W. Somerset Maugham: Of Human Bondage

48. CHAPTER XLVIII (continued)

He spoke slowly, in a curious manner, as though he were straining to hear something which was only just audible. There seemed to be a mysterious force in him which he himself did not understand, but which was struggling obscurely to find an outlet. His strength impressed you. Lawson dreaded the criticism he asked for and had discounted the blame he thought he might get by affecting a contempt for any opinion of Clutton's; but Philip knew there was nothing which would give him more pleasure than Clutton's praise. Clutton looked at the portrait for some time in silence, then glanced at Philip's picture, which was standing on an easel.

"What's that?" he asked.

"Oh, I had a shot at a portrait too."

"The sedulous ape," he murmured.

He turned away again to Lawson's canvas. Philip reddened but did not speak.

"Well, what d'you think of it?" asked Lawson at length.

"The modelling's jolly good," said Clutton. "And I think it's very well drawn."

"D'you think the values are all right?"

"Quite."

Lawson smiled with delight. He shook himself in his clothes like a wet dog.

"I say, I'm jolly glad you like it."

"I don't. I don't think it's of the smallest importance."

Lawson's face fell, and he stared at Clutton with astonishment: he had no notion what he meant, Clutton had no gift of expression in words, and he spoke as though it were an effort. What he had to say was confused, halting, and verbose; but Philip knew the words which served as the text of his rambling discourse. Clutton, who never read, had heard them first from Cronshaw; and though they had made small impression, they had remained in his memory; and lately, emerging on a sudden, had acquired the character of a revelation: a good painter had two chief objects to paint, namely, man and the intention of his soul. The Impressionists had been occupied with other problems, they had painted man admirably, but they had troubled themselves as little as the English portrait painters of the eighteenth century with the intention of his soul.