Of Human Bondage (Signet Classics)
Of Human Bondage (Signet Classics) book cover

Of Human Bondage (Signet Classics)

Mass Market Paperback – January 2, 2007

Price
$5.95
Publisher
Signet
Publication Date
ISBN-13
978-0451530172
Dimensions
4.25 x 1.1 x 6.88 inches
Weight
11.7 ounces

Description

“The modern writer who has influenced me the most.”—George Orwell“One of my favorite writers.”—Gabriel García Marquez William Somerset Maugham (1874–1965) studied medicine, but the quick success of his first novel, Liza of Lambeth (1897), started him on his lifelong literary career, during which he would become one of the most popular English authors since Dickens. His own life, however, was more tragic, shocking, and fascinating than any novel. After his adored parents died, he grew up in a miserable vicarage and suffered from a physical handicapxa0of whichxa0he was ashamed. During his lifetime, Maugham would marry and divorce, be sent to Russia as a spy, and entertain such celebrities as Jean Cocteau, Winston Churchill, Noël Coward, the Aga Khan, and Ian Fleming at his Riviera mansion. Among his masterpieces are Of Human Bondage , The Painted Veil , The Razor’s Edge , and The Moon and Sixpence . In addition, such works as “The Letter” and “Rain” established Maugham as a gifted short story writer. Benjamin DeMott (1924–2005) was professor of English and the Mellon professor of humanities at Amherst College. The author of two novels, he was best known for his cultural criticism in leading periodicals and in such books as The Imperial Middle: Why Americans Can’t Think Straight About Class and The Trouble with Friendship: Why Americans Can’t Think Straight About Race . Maeve Binchy (1940–2012) was the New York Times bestselling author of Quentins , Scarlet Feather , Tara Road (an Oprah’s Book Club Selection), Circle of Friends , Light a Penny Candle , and many other novels. Excerpt. © Reprinted by permission. All rights reserved. ITHE DAY broke grey and dull. The clouds hung heavily, and there was a rawness in the air that suggested snow. A woman servant came into a room in which a child was sleeping and drew the curtains. She glanced mechanically at the house opposite, a stucco house with a portico, and went to the child's bed.'Wake up, Philip,' she said.She pulled down the bed-clothes, took him in her arms, and carried him downstairs. He was only half awake.'Your mother wants you,' she said.She opened the door of a room on the floor below and took the child over to a bed in which a woman was lying. It was his mother. She stretched out her arms, and the child nestled by her side. He did not ask why he had been awakened. The woman kissed his eyes, and with thin, small hands felt the warm body through his white flannel nightgown. She pressed him closer to herself. 'Are you sleepy, darling?' she said.Her voice was so weak that it seemed to come already from a great distance. The child did not answer, but smiled comfortably. He was very happy in the large, warm bed, with those soft arms about him. He tried to make himself smaller still as he cuddled against his mother, and he kissed her sleepily. In a moment he closed his eyes and was fast asleep. The doctor came forward and stood by the bedside.'Oh, don't take him away yet,' she moaned.The doctor, without answering, looked at her gravely. Knowing she would not be allowed to keep the child much longer, the woman kissed him again; and she passed her hand down his body till she came to his feet; she held the right foot in her hand and felt the five small toes; and then slowly passed her hand over the left one. She gave a sob.'What's the matter?' said the doctor. 'You're tired.'She shook her head, unable to speak, and the tears rolled down her cheeks. The doctor bent down.'Let me take him.'She was too weak to resist his wish, and she gave the child up. The doctor handed him back to his nurse.'You'd better put him back in his own bed.''Very well, sir.'The little boy, still sleeping, was taken away. His mother sobbed now broken-heartedly. 'What will happen to him, poor child?'The monthly nurse tried to quiet her, and presently, from exhaustion, the crying ceased. The doctor walked to a table on the other side of the room, upon which, under a towel, lay the body of a still-born child. He lifted the towel and looked. He was hidden from the bed by a screen, but the woman guessed what he was doing.'Was it a girl or a boy?' she whispered to the nurse.'Another boy.'The woman did not answer. In a moment the child's nurse came back. She approached the bed.'Master Philip never woke up,' she said.There was a pause. Then the doctor felt his patient's pulse once more.'I don't think there's anything I can do just now,' he said. 