Notes
I am using mainly Selina Hastings's The Secret Lives of Somerset Maugham for incidents related to Maugham's life, as it is the most recent biography.
Part I
1 The sale of Maugham's pictures drew 2,500 people and made $1,466,000.
2 Lady Anglesey is most likely Mary "Minna" Livingston King, an American heiress married to Henry Paget, 4th Marquess of Anglesey as his third wife. Not much seems to be said about him, since his son's extravagance must have attracted much more attention from posterity–"Toppy," the 5th Marquess of Anglesey.
3 This is James Newton (Hastings 32), on whom the character Weeks in Of Human Bondage is based.
4 Hastings writes that Maugham confided in a friend that he lost his virginity to Brooks, but doesn't specify which friend or where that information came from (33). The character Hayward in Of Human Bondage is based on Brooks. Though harsh on him, Maugham provided a poignant portrait of a wasted life in the novel. He also recorded his impressions of Brooks in A Writer's Notebook in 1892:
Brooks. He is a man under the middle size, broad and sturdy and well-shaped; with a beautiful head, a good nose, and a broad, high forehead; but his face, clean-shaven, narrows down to a pointed chin; his eyes are pale blue, slightly expressionless; his mouth is large and his lips are thick and sensual; his hair is curly but getting thin; and he wears it long. He has a look of refinement and a romantic air.
When he went up to Cambridge he got into a set of men with money and of sporting tastes, among whom his intelligence was deemed exceptional; an opinion which was shared by his tutor and the master of his college. He ate his dinners and read for the Bar. He took a second class. When he went to London, he dressed at an expensive tailor's, kept a mistress, was elected to the Reform, which his friends made him join under the impression that he had in him the makings of a politician. His friends were reading men, and he went through a course of English classics in a light amateurish manner. He admired George Meredith and was scornful of the three-volume novel. He became a diligent reader of the weekly sixpennies, of the literary monthlies and the quarterlies. He went a good deal to the theatre and to the opera. Other evenings he spent either in a friend's room or at some old-fashioned inn, drinking whisky and smoking, discussing far into the night life and death, fate, Christianity, books and politics. He read Newman, and was impressed by him, and the Roman Catholicism which he found at Brompton intensely attracted him. Then he fell ill and, on recovering, went to Germany. Here he met people whose pursuits and predilections were different from those of his former companions. He began to learn German, and with this object, read the German classics. He added an admiration of Goethe to his old admiration of Meredith and Newman. On going to Italy for a short holiday, he fell in love with the country and, after a few more months in Germany, returned to it.
He read Dante and Boccaccio; but he came in contact with men, scholars, who had a passion for the classic writers of Greece and Rome, and found that they did not think very highly of the dilettante spirit in which he worked. Always very easily influenced, every new impression producing its effect on him, he quickly adopted the outlook of his new friends; he began to read Greek and Latin.
He professes a great admiration for the beautiful; he will rave over a Botticelli, snow-covered Alps, the sun setting over the sea, all the things which are regularly and commonly admired; but will not see the simple beauties that are all around him. He is not a humbug; he admires what he admires sincerely and with real enthusiasm; but he can see beauty only if it is pointed out to him. He can discover nothing for himself. He intends to write, but for that he has neither energy, imagination, nor will. He is mechanically industrious, but intellectually lazy. For the last two years he has been studying Leopardi with the purpose of translating some of his works, but as yet has not set pen to paper. Because he has lived so much alone, he has acquired a great conceit of himself. He is scornful of the philistine. He is supercilious. Whenever anyone starts a conversation he will utter a few platitudes with an air of profound wisdom as if he had settled the question and there was nothing more to be said. He is extremely sensitive and is hurt if you do not accept his own opinion of himself. He has a craving for admiration. He is weak, vain and profoundly selfish; but amiable when it costs him nothing to be so and, if you take care to butter him up, sympathetic. He has good taste and a genuine feeling for literature. He has never had an original idea in his life, but he is a sensitive and keen-sighted observer of the obvious. (3–5)
5 Francis Herbert Bradley (1846 – 1924), British philosopher, as Maugham writes, is the author of Appearance and Reality, which interestingly, Maugham names a story with the same title as a humorous and flippant tribute to it. He has talked about Bradley in The Summing Up (1938).
6 Walter Payne (? – 1949) had been Maugham's friend since they met in Heidelberg. They lived together on and off in different places, and Hastings conjectures that his relation with Maugham was like that of Gerald Haxton and later Alan Searle, lover and secretary (49). Maugham's first novel Liza of Lambeth was dedicated to Payne, who eventually got married. After Payne's death, Maugham requested his letters be returned, and these were destroyed (Rogal 211).
7 As Maugham points out, Mrs. Wilberforce was the wife of the Archdeacon of Westminster, Basil Wilberforce (1841 – 1916).
8 Rosie was Ethelwyn Sylvia Jones (1883 – 1948), known as Sue, first discovered by Robert Calder in W. Somerset Maugham and the Quest for Freedom. She remained a happy memory for Maugham till the end of his life. It would have changed the whole course of Maugham's life if she were to accept his proposal. Maugham made an immemorial portrait of her as Rosie Driffield in Cakes and Ale (1930). Perhaps he understood then she would have been the perfect wife for a writer, despite all her faults.
9 Maugham is referring to Henry Eden Allhusen (1867 - 1925), whose wife was a cousin of Churchill's wife. Follow the link of Allhusen to a wonderful website about landed gentry and to see some pictures of Stoke Poges.
10 Sue Jones did play in one of Maugham's plays, as Peyton the butler-like maid in Penelope in 1909.
11 Sue Jones married the Honorable Angus McDonnell (1881 – 1966), a Conservative Party politician. His father was William Randal McDonnell, 6th Earl of Antrim.
