The Favorite Short Stories of W. Somerset Maugham Read Free

victims play.” He is moved by their charm, the gaiety of their laughter, their ingenuousness and their vitality; but it all leads to nothing. They make no effort to conquer their happiness, but yield passively to the first obstacle in the way.
    But if I have ventured to make these observations I beg the reader not to think that I have anything but a very great admiration for Chekov. No writer, I repeat, is faultless. It is well to admire him for his merits. Not to recognize his imperfections, but rather to insist that they are excellencies, can in the long run only hurt his reputation. Chekov is extremely readable. That is a writer’s supreme virtue and one upon which sufficient stress is often not laid. He shared it with Maupassant. Both of them were professional writers who turned out stories at more or less regular intervals to earn their living. They wrote as a doctor visits his patients or a solicitor sees his clients. It was part of the day’s work. They had to please their readers. They were not always inspired, it was only now and then that they produced a masterpiece, but it is very seldom that they wrote anything that did not hold the reader’s attention to the last line. They both wrote for papers and magazines. Sometimes a critic will describe a book of short stories as magazine stories and thus in his own mind damn them. That is foolish. No form of art is produced unless there is a demand for it and if newspapers and magazines did not publish short stories they would not be written. All stories are magazine stories or newspaper stories. The writers must accept certain (but constantly changing) conditions; it has never been known yet that a good writer was unable to write his best owing to the conditions under which alone he could gain a public for his work. That has never been anything but an excuse of the second-rate. I suspect that Chekov’s great merit of concision is due to the fact that the newspapers for which he habitually wrote could only give him a certain amount of space. He said that stories should have neither a beginning nor an end. He could not have meant that literally. You might as well ask of a fish that it should have neither head nor tail. It would not be a fish if it hadn’t. The way Chekov in reality begins a story is wonderfully good. He gives the facts at once, in a few lines; he has an unerring feeling for the essential statements, and he sets them down baldly, but with great precision, so that you know at once whom you have to deal with and what the circumstances are. Maupassant often started his stories with an introduction designed to put the reader in a certain frame of mind. It is a dangerous method only justified by success. It may be dull. It may throw the reader off the scent; you have won his interest in certain characters and then instead of being told what you would like to know about them, your interest is claimed for other people in other circumstances. Chekov preached compactness. In his longer stories he did not always achieve it. He was distressed by the charge brought against him that he was indifferent to moral and sociological questions and when he had ample space at his command he seized the opportunity to show that they meant as much to him as to any other right-thinking person. Then in long and somewhat tedious conversations he would make his characters express his own conviction that, whatever the conditions of things might be then, at some not far distant date (say 1984) the Russians would be free, tyranny would exist no longer, the poor would hunger no more and happiness, peace and brotherly love rule in the vast empire. But these were aberrations forced upon him by the pressure of opinion (common in all countries) that the writer of fiction should be a prophet, a social reformer and a philosopher. In his shorter stories Chekov attained the concision he aimed at in a manner that is almost miraculous.
    And no one had a greater gift than he for giving you the