'I'll call again after breakfast.''I'll show you out, sir,' said the child's nurse.They walked downstairs in silence. In the hall the doctor stopped.'You've sent for Mrs. Carey's brother-in-law, haven't you?''Yes, sir.''D'you know at what time he'll be here?''No, sir, I'm expecting a telegram.''What about the little boy? I should think he'd be better out of the way.''Miss Watkin said she'd take him, sir.''Who's she?''She's his godmother, sir. D'you think Mrs. Carey will get over it, sir?'The doctor shook his head.IIIT WAS a week later. Philip was sitting on the floor in the drawing-room at Miss Watkin's house in Onslow Gardens. He was an only child and used to amusing himself. The room was filled with massive furniture, and on each of the sofas were three big cushions. There was a cushion too in each armchair. All these he had taken and, with the help of the gilt rout chairs, light and easy to move, had made an elaborate cave in which he could hide himself from the Red Indians who were lurking behind the curtains. He put his ear to the floor and listened to the herd of buffaloes that raced across the prairie. Presently, hearing the door open, he held his breath so that he might not be discovered; but a violent hand pulled away a chair and the cushions fell down.'You naughty boy, Miss Watkin will be cross with you.''Hulloa, Emma!' he said.The nurse bent down and kissed him, then began to shake out the cushions, and put them back in their places.'Am I to come home?' he asked.'Yes, I've come to fetch you.''You've got a new dress on.'It was in 1885, and she wore a bustle. Her gown was of black velvet, with tight sleeves and sloping shoulders, and the skirt had three large flounces. She wore a black bonnet with velvet strings. She hesitated. The question she had expected did not come, and so she could not give the answer she had prepared.'Aren't you going to ask how your mamma is?' she said at length.'Oh, I forgot. How is mamma?'Now she was ready.'Your mamma is quite well and happy.''Oh, I am glad.''Your mamma's gone away. You won't ever see her any more.'Philip did not know what she meant.'Why not?''Your mamma's in heaven.'She began to cry, and Philip, though he did not quite understand, cried too. Emma was a tall, big-boned woman, with fair hair and large features. She came from Devonshire and, notwithstanding her many years of service in London, had never lost the breadth of her accent. Her tears increased her emotion, and she pressed the little boy to her heart. She felt vaguely the pity of that child deprived of the only love in the world that is quite unselfish. It seemed dreadful that he must be handed over to strangers. But in a little while she pulled herself together.'Your Uncle William is waiting in to see you,' she said. 'Go and say good-bye to Miss Watkin, and we'll go home.''I don't want to say good-bye,' he answered, instinctively anxious to hide his tears.'Very well, run upstairs and get your hat.'He fetched it, and when he came down Emma was waiting for him in the hall. He heard the sound of voices in the study behind the dining-room. He paused. He knew that Miss Watkin and her sister were talking to friends, and it seemed to him--he was nine years old--that if he went in they would be sorry for him.'I think I'll go and say good-bye to Miss Watkin.''I think you'd better,' said Emma.'Go in and tell them I'm coming,' he said.He wished to make the most of his opportunity. Emma knocked at the door and walked in. He heard her speak.'Master Philip wants to say good-bye to you, miss.'There was a sudden hush of the conversation, and Philip limped in. Henrietta Watkin was a stout woman, with a red face and dyed hair. In those days to dye the hair excited comment, and Philip had heard much gossip at home when his godmother's changed colour. She lived with an elder sister, who had resigned herself contentedly to old age. Two ladies, whom Philip did not know, were calling, and they looked at him curiously.'My poor child,' said Miss Watkin, opening her arms.She began to cry. Philip understood now why she had not been in to luncheon and why she wore a black dress. She could not speak.'I've got to go home,' said Philip, at last.He disengaged himself from Miss Watkin's arms, and she kissed him again. Then he went to her sister and bade her good-bye too. One of the strange ladies asked if she might kiss him, and he gravely gave her permission. Though crying, he keenly enjoyed the sensation he was causing; he would have been glad to stay a little longer to be made so much of, but felt they expected him to go, so he said that Emma was waiting for him. He went out of the room. Emma had gone downstairs to speak with a friend in the basement, and he waited for her on the landing. He heard Henrietta Watkin's voice.'His mother was my greatest friend. I can't bear to think that she's dead.''You oughtn't to have gone to the funeral, Henrietta,' said her sister. 'I knew it would upset you.'Then one of the strangers spoke.'Poor little boy, it's dreadful to think of him quite alone in the world. I see he limps.''Yes, he's got a club-foot. It was such a grief to his mother.'Then Emma came back. They called a hansom, and she told the driver where to go.IIIWHEN THEY reached the house Mrs. Carey had died in--it was in a dreary, respectable street between Notting Hill Gate and High Street, Kensington--Emma led Philip into the drawing-room. His uncle was writing letters of thanks for the wreaths which had been sent. One of them, which had arrived too late for the funeral, lay in its cardboard box on the hall-table.'Here's Master Philip,' said Emma.Mr. Carey stood up slowly and shook hands with the little boy. Then on second thoughts he bent down and kissed his forehead. He was a man of somewhat less than average height, inclined to corpulence, with his hair, worn long, arranged over the scalp so as to conceal his baldness. He was clean-shaven. His features were regular, and it was possible to imagine that in his youth he had been good-looking. On his watch-chain he wore a gold cross.'You're going to live with me now, Philip,' said Mr. Carey. 