Study Guide to Of Human Bondage by W Somerset Maugham

Intelligent Education

• Editore: Influence Publishers
• Anno: 2020
• ISBN:
  9781645425311
• Edizione: 1
• Argomento: Guías de estudio
• Categoria: Guías de estudio

A comprehensive study guide offering in-depth explanation, essay, and test prep for W Somerset Maugham’s Of Human Bondage, agreed to be Maugham’s most noted and most important work. As a bildungsroman of the early 20th century, Of Human Bondage is Maugham’s strongly autobiographical story of the evolution of a young man through the storm and stress of youth. Moreover, Maugham writing is an example of finding serenity despite haunting and imperfect pasts. This Bright Notes Study Guide explores the context and history of Maugham’s classic work, helping students to thoroughly explore the reasons it has stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including
essay questions and answers as well as topics for further research.

INTRODUCTION TO W. SOMERSET MAUGHAM

BIOGRAPHY OF W. SOMERSET MAUGHAM

William Somerset Maugham may be described with some justice as the grand old man of English letters. He was a popular playwright and novelist before many of today’s crop of novelists were born, and his popularity has continued relatively undiminished down through the years. Although he has not published a new novel since 1948, he still receives royalties from his works and from motion pictures, as a result of which he is said to be one of the wealthiest men of letters of our own or any other century.

William Somerset Maugham was born on January 25, 1874. On January 25, 1964, Maugham (he never uses his first name, “William,” though some of his close friends call him “Willy”), in celebrating his ninetieth birthday, could look back on a writing career of nearly seventy years, although of necessity his productivity has slackened in the last ten years. His first novel, Liza of Lambeth, was published in 1897, and is considered one of his outstanding works to this day. His first play, “Schiffbruchig,” was written in German when he was eighteen years old. At one time before the First World War he had three successful comedies running at the same time on the London stage. It is estimated that his works have been published in over thirty different languages, and that over eighty million copies have been sold. His three-volume sets of 60 short stories have been purchased by one-half million people since its publication in 1962. He has earned, it is estimated, at least four million dollars from his writing and each year the royalties are still impressive. Over-all, he has published over 150 short stories, thirty plays, many travel books and essays, including works of literary criticism and commentary, and at least four important novels: Liza of Lambeth (1897), The Moon and Sixpence (1919), The Razor’s Edge (1944), and his most noted and most important work, Of Human Bondage (1915).

Of Human Bondage is basically the story of W. Somerset Maugham’s early life-his attempt to find himself as a man. It is thus at least partly in the tradition of the Bildungsroman, or novel of development and evolution of a young character, usually a young man, through the storm and stress of youth, adolescence, and early manhood into some reasoned and mature outlook on life. In this, Of Human Bondage participates in the great tradition of European literature of the nineteenth and twentieth centuries. Such novels as Goethe’s The Sorrows of Young Werther, Dicken’s David Copperfield, Meredith’s The Ordeal of Richard Faverel, Samuel Butler’s The Way of All Flesh, and that work which is perhaps most widely read in our time, Joyce’s A Portrait of the Artist as a Young Man-these are stories of the development of a young person through a period of doubt, spiritual torment, and often physical poverty and degradation. Nor do such works always end in a mature and serene outlook, as witness the novels of Goethe and Meredith which have been cited. But of Human Bondage, a partly autobiographical work, has large elements of Maugham’s own early experiences in it, and ends on a relatively serene note. Mr. Maugham has himself admitted to John Beavan, the English editor and critic, that the novel was “an autobiographical book,” and that it did reflect the suffering of his early life. However, the book is not entirely objective fact, and the best and most accurate statement one can make about it is that while Philip Carey is not W. Somerset Maugham as a young man, he partakes of many elements of Maugham’s character and experiences.

Indeed, Maugham spoke many years after completing the work as if he was compelled to write it as a kind of purgation of early and unhappy experiences. He said to John Beavan: “The book did for me what I wanted, and when it was issued to the world… I found myself free forever of those pains and unhappy recollections. I put into it everything I knew and, having at last finished it, prepared to make a new start.”

W. Somerset Maugham was born in Paris, where his father was a well-known English solicitor-a lawyer who did not actually practice in the superior courts of England but who had earned a good amount of money from his profession, so that the Maughams were well-off financially. His father was at the time of the author’s birth serving as counselor to the British Embassy in Paris. Maugham’s mother was noted as a beautiful woman, as may be seen from the picture of her which hangs to this day in Maugham’s home. His forefathers were important in London society, and his mother also in Paris society, which accounts in part both for Maugham’s cosmopolitanism and his knowledge of the higher levels of English and French society.

