The Favorite Short Stories of W. Somerset Maugham Read Online Free Page B

attacked. I do not know whether the critics of the present day are naturally of a less ferocious temper; I must allow that on the whole the judgment that has been passed on the stories in this volume when from time to time a collection has been published in book form has been favourable. One epithet, however, has been much applied to them, which has puzzled me; they have been described with disconcerting frequency as “competent.” Now on the face of it I might have thought this laudatory, for to do a thing competently is certainly more deserving of praise than to do it incompetently, but the adjective has been used in a disparaging sense and, anxious to learn and if possible to improve, I have asked myself what was in the mind of the critics who thus employed it. Of course none of us is liked by everybody and it is necessary- that a man’s writing, which is so intimate a revelation of himself, should be repulsive to persons who are naturally antagonistic to the creature he is. This should leave him unperturbed. But when an author’s work is somewhat commonly found to have a quality that is unattractive to many it is sensible of him to give the matter his attention. There is evidently something that a number of people do not like in my stories and it is this they try to express when they damn them with the faint praise of competence. I have a notion that it is the definiteness of their form. I hazard the suggestion (perhaps unduly flattering to myself) because this particular criticism has never been made in France where my stories have had with the critics and the public much greater success than they have had in England. The French, with their classical sense and their orderly minds, demand a precise form and are exasperated by a work in which the ends are left lying about, themes are propounded and not resolved and a climax is foreseen and then eluded. This precision on the other hand has always been slightly antipathetic to the English. Our great novels have been shapeless and this, far from disconcerting their readers, has given them a sense of security. This is the life we know, they have thought, with its arbitrariness and inconsequence; we can put out of our minds the irritating thought that two and two make four. If I am right in this surmise I can do nothing about it and I must resign myself to being called competent for the rest of my days. My prepossessions in the arts are on the side of law and order. I like a story that fits. I did not take to writing stories seriously till I had had much experience as a dramatist, and this experience taught me to leave out everything that did not serve the dramatic value of my story. It taught me to make incident follow incident in .such a manner as to lead up to the climax I had in mind. I am not unaware of the disadvantages of this method. It gives a tightness of effect that is sometimes disconcerting. You feel that life does not dovetail into its various parts with such neatness. In life stories straggle, they begin nowhere and tail off without a point. That is probably what Chekov meant when he said that stories should have neither a beginning nor an end. It is certain that sometimes it gives you a sensation of airlessness when you see persons who behave so exactly according to character, and incidents that fall into place with such perfect convenience. The story-teller of this kind aims not only at giving his own feelings about life, but at a formal decoration. He arranges life to suit his purposes. He follows a design in his mind, leaving out this and changing that; he distorts facts to his advantage, according to his plan; and when he attains his object produces a work of art. It may be that life slips through his fingers; then he has failed; it may be that he seems sometimes so artificial that you cannot believe him, and when you do not believe a story-teller he is done. When he succeeds he has forced you for a time to accept his view of the universe and has given