'Shall you like that?'Two years before Philip had been sent down to stay at the vicarage after an attack of chicken-pox; but there remained with him a recollection of an attic and a large garden rather than of his uncle and aunt.'Yes.''You must look upon me and your Aunt Louisa as your father and mother.'The child's mouth trembled a little, he reddened, but did not answer.'Your dear mother left you in my charge.'Mr. Carey had no great ease in expressing himself. When the news came that his sister-in-law was dying, he set off at once for London, but on the way thought of nothing but the disturbance in his life that would be caused if her death forced him to undertake the care of her son. He was well over fifty, and his wife, to whom he had been married for thirty years, was childless; he did not look forward with any pleasure to the presence of a small boy who might be noisy and rough. He had never much liked his sister-in-law.'I'm going to take you down to Blackstable tomorrow,' he said.'With Emma?'The child put his hand in hers, and she pressed it.'I'm afraid Emma must go away,' said Mr. Carey.'But I want Emma to come with me.'Philip began to cry, and the nurse could not help crying too. Mr. Carey looked at them helplessly.'I think you'd better leave me alone with Master Philip for a moment.''Very good, sir.'Though Philip clung to her, she released herself gently. Mr. Carey took the boy on his knee and put his arm round him.'You mustn't cry,' he said. 'You're too old to have a nurse now. We must see about sending you to school.''I want Emma to come with me,' the child repeated.'It costs too much money, Philip. Your father didn't leave very much, and I don't know what's become of it. You must look at every penny you spend.'Mr. Carey had called the day before on the family solicitor. Philip's father was a surgeon in good practice, and his hospital appointments suggested an established position; so that it was a surprise on his sudden death from blood-poisoning to find that he had left his widow little more than his life insurance and what could be got from the lease of their house in Bruton Street. This was six months ago; and Mrs. Carey, already in delicate health, finding herself with child, had lost her head and accepted for the lease the first offer that was made. She stored her furniture, and, at a rent which the parson thought outrageous, took a furnished house for a year, so that she might suffer from no inconvenience till her child was born. But she had never been used to the management of money, and was unable to adapt her expenditure to her altered circumstances. The little she had slipped through her fingers in one way and another, so that now, when all expenses were paid, not much more than two thousand pounds remained to support the boy till he was able to earn his own living. It was impossible to explain all this to Philip and he was sobbing still.'You'd better go to Emma,' Mr. Carey said, feeling that she could console the child better than anyone.Without a word Philip slipped off his uncle's knee, but Mr. Carey stopped him.'We must go tomorrow, because on Saturday I've got to prepare my sermon, and you must tell Emma to get your things ready today. You can bring all your toys. And if you want anything to remember your father and mother by you can take one thing for each of them. Everything else is going to be sold.'The boy slipped out of the room. Mr. Carey was unused to work, and he turned to his correspondence with resentment. On one side of the desk was a bundle of bills, and these filled him with irritation. One especially seemed preposterous. Immediately after Mrs. Carey's death Emma had ordered from the florist masses of white flowers for the room in which the dead woman lay. It was sheer waste of money. Emma took far too much upon herself. Even if there had been no financial necessity, he would have dismissed her.But Philip went to her, and hid his face in her bosom, and wept as though his heart would break. And she, feeling that he was almost her own son--she had taken him when he was a month old--consoled him with soft words. She promised that she would come and see him sometimes, and that she would never forget him; and she told him about the country he was going to and about her own home in Devonshire--her father kept a turnpike on the high-road that led to Exeter, and there were pigs in the sty, and there was a cow, and the cow had just had a calf--till Philip forgot his tears and grew excited at the thought of his approaching journey. Presently she put him down, for there was much to be done, and he helped her to lay out his clothes on the bed. She sent him into the nursery to gather up his toys, and in a little while he was playing happily. Read more

