Somerset Maugham - The Moon and Sixpence

And I think that was the vision that had remained with him always, dazzling his eyes so that he could not see the truth; and notwithstanding the brutality of fact, he continued to see with the eyes of the spirit an Italy of romantic brigands and picturesque ruins. It was an ideal that he painted -a poor one, common and shop-soiled, but still it was an ideal; and it gave his character a peculiar charm.

It was because I felt this that Dirk Stroeve was not to me, as to others, merely an object of ridicule. His fellow-painters made no secret of their contempt for his work, but he earned a fair amount of money, and they did not hesitate to make free use of his purse. He was generous, and the needy, laughing at him because he believed so naively their stories of distress, borrowed from him with effrontery. He was very emotional, yet his feeling, so easily aroused, had in it something absurd, so that you accepted his kindness, but felt no gratitude. To take money from him was like robbing a child, and you despised him because he was so foolish. I imagine that a pickpocket, proud of his light fingers, must feel a sort of indignation with the careless woman who leaves in a cab a vanity-bag with all her jewels in it. Nature had made him a butt, but had denied him insensibility. He writhed under the jokes, practical and otherwise, which were perpetually made at his expense, and yet never ceased, it seemed wilfully, to expose himself to them. He was constantly wounded, and yet his good-nature was such that he could not bear malice: the viper might sting him, but he never learned by experience, and had no sooner recovered from his pain than he tenderly placed it once more in his bosom. His life was a tragedy written in the terms of knockabout farce. Because I did not laugh at him he was grateful to me, and he used to pour into my sympathetic ear the long list of his troubles. The saddest thing about them was that they were grotesque, and the more pathetic they were, the more you wanted to laugh.

But though so bad a painter, he had a very delicate feeling for art, and to go with him to picture-galleries was a rare treat. His enthusiasm was sincere and his criticism acute. He was catholic. He had not only a true appreciation of the old masters, but sympathy with the moderns. He was quick to discover talent, and his praise was generous. I think I have never known a man whose judgment was surer. And he was better educated than most painters. He was not, like most of them, ignorant of kindred arts, and his taste for music and literature gave depth and variety to his comprehension of painting. To a young man like myself his advice and guidance were of incomparable value.

When I left Rome I corresponded with him, and about once in two months received from him long letters in queer English, which brought before me vividly his spluttering, enthusiastic, gesticulating conversation. Some time before I went to Paris he had married an Englishwoman, and was now settled in a studio in Montmartre. I had not seen him for four years, and had never met his wife.

I had not announced my arrival to Stroeve, and when I rang the bell of his studio, on opening the door himself, for a moment he did not know me. Then he gave a cry of delighted surprise and drew me in. It was charming to be welcomed with so much eagerness. His wife was seated near the stove at her sewing, and she rose as I came in. He introduced me.

"Don't you remember?" he said to her. "I've talked to you about him often." And then to me: "But why didn't you let me know you were coming? How long have you been here? How long are you going to stay? Why didn't you come an hour earlier, and we would have dined together?"

He bombarded me with questions. He sat me down in a chair, patting me as though I were a cushion, pressed cigars upon me, cakes, wine. He could not let me alone. He was heart-broken because he had no whisky, wanted to make coffee for me, racked his brain for something he could possibly do for me, and beamed and laughed, and in the exuberance of his delight sweated at every pore.

"You haven't changed," I said, smiling, as I looked at him.

He had the same absurd appearance that I remembered. He was a fat little man, with short legs, young still -he could not have been more than thirty -but prematurely bald. His face was perfectly round, and he had a very high colour, a white skin, red cheeks, and red lips. His eyes were blue and round too, he wore large gold-rimmed spectacles, and his eyebrows were so fair that you could not see them. He reminded you of those jolly, fat merchants that Rubens painted.

When I told him that I meant to live in Paris for a while, and had taken an apartment, he reproached me bitterly for not having let him know. He would have found me an apartment himself, and lent me furniture -did I really mean that I had gone to the expense of buying it? -and he would have helped me to move in. He really looked upon it as unfriendly that I had not given him the opportunity of making himself useful to me. Meanwhile, Mrs. Stroeve sat quietly mending her stockings, without talking, and she listened to all he said with a quiet smile on her lips.

"So, you see, I'm married," he said suddenly; "what do you think of my wife?"

He beamed at her, and settled his spectacles on the bridge of his nose. The sweat made them constantly slip down.

"What on earth do you expect me to say to that?" I laughed.

"Really, Dirk," put in Mrs. Stroeve, smiling.

"But isn't she wonderful? I tell you, my boy, lose no time; get married as soon as ever you can. I'm the happiest man alive. Look at her sitting there. Doesn't she make a picture? Chardin, eh? I've seen all the most beautiful women in the world; I've never seen anyone more beautiful than Madame Dirk Stroeve."

"If you don't be quiet, Dirk, I shall go away."

"Mon petit chou" , he said.

She flushed a little, embarrassed by the passion in his tone. His letters had told me that he was very much in love with his wife, and I saw that he could hardly take his eyes off her. I could not tell if she loved him. Poor pantaloon, he was not an object to excite love, but the smile in her eyes was affectionate, and it was possible that her reserve concealed a very deep feeling. She was not the ravishing creature that his love-sick fancy saw, but she had a grave comeliness. She was rather tall, and her gray dress, simple and quite well-cut, did not hide the fact that her figure was beautiful. It was a figure that might have appealed more to the sculptor than to the costumier. Her hair, brown and abundant, was plainly done, her face was very pale, and her features were good without being distinguished. She had quiet gray eyes. She just missed being beautiful, and in missing it was not even pretty. But when Stroeve spoke of Chardin it was not without reason, and she reminded me curiously of that pleasant housewife in her mob-cap and apron whom the great painter has immortalised. I could imagine her sedately busy among her pots and pans, making a ritual of her household duties, so that they acquired a moral significance; I did not suppose that she was clever or could ever be amusing, but there was something in her grave intentness which excited my interest. Her reserve was not without mystery. I wondered why she had married Dirk Stroeve. Though she was English, I could not exactly place her, and it was not obvious from what rank in society she sprang, what had been her upbringing, or how she had lived before her marriage. She was very silent, but when she spoke it was with a pleasant voice, and her manners were natural.

I asked Stroeve if he was working.

"Working? I'm painting better than I've ever painted before."

We sat in the studio, and he waved his hand to an unfinished picture on an easel. I gave a little start. He was painting a group of Italian peasants, in the costume of the Campagna, lounging on the steps of a Roman church.