12 Sue Jones and McDonnell didn't have any children, but then perhaps she had a miscarriage.
Part II
1 The opening night of The Land of Promise was on 26 February 1914.
2 That was in April 1914.
3 R. is John Wallinger (1869–1931).
4 The petition was filed by Henry Wellcome on 1 September 1915. Looking at the divorce papers, Maugham had reason to be aghast. It was ugly, to be pointed out the exact date and place (even down to the number of the hotel room) of their sexual congresses. Maugham's solicitors, Messrs. Lewis & Lewis pleaded not guilty in November, which eventually had to be cancelled, when Wellcome was able to produce witnesses in Rome of the birth of Liza. At the end Maugham, as co-respondent, had to pay up £366, the cost of Wellcome's solicitors.
5 I wonder if Maugham remembered all the events in the right sequence. According to the divorce papers of the Wellcomes, the child was cited at the very beginning in September, and Henry Wellcome was challenged; it was only in December that he was able to provide the names of the witnesses in Rome.
6 Curiously, a record shows that Haxton, who was supposed to have left England at the end of the year 1915, after being found not guilty from the charge of gross indecency (Hastings 194, Calder 138), was still in England until July 1916. Supposedly it was then he left for Chicago and in November sailed to Tahiti with Maugham.
7 Rufus Daniel Isaacs (1860 – 1935), 1st Marquess of Reading; he was the Lord Chief Justice then.
8 This draft was in the Rothschild collection, photos of which can be seen in William Somerset Maugham. A Catalogue of The Loren and Frances Rothschild Collection of Manuscripts, Letters, Printed Books, Pamphlets, Periodicals, Art and Ephermera.
Having read Maugham's account of his relation to Syrie, I can hardly agree with the contemporary contempt that was shown to Maugham. His portrait of her was quite nice, in fact. He was complimentary to her person, and from the picture he painted, the unfortunate event was that she was in love with him and he was not with her. I feel pity for Syrie that there was no way to make the man she loved to love her back in the same way. They were too different and none of them would have changed for the other. Maugham because he didn't love her in the first place, at least not enough; Syrie because that was how she was, at least from Maugham's narrative, and since he didn't love her enough, why bother to change her? Or it wasn't his idea of love at all. Furthermore, it would be out of his character to attempt such a despotic task. It looks more like one of those tragedies which no one could salvage. At the end, this is the business of the couple, the indignation or whatever other people feel, it's just downright self-righteousness.
9 Else de Wolf, Lady Mendl (1859? – 1950), was an American actress and interior decorator.
Part III
1 Maugham has been using real names in "Looking Back" except in the case of Rosie, and thus I would surmise that Edward Caroway is a real name, yet I don't seem to be able to find any information about him, at least not on the Internet or books about Maugham.
2 Very interestingly, Maugham wrote about the same experience that Paul Léautaud had: "Some months before this Léautaud had an experience that few of us authors have the luck to enjoy. The Vichy radio announced that he was dead. The news occasioned a great number of articles, and Léautaud was astounded to find that they were laudatory. That was the last thing he expected" (Points of View 251).
Somehow I have the sensation that Maugham wasn't too pleased about his obituary.
3 "The Saint" in Points of View (1958). Maugham also used some of the materials to write The Razor's Edge (1944).
4 Robin Maugham is Maugham's nephew, himself a writer, author of Somerset and All the Maughams, which is a sort of a biography of Maugham; I think it is quite well done. After that, he published another book, Conversations with Willie (1978), which I haven't read, so I can't say too much about it. Nevertheless, it has been pointed out that the conversations, or at least some of them, were fabricated.
5 It had been believed that this painting was destroyed by Churchill's wife until recently; a tape was discovered, revealing that it was burnt by Churchill's wife's secretary. Some of Sutherland's sketches of Churchill are in Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada.
6 It was France at War (1940).
7 This was fictionalized into the short story "The Yellow Streak."
8 Maugham is referring to Alan Searle, whom he met in 1928 (Hastings 344), and an intimate relationship developed between the two. When Haxton was alive Searle began to look after Maugham's British affairs; later, after the former's death, Searle took his place till the end. Maugham in old age was to disinherit his daughter Liza and adopt Searle, a plan that was annulled by the French court. Searle certainly came down terribly in history. In fact, he was intricately connected with the scandalous publication of "Looking Back."
9 Maugham went to Venice again the following spring in 1963 to his favourite Gritti Palace and was caught by Time & Tide's correspondent:
Every spring he comes to the Gritti Palace, staying about three weeks, and on leaving says, "I shall be back next year on 9 May"—or whatever the date; and he is.
He knows the maître d'hotel, the wine butler, Fontana, the barman. His memory is perfect, going over the years. And his eye is as keen as ever, a reporter's eye, keen and quick, ready to recognise a face, or penetrate a heart for a story which he no longer writes; but the habit of observing men and women is there for ever.
Somerset Maugham is 89, and in a restaurant which, like all restaurants, can be draughty he wears a shawl (which Alan Searle deftly whips off as he stands to have someone introduced to him). The writer whose stories of the 'twenties mention the cocktails so faithfully has his whisky or dry martini or another drink before his meals, sometimes going to the bar overlooking the canal, occasionally by chance using the seat which was the favourite of Ernest Hemingway.
He goes for a walk, going up and down the steps of the bridges, Alan Searle holding his arm, his step as sure as that of a man half his age. He walks along the roads or lanes he knows so well, stopping to look at a piece of carving on a church, his sharp eye seeing something to interest him in a shop window.
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