Features & Highlights

  • From a tormented orphan with a clubfoot, Philip Carey grows into an impressionable young man with a voracious appetite for adventure and knowledge. His cravings take him to Paris at age eighteen to try his hand at art, then back to London to study medicine. But even so, nothing can sate his nagging hunger for experience. Then he falls obsessively in love, embarking on a disastrous relationship that will change his life forever.…Marked by countless similarities to Maugham’s own life, his masterpiece is “not an autobiography,” as the author himself once contended, “but an autobiographical novel; fact and fiction are inexorably mingled; the emotions are my own.” And although he based
  • Of Human Bondage
  • on what he knew, his is an “excessively rare gift of storytelling...almost the equal of imagination itself.”*With an Introduction by Benjamin De Mott and an Afterword by Maeve Binchy*
  • The Sunday Times
  • (London)

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Most Helpful Reviews

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True, honest, heartfelt masterpiece

W. Somerset Maugham's Of Human Bondage is one of the best novels I have ever read. The language is simple. The narration is subtle. The characters are real and display emotions and feelings everyone can identify with. The power of novel becomes apparent when you are reading it. You choke up every once a while, you smile for hours after you have finished reading certain passages, and you comprehend your own self, your woes and possibilities, better through perspectives that novel provides.

Philip Carey is born with a clubfoot, and as he grows up, orphaned, he struggles with his own deformity. The initial quarter of the novel is about his growing up, and details incidents and relationships that shape our hero. He then develops a fancy of becoming a painter and travels to Paris, only to quit few years later to return to London, where he studies to become a doctor. The most engrossing part of novel starts here with the entry of Mildred, the waitress.

The rest of the novel thrives on the passion of Philip, his love that carries him to the edge of self-destruction, and his coming of age. Unrequited love has never been potrayed better. Philip allows himself to become an instrument in hands of cold-hearted Mildred, who repeatedly ruins herself through absurd choices, and ruins him for not withstanding his love and care, he finds himself snubbed, ridiculed, bereft. Eventhough his reason tells him otherwise, Philip is unable to release himself from his passion for a considerable time. As is said in the novel, "But when all was said the important thing was to love rather than to be loved; and he yearned for Mildred with his whole soul."

The novel is lot more than just story of Philip and Mildred, and there are other unforgettable characters. Each person Philip encounters and each friend he makes, leaves an indelible impression on him and the reader. Be it his idealist friend Hayward, who has too much promise too little product, the poet Cronshaw who dies in poverty, Fenny Price whose hard work cannot make her draw even reasonably well, his uncle and aunt whose love is both tacit and beautifully potrayed and the writer Norah who shows Philip of a caring and loving other.

The most charming people in the novel are Athlneys. Athlney brings life and humor into the novel, and I think saves Philip from a total destruction. The novel really highlights the virtue that lies in a simple, happy married life and Anthlneys win over both Philip and readers with their goodness and simplicity. Thorpe Anthlney with his nine children is a jolly character, and be it his conversations or actions, he wins over our hearts outright.

Philip finds love in most unexpected quarters and is surprised by how help crops up from strangers. His every experience makes him as richer as the reader becomes in reading about it. The thoughts about the meaning of life, or about love or religion or about virtue or vice, and about each aspect of life that Philip encounters are spelt out with a subtlety and mastery. These thoughts find easy resonance with the reader, and make Of Human Bondage an unforgettable affair. The honesty of this piece is stunning. This novel, written without any flourishes and intricate wordplay or mystery, is I think a celebration of the deep insight and understanding of the author.

I have read his other works. The Razor's Edge, The Moon and Six Pence as well as his short stories are a proof of Maugham's ability to tell simple tales with great mastery. These, on their own, make Maugham a great novelist. But it is after reading Of Human Bondage that I realized why most novelists and readers have considered this piece as one the greatest pieces in World Literature. Maugham's aim was perhaps of catharisis and he put his own emotions into the characters, and therefore, he's created a work that is timeless and unforgettable. A must read for everyone who can read.
262 people found this helpful
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Masterpiece of literature

I really enjoy Maugham's writing - it is a pleasure to read. Although written close to 90 years ago, the characters and settings are so alive and present that it comes across as a book that could have been released within the last decade. His characters grow and change during the novel, and in this one in particular Philip undergoes tremendous changes in philosphy and lifestyle.

There are times that the reader wants to shake Philip for not making the 'right' choices, but that is a testament to how thoroughly Maugham brings the reader into the story.

The title is perhaps best summed up when Philip realizes that he prefers to love someone who does not love him - someone who he knows he doesn't really like - than be loved by someone he does not share that feeling for.

A few of the events are a bit predictable (the stock market and even the final relationship, for example, not wanting to reveal the details to a new reader) and the endgame resolves itself rather rapidly after a 500 page buildup, but overall one of the best books I have read in quite some time.
29 people found this helpful
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An intense novel which I love and despise.

