Artists -- Fiction; English fiction -- 20th century; Jews -- England -- London -- Fiction; Man-woman relationships -- Fiction
Mendel was profoundly depressed by this disturbance and plunge
downwards, for he still half expected his family to rise with him. He
was to make all their fortunes, but, with the rest of the family, he
detested the unhappy Rosa and regarded her as little short of a
criminal. He was depressed, too, because the summer holidays were
approaching and he would be bereft of his beloved Mitchell, who was
going away for three months to the country. He would be left with his
family, in whom there was no peace. Why could they not be like the
Mitchells and the Weldons, who could live together without quarrels,
and could take a happy, humorous interest in each other's doings
without these devastating passions and cursings and denunciations? And
yet when he thought of the Mitchells and the Weldons and the
Froitzheims, in their charming, comfortable houses, there was
something soft and foolish about them all--something savouring of
idolatry, for instance, in the homage Mitchell paid his father, in the
assumption that Mrs. Mitchell was a very remarkable woman, whose
children could not be expected to be ordinary. More and more did
Mendel value his mother, who was content to be just a woman and to
live without flattery of any kind, and to accept everyone whom she met
and to value them as human beings, without regard to their rank,
station, possessions, or achievements. Himself she esteemed no more
because he was an artist, though he had tried hard to make her give
her tribute to that side of his nature. She loved him simply, neither
more for his attainments nor less for his doings, that pained her
deeply. And that direct human contact he obtained nowhere else, and in
no one else could he find it existing so openly and frankly. Yet he
loved the follies and pretences of the outside world. He adored
theatricality, and among his polite friends there was always some
drama towards. It was never drowned in incoherent passions, and he
himself, among the nice cultured folk, was always a startling dramatic
figure. Sometimes they seemed to him all slyness and insincerity, and
then he loathed them; but that was generally when he had aimed at and
failed in some dramatic coup, or when they had encouraged him to talk
about himself until he bored them. On the whole, he was successful
with them, as he wished to be, easily and without calculation. It was
when they made calculation necessary, by feigning an interest that
they did not feel, that he was shocked and angry. If anywhere the
atmosphere was such that he could not be frank, then he avoided that
place and those people.
Public-domain text, read in full here on John Shaqi.
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