Of Human Bondage · Chapter
XLVI explained
Philip struggles financially in Paris, selling trinkets to survive until his inheritance.
What happens
Philip struggles financially in Paris, selling trinkets to survive until his inheritance. He and Lawson rent a cheap studio, and Philip feels a new sense of freedom, less self-conscious about his clubfoot. Fanny Price, jealous of Philip's friendship with Lawson, confronts him bitterly and later shows him her paintings, which Philip finds hopelessly amateurish but lies to praise.
Themes in this chapter
Art and Authenticity
Philip confronts the gap between artistic ambition and genuine talent when viewing Fanny Price's derivative, poorly executed paintings.
Isolation and Belonging
Fanny Price's isolation is highlighted by her jealousy and her desperate attempt to connect with Philip through their shared sense of deformity.
Characters to notice
- Philip Carey
Philip manages his finances, moves into a studio with Lawson, and navigates a tense friendship with Fanny Price.
- Miss Price
Fanny Price, jealous and bitter, accuses Philip of using her and later shows him her poor-quality paintings.
- Frederick Lawson
Lawson suggests sharing a studio and teaches Philip, provoking Fanny Price's jealousy.
Key passages
“Philip did not find living in Paris as cheap as he had been led to believe and by February had spent most of the money with which he started.”
By February, Philip had nearly exhausted his initial funds, finding Paris more expensive than expected.
Philip's financial strain sets the context for his decision to sell trinkets and share a studio.
“He was too proud to appeal to his guardian, nor did he wish Aunt Louisa to know that his circumstances were straitened, since he was certain she would make an effort to send him something from her own pocket, and he knew how little she could afford to.”
Philip's pride prevented him from asking his guardian or Aunt Louisa for money, knowing she would sacrifice her own limited funds.
Philip's independence and consideration for Aunt Louisa's poverty are evident.
“They moved in, bought a couple of beds, a washing-stand, a few chairs, and felt for the first time the thrill of possession.”
After moving into the studio, they purchased basic furniture and experienced the excitement of owning their own space.
The shared studio symbolizes Philip's growing independence and contentment in Paris.
“I don't want to quarrel with you. You're the only friend I had in Paris. I thought you rather liked me. I felt there was something between us. I was drawn towards you—you know what I mean, your clubfoot.”
Fanny Price appeals to Philip by referencing his clubfoot, suggesting a bond between them as outsiders.
Fanny's mention of Philip's deformity reveals her own insecurity and her attempt to forge a connection.
“It looked like the work of a child of five, but a child would have had some naivete and might at least have made an attempt to put down what he saw; but here was the work of a vulgar mind chock full of recollections of vulgar pictures.”
Philip internally judges Fanny's paintings as childish and derivative, lacking any original vision.
Philip's harsh assessment underscores the theme of artistic authenticity.