The novel 'Of Human Bondage was one of the few novels (along with Memoir of a Geisha) which ever drew me in so deeply to form a bond with the main character, but this one was even more intimate. I became increasingly frustrated with the main character Phillip and with his arrogance and self pity, cruelty and foolishness of his behavior. I will not give the book away, but it is one of the novels I can most readily recommend to anyone, and it is the only book I have ever read which I was still emotionally attached to the character months afterward, still frustrated with his behavior and still wanting to change him and make him do the right thing, only stopping after continually telling myself it was just a book. I recommend it highly.
14 people found this helpful
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Powerful Coming-of-Age story

It's difficult to approach this wonderful book afresh, as there have been several film versions -- none of them really satisfying -- and to tell the truth this wasn't the first time I've read it. This was my third read over a period of 50 years, and each time was like a new experience. This is a long novel -- no getting away from that -- and there are moments when the reader might wonder why Mr. Maugham didn't condense his story somewhat. But novels were long in those days (1916), and this is in the tradition of a lengthy Dickens novel like David Copperfield. There are similarities, too, with Dickens in theme and treatment: a boy orphaned at a young age, brought up by relatives inexperienced in the rearing of a shy, sensitive child, the constant struggle with poverty, the finding of one's place in the world.
So yes, this is a long book but it has a magical forward thrust -- Maugham was a master storyteller -- and except for a couple of doldrums it moves right along up to its somewhat unconvincing finish. What stood out for me this time around is how shockingly self-absorbed the hero, Philip Carey, really is! Painfully shy, he is flawed in many ways, but extremely bright. The reader often wants to just slap some sense into him, wishing he would learn from his mistakes and get over himself, as we say nowadays. This is maddening, but it makes Philip a fascinating character study. He doesn't learn from his mistakes, and like many young people is completely ruled by his emotions, complicated in this case by his pride and class snobbery. In other words, he is his own worst enemy. It's interesting, and crucial to the tension of the plot, that the reader is more aware than Philip is where his self-destructive behavior will lead him. We fear for him and mourn with him when misfortune comes.
Oddly, for such a long book, the character who becomes his nemesis has to wait until the volume is half over before she makes her appearance.

The central and most famous sections of the story deal with his disastrous involvement with Mildred Rogers, a selfish, ignorant virago of a woman who instinctively recognizes in Philip an unconscious masochism and uses it to manipulate him, like a puppet on a string. Her cruelty is almost beyond belief at times, and the reader learns to both dread and look forward to her appearances, like a terrible accident we're compelled to watch. And it should be said that these are the most exciting scenes in this powerful novel. The protagonist's attraction to her is a mystery even to himself, but it is undeniable. A kind of bondage.
But there are other women in Philip's life and invariably he treats them quite badly. His men friends don't fare much better. He doesn't seem to have a sense of what makes people tick. He is simply oblivious to the suffering of a fellow art student who is in love with him, although her tragic end does provoke some pricks of conscience.
On the other hand, despite many setbacks Philip eventually becomes an excellent doctor, sympathetic and liked by his patients. These contradictions in our hero's character are part of why he is such an enduring character in literature. For me, the most moving parts of his story are when he is forced by dire circumstance to accept help from the people who care for him. He seems surprised that they would want to, so precarious is his self-esteem.
This makes Philip Carey very modern in some ways. He has to touch bottom several times before the way forward becomes clear.
This is one of the great books of the twentieth century, and one of the most entertaining.
13 people found this helpful
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One of the 20th Century's Greatest Novels

Of Human Bondage is W. Somerset Maugham's most famous work and generally considered his masterpiece. It is also probably the greatest bildungsroman ever written and one of the twentieth century's chief novels for its manifold excellences: characterization, style, depth, range, and more. There is hardly a fine literary quality lacking, and they coalesce to form a powerful, moving, and unforgettable masterwork.

Essentially a fictional biography, the novel is the story of Philip Carey from shortly after birth until about middle age. Unlike many bildungsromans, it is told in third-person, but the focus rarely leaves Philip. Like most people, his life has many ups and downs, and they are portrayed so believably and sympathetically that we feel his alternating hope and despair along with him. He experiences nearly every human emotion throughout the book, and they are dramatized with such verisimilitude that we feel they are ours. And indeed they are; Maugham makes sure to include enough atypical events to make the book interesting, but the core of Philip's experience is central to the human condition. The novel is to a large degree based on Maugham's own life, which is important for those interested in his biography, but critics have unfortunately stressed this so much that it overshadows far more important universal elements. As growing up is much the same everywhere, nearly everyone can relate in some way and many quite closely. Maugham depicts emotional profundity and immediacy more strongly and viscerally than perhaps any writer, and we are able to relive much of our lives through Philip. We feel his childhood joys and pained confusion, his adolescent struggles and doubts, his young adult exuberance and uncertainty, and his older ambiguity. There is much pathos but also elation and triumph - indeed pretty much everything but comedy. Much of the power comes from the reality that, again like nearly everyone, Philip is far from perfect; intelligent, sensitive, and ambitious but sometimes vain and selfish, he has many conventionally good and admirable qualities but also clear faults. This makes him far easier to identify with than some lofty hero. Simply put, the novel truly gets to the heart of what it means to be human, portraying it more vividly and realistically than nearly any work, and it hardly seems possible to be human and not be moved by it.

