had expressed herself on that subject in no uncertain terms.

  ‘Oh, my aunt!' she said.

  And the invocation was uttered in such a tone as to indicate a rooted antipathy to anything so commonplace, even if she had not added that sequins gave her the sick. Mr Sampson ‘got out' one or two ideas, but Mrs Hodges told him frankly she did not think they would do. It was she who gave Philip the suggestion:

  ‘Can you draw, Phil? Why don't you try your 'and and see what you can do?'

  Philip bought a cheap box of water colours, and in the evening while Bell, the noisy lad of sixteen, whistling three notes, busied himself with his stamps, he made one or two sketches. He remembered some of the costumes he had seen in Paris, and he adapted one of them, getting his effect from a combination of violent, unusual colours. The result amused him and next morning he showed it to Mrs Hodges. She was somewhat astonished, but took it at once to the buyer.

  ‘It's unusual,' he said, ‘there's no denying that.'

  It puzzled him, and at the same time his trained eye saw that it would make up admirably. To save his face he began making suggestions for altering it, but Mrs Hodges, with more sense, advised him to show it to Miss Antonia as it was.

  ‘It's neck or nothing with her, and she may take a fancy to it.'

  ‘It's a good deal more nothing than neck,' said Mr Sampson, looking at the décolletage. ‘He can draw, can't he? Fancy 'im keeping it dark all this time.'

  When Miss Antonia was announced, the buyer placed the design on the table in such a position that it must catch her eye the moment she was shown into his office. She pounced on it at once.

  ‘What's that?' she said. ‘Why can't I 'ave that?'

  ‘That's just an idea we got out for you,' said Mr Sampson casually. ‘D'you like it?'

  ‘Do I like it!' she said. ‘Give me 'alf a pint with a little drop of gin in it.'

  ‘Ah, you see, you don't have to go to Paris. You've only got to say what you want and there you are.'

  The work was put in hand at once, and Philip felt quite a thrill of satisfaction when he saw the costume completed. The buyer and Mrs Hodges took all the credit of it; but he did not care, and when he went with them to the Tivoli to see Miss Antonia wear it for the first time he was filled with elation. In answer to her questions he at last told Mrs Hodges how he had learnt to draw—fearing that the people he lived with would think he wanted to put on airs, he had always taken the greatest care to say nothing about his past occupations—and she repeated the information to Mr Sampson. The buyer said nothing to him on the subject, but began to treat him a little more deferentially and presently gave him designs to do for two of the country customers. They met with satisfaction. Then he began to speak to his clients of a ‘clever young feller, Paris art-student, you know', who worked for him; and soon Philip, ensconced behind a screen, in his shirt-sleeves, was drawing from morning till night. Sometimes he was so busy that he had to dine at three with the ‘stragglers'. He liked it, because there were few of them and they were all too tired to talk; the food also was better, for it consisted of what was left over from the buyers' table. Philip's rise from shop-walker to designer of costumes had a great effect on the department. He realized that he was an object of envy. Harris, the assistant with the queer-shaped head, who was the first person he had known at the shop and had attached himself to Philip, could not conceal his bitterness.

  ‘Some people 'ave all the luck,' he said. ‘You'll be a buyer yourself one of these days, and we shall all be calling you “sir”.'

  He told Philip that he should demand higher wages, for notwithstanding the difficult work he was now engaged in, he received no more than the six shillings a week with which he started. But it was a ticklish matter to ask for a rise. The manager had a sardonic way of dealing with such applicants.

  ‘Think you're worth more, do you? How much d'you think you're worth, eh?'

  The assistant, with his heart in his mouth, would suggest that he thought he ought to have another two shillings a week.

  ‘Oh, very well, if you think you're worth it. You can 'ave it.' Then he paused and sometimes, with a steely eye, added: ‘And you can 'ave your notice too.'

  It was no use then to withdraw your request, you had to go. The manager's idea was that assistants who were dissatisfied did not work properly, and if they were not worth a rise it was better to sack them at once. The result was that they never asked for one unless they were prepared to leave. Philip hesitated. He was a little suspicious of the men in his room who told him that the buyer could not do without him. They were decent fellows, but their sense of humour was primitive, and it would have seemed funny to them if they had persuaded Philip to ask for more wages and he were sacked. He could not forget the mortification he had suffered in looking for work, he did not wish to expose himself to that again, and he knew there was small chance of his getting elsewhere a post as designer: there were hundreds of people about who could draw as well as he. But he wanted money very badly; his clothes were worn out, and the heavy carpets rotted his socks and boots; he had almost persuaded himself to take the venturesome step when one morning, passing up from breakfast in the basement through the passage that led to the manager's office, he saw a queue of men waiting in answer to an advertisement. There were about a hundred of them, and whichever was engaged would be offere
d his keep and the same six shillings a week that Philip had. He saw some of them cast envious glances at him because he had employment. It made him shudder. He dared not risk it.

  CVIII

  THE WINTER passed. Now and then Philip went to the hospital, slinking in when it was late and there was little chance of meeting anyone he knew, to see whether there were letters for him. At Easter he received one from his uncle. He was surprised to hear from him, for the Vicar of Blackstable had never written him more than half a dozen letters in his whole life, and they were on business matters.

  Dear Philip—

  If you are thinking of taking a holiday soon and care to come down here I shall be pleased to see you. I was very ill with my bronchitis in the winter and Doctor Wigram never expected me to pull through. I have a wonderful constitution and I made, thank God, a marvelous recovery.

  Yours affectionately,

  William Carey

  The letter made Philip angry. How did his uncle think he was living? He did not even trouble to inquire. He might have starved for all the old man cared. But as he walked home something struck him; he stopped under a lamp-post and read the letter again; the hand-writing had no longer the businesslike firmness which had characterized it; it was larger and wavering: perhaps the illness had shaken him more than he was willing to confess, and he sought in that formal note to express a yearning to see the only relation he had in the world. Philip wrote back that he could come down to Blackstable for a fortnight in July. The invitation was convenient, for he had not known what to do with his brief holiday. The Athelnys went hopping in September, but he could not then be spared, since during that month the autumn models were prepared. The rule of Lynn's was that everyone must take a fortnight whether he wanted it or not; and during that time, if he had nowhere to go, the assistant might sleep in his room, but he was not allowed food. A number had no friends within reasonable distance of London, and to these the holiday was an awkward interval when they had to provide food out of their small wages and, with the whole day on their hands, had nothing to spend. Philip had not been out of London since his visit to Brighton with Mildred, now two years before, and he longed for fresh air and the silence of the sea. He thought of it with such a passionate desire, all through May and June, that, when at length the time came for him to go, he was listless.