The rather international upbringing together with an education conducted both in English and French to the point that English was really his second language as a youth, had its advantages for him, but at the same time led to difficulties. Maugham was orphaned at an early age; both his mother and father (in reverse order from Philip Carey’s loss in Of Human Bondage) became ill and were both dead by the time he was ten. While Mugham had five brothers, the eldest of whom took over his father’s Paris legal work, there was no home for him in Paris, and therefore Maugham, at ten, was taken under the charge of his uncle, the Anglican vicar at All Saint’s Church in Whitstable. His uncle was stern and puritanical, and he became a model for Uncle William in Of Human Bondage. The author was not a healthy child; he had tuberculosis as a boy and, while he did not have a clubfoot like Philip Carey, he had an obvious physical defect, for he had then and has to this day a stammer which makes conversation occasionally difficult for him.

As did his most famous character Philip Carey, the author studied medicine. He was a “perpetual student” at St. Thomas’ Medical School, and he did share the life of the slum dwellers in London’s East End where he “led sixty-three babies into the world.”

Much has been made of Maugham’s poverty during his time as a medical student, obviously reflecting the plight of Philip Carey in the novel. But actually, he did have enough to live on, unlike Philip. As the playwright S. N. Behrman wrote: “He always had enough to live on just this side of poverty-a vast difference.”

Poverty was a threat to W. Somerset Maugham for about a decade after he completed his medical education and decided not to devote his life to medicine but instead to pursue a career in literature. Initially, he earned barely enough to survive: an amount equal to only a few hundred dollars a year. When he attained his first success, it was as a playwright, rather than as a novelist. Today, most of his current readers have never seen even one of his plays, and it is clear that his ultimate reputation will stand or fall on the basis of his achievement as a writer of fiction.

For the last half-century W. Somerset Maugham has tasted life as a connoisseur: one who knows, and one who is interested in quality of life for its own sake-the quality of each moment. He is a collector of great art; he has traveled to every part of the globe; he has been the friend of many well-known people, including Sir Winston Churchill, Charlie Chaplin, and the Duke and Duchess of Windsor. He lives in a luxurious villa overlooking the Mediterranean Sea at Cap Ferrat. He has received the praise of whole nations, and his weekly mail averages from 400 to 500 letters from persons (mostly young people) who write to say how much they enjoyed his novels or to comment on the values they received from his work. For years, Mugham answered all of his correspondence. He was made a “Companion of Honor” by Queen Elizabeth II in 1953, and he holds the French Legion of Honor decoration.

Because of his success W. Somerset Maugham has been, or has professed to be, entirely independent of concern for the critics of his work. He has followed a similar pattern in most of his novels and in many of his short stories. Undoubtedly Of Human Bondage is his most famous work, and to most readers and critics it is his best. But he prefers Cakes and Ale, a work in which he severely criticized Hugh Walpole, the English novelist, and caricatured Thomas Hardy, the late nineteenth - and early twentieth-century British poet and novelist. He found Cakes and Ale an enjoyable task, and perhaps that is why his memory of it is so pleasant. On the other hand, Of Human Bondage was written in blood, sweat, and tears. He writes that the latter is a kind of book “that an author can only write once. After all, he has only one life.”

At ninety, W. Somerset Maugham is approaching the end of that life. His days of writing are over, though there has been at least one suggestion that he has a book, again autobiographical in nature, to give the world before he is called from it. At his eighty-fifth birthday celebration he told his friends that he would not write for the public again. He said that a “writer’s work must come from inside himself. He must mingle with life, must be immersed in life-and I am a stranger in the world today.” He had been creative in his youth and through his maturity, but now that he is old he is ready to hand the pen over to younger men. Of course young writers have not waited to receive Maugham’s abdication, for they have been imitating and asking advice from him for close to a half-century.

But W. Somerset Maugham has not given advice very easily. He has remained aloof from literary fashions and fashion plates, and apparently he wants each writer to express himself, and not to fit himself into a mold created by someone else. He does encourage young writers through a prize which he offers to writers under 35 who want to travel to broaden their outlook on life.

Maugham might best be described as a conservative in politics and an agnostic in religious outlook. The term “conservative” is to be taken in a broad sense with regard to Maugham’s probable political orientation, for he has seen the government of England change considerably in the twentieth century, and with it the nature and quality of English life. He is one of the few living men who can remember when young writers, considered unstarts at the time-such men as George Bernard Shaw and H. G. Wells-were actively engaged in a struggle to improve the lot of the common man.