The excellent characterization also goes beyond Philip. All the characters are realistically drawn, and many seem so alive that they practically jump off the page. It would be hard to forget Philip's tender mother, his stern and lifeless uncle, his aloof but well-meaning aunt, and many other characters. The main one after Philip is Mildred, his unwanted obsession. She is one of the least likable characters in all literature but nonetheless in many ways fascinating. It is a testament to Maugham's art that he draws characters so well and precisely that we react just as he wants. When we realize the novel was published in 1915, it is also easy to see that he was truly pushing the proverbial envelope content-wise in regard to sexual and other matters - an important fact for which he rarely gets credit.

The novel is also of great historical value for its detailed and ever-fascinating glimpse into late nineteenth-century European life. We learn much about rural England, childhood education, London, Paris and especially its art schools, the medical and ecclesiastical professions, Germany and language schools, and far more. Much of it is interesting to sociologists and others of their ilk as well as historians, particularly the bleak depictions of poverty and labor. The novel is a wake-up call of sorts to those who exalt one era over others, as it clearly shows that all have pros and cons. Some champion the late Victorian era as an artistic high point, and we indeed get a glimpse of a cultural height far exceeding ours. However, there was also a very substantial dark side, and it is impossible to read this without a sense of just how much the developed world has improved in some ways. Of Human Bondage can thus also be seen as a historical novel in the best sense.

However, the greatest asset for many will be the dramatization of various weighty themes and ideas. Simply showing a fairly representative human life believably and movingly is enough art for most, but some high examples - e.g., David Copperfield - leave a vocal minority cold by not tackling the philosophical, theological, and other heavy issues that have been literature's, and especially long novels', top concerns for over a century. Of Human Bondage does this as much as possible in a novel of its kind - and indeed more than many claiming to do little else. Recurring difficulties cause Philip to question many assumptions, namely religion, and struggle to find meaning. This eventually leads him to abandon religion, a gradual and often painful process that the novel details in a very lifelike, meaningfully moving, and thought-provoking way. Its consequences are similarly shown, and religion opponents will find much to like, as the book advances many of their ends without the heavy-handedness that turns off so many. Palatability comes mainly from being dramatized through a believable and sympathetic character who starts out religious. We see how and why he loses faith rather than just being told, and the descriptions, along with consequent arguments, are very convincing. Much the same can be said of Philip's love and desire struggles; the Mildred case may be somewhat extreme, but almost anyone can identify - and sympathize - with love's ups and downs as he feels them.

The novel also examines fate's existence or non-existence in various ways. Philip seems to vacillate slightly but clearly ends up believing in free will. However, the book itself arguably gives the overall impression of predestination as illustrated in its enduring chessboard metaphor. Less universally, but importantly for a work of art, the book also examines art and artists' social role. This is notable and interesting because the book is set in the late 1800s, the Aesthetic movement's height and the era when the question was most debated in modern times. A lover of reading and would-be painter, Philip begins adulthood with a very aesthetic view, but failures lead him to change. He ends up adopting a very traditional stance while keeping his love for art, and the narrative voice makes a strong case for such practicality as the only way to true happiness. This might seem surprising from an artist like Maugham, and elements such as the ambiguous depiction of the poet Cronshaw suggest that Maugham and the novel, if not Philip, think there is much to be said for the other side. Other Maugham books indeed come to near-opposite conclusions, but this is his most full-fledged and arguably most convincing presentation.

