The Painted Veil

The Painted Veil By W. Somerset Maugham "... the painted veil which those who live call Life." PREFACE This story was suggested by the lines of Dante that run as follows: Deh, quando tu sarai tornato al mondo, E riposato della lunga via, Seguitò 'l terzo spirito al secondo, Ricorditi di me, che son la Pia: Siena mi fé; disfecemi Maremma: Salsi colui, che, 'nnanellata pria Disposando m'avea con la sua gemma. "Pray, when you are returned to the world, and rested from the long journey," followed the third spirit on the second, "remember me, who am Pia. Siena made me, Maremma unmade me: this he knows who after betrothal espoused me with his ring." I was a student at St. Thomas's Hospital and the Easter vacation gave me six weeks to myself. With my clothes in a gladstone bag and twenty pounds in my pocket I set out. I was twenty. I went to Genoa and Pisa and then to Florence. Here I took a room in the via Laura, from the window of which I could see the lovely dome of the Cathedral, in the apartment of a widow lady, with a daughter, who offered me board and lodging (after a good deal of haggling) for four lire a day. I am afraid that she did not make a very good thing out of it, since my appetite was enormous, and I could devour a mountain of macaroni without inconvenience. She had a vineyard on the Tuscan hills, and my recollection is that the Chianti she got from it was the best I have ever drunk in Italy. Her daughter gave me an Italian lesson every day. She seemed to me then of mature age, but I do not suppose that she was more than twenty-six. She had had trouble. Her betrothed, an officer, had been killed in Abyssinia and she was consecrated to virginity. It was an understood thing that on her mother's death (a buxom, grey-haired, jovial lady who did not mean to die a day before the dear Lord saw fit) Ersilia would enter religion. But she looked forward to this with cheerfulness. She loved a good laugh. We were very gay at luncheon and dinner, but she took her lessons seriously, and when I was stupid or inattentive rapped me over the knuckles with a black ruler. I should have been indignant at being treated like a child if it had not reminded me of the old-fashioned pedagogues I had read of in books and so made me laugh. I lived laborious days. I started each one by translating a few pages of one of Ibsen's plays so that I might acquire mastery of technique and ease in writing dialogue; then, with Ruskin in my hand, I examined the sights of Florence. I admired according to instructions the tower of Giotto and the bronze doors of Ghiberti. I was properly enthusiastic over the Botticellis in the Uffizi and I turned the scornful shoulder of extreme youth on what the master disapproved of. After luncheon I had my Italian lesson and then going out once more I visited the churches and wandered day-dreaming along the Arno. When dinner was done I went out to look for adventure, but such was my innocence, or at least my shyness, I always came home as virtuous as I had gone out. The Signora, though she had given me a key, sighed with relief when she heard me come in and bolt the door, for she was always afraid I should forget to do this, and I returned to my perusal of the history of the Guelphs and Ghibellines. I was bitterly conscious that not thus behaved the writers of the romantic era, though I doubt whether any of them managed to spend six weeks in Italy on twenty pounds, and I much enjoyed my sober and industrious life. I had already read the Inferno (with the help of a translation, but conscientiously looking out in a dictionary the words I did not know), so with Ersilia started on the Purgatorio. When we came to the passage I have quoted above she told me that Pia was a gentlewoman of Siena whose husband, suspecting her of adultery and afraid on account of her family to put her to death, took her down to his castle in the Maremma the noxious vapours of which he was confident would do the trick; but she took so long to die that he grew impatient and had her thrown out of the window. I do not know where Ersilia learnt all this, the note in my own Dante was less circumstantial, but the story for some reason caught my imagination. I turned it over in my mind and for many years from time to time would brood over it for two or three days. I used to repeat to myself the line: Siena mi fé; disfecemi Maremma. But it was one among many subjects that occupied my fancy and for long periods I forgot it. Of course I saw it as a modern story, and I could not think of a setting in the world of to-day in which such events might plausibly happen. It was not till I made a long journey in China that I found this. I think this is the only novel I have written in which I started from a story rather than from a character. It is difficult to explain the relation between character and plot. You cannot very well think of a character in the void; the moment you think of him, you think of him in some situation, doing something; so that the character and at least his principle action seem to be the result of a simultaneous act of the imagination. But in this case the characters were chosen to fit the story I gradually evolved; they were constructed from persons I had long known in different circumstances. I had with this book some of the difficulties that are apt to befall an author. I had originally called my hero and heroine Lane, a common enough name, but it appeared that there were people of that name in Hong-Kong. They brought an action, which the proprietors of the magazine in which my novel was serialised, settled for two hundred and fifty pounds, and I changed the name to Fane. Then the Assistant Colonial Secretary, thinking himself libelled, threatened to institute proceedings. I was surprised, since in England we can put a Prime Minister on the stage or use him as the character of a novel, an Archbishop of Canterbury or a Lord Chancellor, and the tenants of these exalted offices do not turn a hair. It seemed to me strange that the temporary occupant of so insignificant a post should think himself aimed at, but in order to save trouble I changed Hong-Kong to an imaginary colony of Tching-Yen. The book had already been published when the incident arose and was recalled. A certain number of astute reviewers who had received it did not on one pretext and another return their copies. These have now acquired a bibliographical value, I think there are about sixty of them in existence, and are bought by collectors at a high price. THE PAINTED VEIL