But while Maugham has great concern and feeling for the common man in his novels, especially in Of Human Bondage, as well as for the uncommon man, such as Strickland in The Moon and Sixpence, he seems to be a skeptic as far as his expectation of great improvement in the life of ordinary men is concerned. As a trained physician who practiced obstetrics among the poor, and as a keen observer of life, Maugham evidenced much personal humanity and charity. But he seems to posit certain inescapable conditions in life, which lead ordinary men and women to great suffering and misery. For Maugham, then, the kind of amelioration of man’s lot in this world through such schemes of political improvement, such as the Fabian Socialism of Shaw, is not possible. Thus he seems to incline by temperament to conservatism, if by that is meant a perception that there are some things in the structure of society which cannot and should not be changed.

With regard to religion, the author has sought the beliefs which could sustain him but to this day does not seem to have found them. The relationship of his religious doubts to the career of Philip Carey is not an absolutely parallel one, but the reader may imagine that he went through the same struggle with his conscience as did Philip and that he has never quite finished the struggle. He wants to believe in something outside himself-a power not ourselves which makes for righteousness-but he cannot. But the lack of a firm religious belief does not seem to have turned Maugham to despair. He has been able to formulate a pattern of personal ideals and commitments which have governed his life. But it is life for this world, not for the next.

As this negative attitude toward religion reflects the life of W. Somerset Maugham, so it reflects the life of Philip Carey in Of Human Bondage. Philip loses one illusion after another, until he comes to believe in the utter meaninglessness of life, and there is much concern with whether the positive ending of the work erases the negative ideas proposed. The question in this regard seems to be whether Philip’s realization of the vacuity of his life also allows him to realize that the emptiness came from within as well as from the environment in which he found himself. When Philip settles down with Sally, is this an admission that he was wrong and that life does have a meaning after all? Philip has always represented the man alone in the vast company of society, the alienated man, and his final rejection of far-away places and his preference for a home by the sea seem to indicate some acceptance of the values which most men accept. Philip’s clubfoot had indicated his distinction and independence, as well as his isolation-that which set him apart-but when Sally loves him in spite of the deformity, may she be said to be bringing him back to humanity? These are questions which must be explored in the reading of the work.

It has commonly been observed that Of Human Bondage is W. Somerset Maugham’s only concession to the public. This means that in giving so completely of himself, in baring his soul so much, he has not lived up to the artistic detachment demanded of the great novelist and artists in general. He does put himself into the work, in many places; this cannot be denied. But is this a defect? Some critics have observed that it is ironic that this novel has become more famous than any other work of the author, despite the fact that it is the least “detached” from the author’s own life.

Fortunately, we have the author’s own account of his theory of fiction as it applies to Of Human Bondage. On April 20, 1946, on the occasion of a ceremony at the U. S. Library of Congress in which Maugham presented the original manuscript of Of Human Bondage to that Library as a token of the mutual cooperation of Great Britain and the United States during the Second World War, the author said to his audience, speaking specifically of Of Human Bondage:

I suggest to you that it is enough for a novelist to be a good novelist. It is unnecessary for him to be a prophet, a preacher, a politician or leader of thought. Fiction is an art and the purpose of art it to please. If in many quarters this is not acknowledged I can only suppose it is because of the unfortunate impression so widely held that there is something shameful in pleasure.

But all pleasure is good. Only some pleasures have mischievous consequences and it is better to eschew them. And of course there are intelligent pleasures and unintelligent pleasures. I venture to put the reading of a good novel amongst the most intelligent pleasures that man can enjoy.^*

Art, for him, must entertain. It may also be elevating or instructive, or both, but if it does not yield some measures of pleasure and entertainment, it is not really art.

The meaning of art, in Maugham’s view, must not be so deeply hidden that the reader or viewer will have to wrack his brain searching for it. Art is meant to please. The artist himself may undergo torment during the creative process, as Philip Carey discovers in the world of the Paris art students, or as we see in the character of Strickland in The Moon and Sixpence. In fact, the demands of artistic creation are too much for most people (Fanny Price’s suicide illustrates this point well in Of Human Bondage). But while the artist may undergo torment during the creative process-is likely so to suffer, for suffering is an aspect of life and the artist attempts to tell the truth about life-his work must be the occasion of pleasure for the majority of readers or viewers.

If we accept the idea that art is meant to please there are obviously many reasons why the books of W. Somerset Maugham have delighted millions over the years. The style of his writing is simple and unaffected. While he does not over-use elaborate words and phrases when simple ones will do as well, he is at the same time a demanding writer, for he takes it for granted that his audience will be acquainted with his references to artists and politicians and novelists. And in order to maintain verisimilitude (the appearance of historical accuracy with regard to the details of his writing), for he is, after all, in Of Human Bondage writing of Engl...