Most fundamental are Philip's varying encounters with humanity's best and worst sides. The novel unflinchingly depicts many things that add grist to misanthropy's mill: seemingly preternaturally cruel children, hypocritical preachers, unrewarded genius, classism, apathy toward supposed loved ones as well as poverty and other sufferings, the lower classes' wretched lives, prostitution's horrors, and more. Maugham is certainly unafraid to show society's dark underbelly, and though depression is not his goal, he portrays this dark side more precisely - and thus appallingly - than many writers who make exposing it their only goal. However, he also shows the opposite side, and Philip's pained search for meaning - with all its doubts, failures, second guesses, sudden shattered hopes, and all the rest of it - ends in what Maugham calls a "surrender to happiness." Philip knows there is no god or traditional meaning and can torture himself forever with philosophical hair-splitting, but hard experience has taught him that happiness is extremely rare and that one must seize it for proverbial dear life if a chance is ever mercifully given. This may be caving to convention in many ways but is the only way to even temporarily secure happiness in an existential world; as the novel memorably concludes, it is "a defeat better than many victories" if indeed a defeat. Like many secular people, he finds solace finally in love's redemptive power, and it is very hard for even the most cynical to begrudge his happiness. Philip is in a large sense a mirror for our lives, and most can only hope that they will some day see such a contented reflection, however hard won.

Finally, it is worth noting that much of the book's power comes from precisely sculpted prose. Maugham is well-known as one of the twentieth century's best and most influential stylists, and this is the apex of his economical prose. Those who want flashy, trope-laden writing may think him plain, and he is certainly unornamented, but he is one of the few writers who truly understands and adheres to Jonathan Swift's famous definition of good style: "proper words in proper places." It sounds absurdly simple, but anyone who has read widely knows how very rarely it is followed. Maugham knows exactly what words are needed to convey what he wants and does not need to use more. This novel is a testament to how much depth and emotion one can get across in a properly done simple style.

All told, the novel is essential for anyone who likes nineteenth- or twentieth-century fiction, bildungsromans, or historical novels as well as those interested in the era and those who are simply receptive to great art. Of Human Bondage reaches the sublime heights of the nineteenth century's best novels, and very few later books can even rival it; we may never see another novel like it - much less as good as it -, making it all the more essential.
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A timeless classic

Of Human Bondage is quintessential Somerset Maugham and is, or should be, one of the classics of English literature. Don't be put off by its length; you will only wish it were longer by the time you finish it!

The book is set in the last decades of the nineteenth century and, apparently partly autobiographical, it tells of the growing up of a young orphan, his apprenticeship of art and then medicine and of course his painful tuition in love. Philip, the hero, is initially raised in an English country vicarage, the life of which is described with fetching authenticity. In fact, its realistic evocation of exotic settings, a typical feature of Maugham's writing, is one of the novel's undoubted attractions. Philip moves on to Heidelberg, then Paris among a community of artistic hopefuls and painting schools, and back to turn-of-the-century London, with its contrast of glitter and squalor, its top hats and workers' dorms, music halls and stockbrokers' clubs. There he becomes trapped in a tragic and sordid love affair that becomes so compulsive it threatens to enslave him.

If the hero's unrequited obsession is alluded to in the title, however, Of Human Bondage has a broader scope. Indeed it is - well - about life; but if that sounds pretentious, this is probably one of few works that can genuinely make that claim. The cast of characters is impressive in being both broad and convincing, and sufficient plot is granted each so that they can come alive. True, Maugham's sometimes acid, always witty and insightful style is at its best when portraying human faults. Purely positive archetypes are given briefer and just a little less compelling descriptions; but perhaps that is just reality. Few novels are able to bring forth such a variety of places, people and situations so convincingly and with such depth. Ultimately the test for this sweeping portrait is that one feels one has stood in it many more times than once, so strong is the association with its protagonists. And if you have occasionally fallen for an idiot who wasn't interested in you, then reading this may provide a cure.
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Infinitely tedious

I've been hearing raves for this book all of my life. Lately I have taken up audio books and this seemed a good one for my frequent long bouts of insomnia. Turns out, I'd rather stare at the ceiling. Counting sheep is more interesting.

I made it about a third of the way through before I bailed out. I am not someone who demands a lot action or plot. I can enjoy long discursive essays. I am a bit like Amélie who sought out the small pleasures in life like cracking the top of her crème brûlée, skipping stones, and enjoying the feel of plunging her hand into a bin of dry beans. I can be endless entertained by quiet writing that is sprinkled with small, interesting comments and observations, a bit of wit here and there, etc.

Maugham just drones on and on about this whiny, unsympathetic Phillip. It was sooo repetitious. All the characters whom I encountered up through the hanging death in Paris seemed to lack any of life's vital force. Maybe Phillip was depressed so -- through his eyes -- everybody else looked depressed. Only the grim portrait of the church people who raised him was of any interest. I thought, at least, that the uncle and aunt were convincing -- and devastating -- portraits of a certain sort of person in a particular one of life's niches. Not that all the other characters didn't represent certain types of people but they covered the range of human characters all the way from A to C...they were all depressed, humorless, ungenerous.

