In all these respects Mynheer Bendien was indubitably Dutch. But he was also something else as well, and this was what made George observe him with fascinated interest. For, alongside his Dutchness, he also wore that type look which George had come to recognise as belonging to the race of small business men. It was a look which he had discovered to be common to all members of this race whether they lived in Holland, England, Germany, France, the United States, Sweden, or Japan. There was a hardness and grasping quality in it that showed in the prognathous jaw. There was something a little sly and tricky about the eyes, something a little amoral in the sleekness of the flesh, something about the slightly dry concavity of the face and its vacuous expression in repose which indicated a grasping self-interest and a limited intellectual life. It was the kind of face that is often thought of as American. But it was not American. It belonged to no nationality. It belonged simply and solely to the race of small business men everywhere.
He was obviously the kind of man who would have found an instant and congenial place for himself among his fellow business men in Chicago, Detroit, Cleveland, St. Louis, or Kalamazoo. He would have felt completely at home at one of the weekly luncheons of the Rotary Club. He would have chewed his cigar with the best of them, wagged his head approvingly as the president spoke of some member as having “both feet on the ground”, entered gleefully into all the horseplay, the heavy-handed kind of humour known as “kidding”, and joined in the roars of laughter that greeted such master-strokes of wit as collecting all the straw hats in the cloak-room, bringing them in, throwing them on the floor, and gleefully stamping them to pieces. He would also have nodded his red face in bland agreement as the speaker aired again all the quackery about “service”, “the aims of Rotary”, and its “plans for world peace”.
George could easily imagine Mynheer Bendien pounding across the continental breadth of the United States in one of the crack trains, striking up a conversation with other men of substance in the smoking room of the pullman car, pulling fat cigars from his pocket and offering them to his new-found companions, chewing on his own approvingly and nodding with ponderous affirmation as someone said: “I was talking to a man in Cleveland the other day, one of the biggest glue and mucilage producers in the country, a fellow who has learned his business from the ground up and knows what he’s talking about----” Yes, Mynheer Bendien would have recognised his brother, his kinsman, his twin spirit wherever he found him,, and would instantly have established a connection and a footing of proper familiarity with him, as McHarg and Webber could never have done, even though the stranger might be an American like themselves.
George knew McHarg’s antipathy for this kind of man. It was an antipathy which he had savagely expressed in swingeing and satiric fiction—an antipathy which, George had felt, had a quality of almost affectionate concern in its hatred, but which was hatred nonetheless. Why, then, had McHarg invited this man to his room? Why had he sought out his companionship?
The reason became plain enough as he thought about it. Although McHarg and Webber could never belong to Bendien’s world, there was something of Bendien in both of them—more in McHarg, perhaps, than in himself. Though they belonged to separate worlds, there was still another world to which each of them could find a common entry. This was the world of natural humanity, the world of the earthly, eating, drinking, companionable, and company-loving man. Every artist feels the need of this world desperately. His nature is often torn between opposing poles of loneliness and gregariousness. Isolation he must have to do his work. But fellowship is also a necessity without which he is lost, since the lack of it removes him from all the naturalness of life which he demands more than any other man alive, and which he must share in if he is to grow and prosper in his art. But his need for companionship often betrays him through its very urgency. His hunger and thirst for life often lay him open to the stupidity of fools and the trickery and dishonesty of Philistines and rascals.
George could see what had happened to McHarg. He himself had gone through the same experience many times. McHarg, it is true, was a great man, a man famous throughout the world, a man who had now attained the highest pinnacle of success to which a writer could aspire. But on just this account his disillusionment and disappointment must have been so much the greater and the more crushing.
And what disillusionment, what disappointment, was this? It was a disappointment that all men know—the artist most of all—The disappointment of reaching for the flower and having it fade the moment your fingers touch it. It was the disappointment that comes from the artist’s invincible and unlearning youth, from the spirit of indomitable hope and unwavering adventure, the spirit that is defeated and cast down ten thousand times but that is lost beyond redemption never, the spirit that, so far from learning wisdom from despair, acceptance from defeat, cynicism from disillusionment, seems to grow stronger at every rebuff, more passionate in its convictions the older it grows, more assured of its ultimate triumphant fulfilment the more successive and conclusive its defeats.