I was anticipating the Mildred affair although it is famously depressing. I thought I had the strength for something like that as I started the book. But after investing the time that I had, I just was not up for any more of Phillip mopping through his pathetic life.
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Yes, and ...

I finished Of Human Bondage within the past hour, and though I came here looking for information on various editions, I read a few of the reviews as well, prompting me to put down a few comments.

Maugham and his contemporaries were writing in a world altogether different from their recent predecessors: though set in the later-19th century, waning years of the Victorian era, the book was published in 1915. It's part of 20th-century literature, and though pre-dating the horrors of the first World War, it's got a 20th century outlook. When it's grim, it is a kind of darkness that feels quite in the middle of Dickens and the "lost generation". When it's attractive, and it is often enough, it seems to be a little more old-fashioned, but not romantic or picturesque.

Philosophically it's existentialist - that is to say, the protagonist, Phillip, evolves through the story of his first 30 years from a young man convinced of the "rightness" of the Church of England, to an atheist, and on until he embraces a philosophic outlook that he's come to pretty much on his own.

There is wonderful writing here, plenty worth re-reading immediately before moving on, beautiful things and artfully hideous things. The length of the story, the "one man's life in 122 chapters" completeness of it, can remind a reader of a Tom Jones or even a Dickensian "boy-to-man" tale. The incidents and settings can prompt similar comparisons. At various points I found myself thinking of Orson Welles' observation, "Happy endings depend on stopping the story before it's over." Sad endings, too. Change and alteration by surroundings, events and self are part of the existentialist notion, and the ending is actually always a kind of receding destination.

By the way, though psychology was in the writer's vernacular in 1915, Maugham steers clear, it seems, in favor of philosophy and religion.

The settings here grow in interest, I think - the boyhood years, especially in school, are by now such well-trod territory that they hold less attraction. The German and Paris years are entertaining, the Hospital years pretty fascinating. The secondary characters all bring something to the color and the development of the story - the development of the man, too.

" ... he seemed to see that the inward life might be as manifold, as varied, as rich with experience, as the life of one who conquered reals and explored unknown lands."
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A Glorious Culmination To Pity And Tragedy

Somerset Maugham's early 1900's novel of birth, life, death, tragedy and discovery is considered a masterpiece and rightly so. The very roughly autobiographical book is a descriptive and evocative collection through the adolescence of the central character, Philip Carey. He is afflicted with club-foot, but the physical condition is only the beginning for him. Suffering the death of his father and mother at a young age, the loss of his familiar governess and seeping beliefs and hopes he is undeniably a tragic figure.

The book's title is hardly a mistake. It is apt. As if riding an endless wave without destination or direction Philip flows through life for most of the book until its triumphant end - until his `eureka' moment - which comes swiftly and surprisingly and only when he is free of his bondage. The slavery that most humans are afflicted with and dare not get away from is his too and only the nihilistic realization of the futility and the mediocrity of it all sets him free from love, sorrow, betrayal, religion, dreams, societal rank, family and friends. "I do not confer praise or blame. I take my cues from the persons themselves."

Of Human Bondage is the story of the young Carey, but indeed could be several novels pieced together. Characters drift in and out and not usually sympathetically. The book meanders through different parts of England, mirroring the swift departure of his Philip's parents and others, via Paris and Heidelberg with dreams of Asia, America, Spain and Italy interwoven into the narrative. Mirroring this, Philip is young yet tries painting (which he abandons after Monsieur Foinet advises him of his mediocrity while denigrating art as subsistence), theology, accountancy, shop floor work, fashion design and finally medicine. It is full circle given how his father was a doctor. At times Maugham rejects the notion of morality in tandem with his dismissal of a divine purpose to humanity. Indeed his belittling love for Mildred is subjugation so utterly embarrassing that the mind aches of repulsiveness. "I have never committed a sin," insists Philip's friend Cronshaw who at the end is instrumental in his younger friend's evolution. "How can I regret when what I did was inevitable?" This is fatalism and in Of Human Bondage, it surges increasingly towards a disdain for reprehension. The meaning of life is to be found in a Persian carpet. A riddle that helps Philip rescue himself once the cryptic answer unfolds to him.

Of Human Bondage figures in [[ASIN:0316769177 The Catcher in the Rye]] and the thoughts of its hero, Holden Caulfield. It is very much a classic in itself, but Holden's reference is not an insignificant one given the more contemporary book's disposition. Maugham casts aside religion, morality or any self-defined systems that would replace them. He finds himself. "There is no such thing as abstract morality." The patterns are all there is.
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A masterpiece

One of the great books of the 20th century. There is so much more to it than what you've probably heard or assumed. I highly recommend it.
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