The Razor's Edge Literary Analysis

5-2 Short Paper: The Razor’s Edge Literary Analysis

As the twentieth century western world began to become more modernized through industry and war, so too did it begin to make its departure from the previously valued spirituality and regulation of the self. As modernization continued to grow as it had been for years before, a powerful sense of materialism took the place of spiritual growth and self-searching. The Razor’s Edge, written in 1944 by English author William Somerset Maugham, addresses this change in the world’s priorities. In the Razor’s Edge, Maugham examines the meanings of salvation through society’s departure from spiritual gain in favor of material gain and expectations, criticizing the shift yet also addressing acceptance in how one chooses to find their own life meanings.

In the opening pages of the novel, Maugham begins with the statement “The sharp edge of a razor is difficult to pass over; thus the wise say the path to Salvation is hard,” a verse read in the Sanskrit writings Katha Upanishad, echoing the book’s title and giving some level of indication of that which the reader is about to experience. This tie proves important for the development of the book, as it sharply criticizes that which, to all accounts of propriety, would be considered salvation, utilizing the modernist tendency to challenge tradition in favor of a less socially acceptable pursuit. Salvation, as it exists and as is the way of many words, has more than one indication. One such indication is the definition that salvation itself is maintained as the “preservation from destruction or failure,” (Merriam-Webster). In such a case, according to the rules of society in the 20^th century, this salvation would revolve around the ideals of rags to riches, earning a place in security through materialism and gain. Isabel and Larry reflect on this idea as they converse about where Larry wants to go in life, stating

"There's never been such a chance for a young man. I should have thought you'd be proud to take part in the work that lies before us. It's such a wonderful adventure."…

"I daresay you're right. The Armours and the Swifts will pack more and better meat, the McCormicks will make more and better harvesters, and Henry Ford will turn out more and better cars. And everyone'll get richer and richer." (Maugham 45)

They theorize that, in all respect, salvation and contentment should be found in growth of material. This, however, is not reflected within Maugham’s novel. Rather, Salvation is met with a sense of capitalization in emphasis of its importance. This importance comes from the vitality placed upon the idea throughout the story not as a way to salvation of a saving, but rather, an acceptance and accordance with life in its “liberation from ignorance or illusion,” (Merriam-Webster). Larry reflects this assertion as an answer to Isabel’s questioning “and why not?” to the former conversation, stating “"As you say, and why not? Money just doesn't happen to interest me… I have a little. That's what gives me the chance to do what I want."” (45-46). Through addressing this idea, Maugham experimented with modernism in his writing and composition, encouraging the world to find their own path and rejecting social norms. In echoing the importance of this salvation, Maugham sets a scene for his satirical criticisms of western society as it influences that which it has created.

Many of the characters in The Razor’s Edge find themselves seeking some sort of personal salvation, and it is this search that Maugham uses to criticize the society in which they exist. It has been said that people are a product of their society and, in turn, define society in its essence. This provides a pivotal sense of development in Maugham’s characterization, as it can be theorized that his focus is on the issues faced by “the motivation of human choices. His solution, sometimes presented more or less tentatively, is that of the determinist; men choose what they do because they must,” (Ross). As a result of the depiction of various characters in this book and how they turn up, one may examine the accounts and opinions provided by Maugham as to the state of society. Isabel, as an example, grew up well to do and, in turn, wished to have her own comfort guaranteed in marriage, and makes it known in her eventual broken engagement to Larry “"But, Larry, one can't live on three thousand a year."

"Of course one can. Lots of people live on much less."

"But I don't want to live on three thousand a year. There's no reason why I should."(Maugham 71). And so, Isabel seeks the lifestyle to which she is accustomed, marrying the wealthy Grey instead. However, this does not bring her joy or happiness in the end, as she comes to accept she will never have Larry following her part in the death of Sophie, "Now I really have lost him." (304) This acts as a criticism of society’s tendency to depend upon material wealth for the sake of filling the spiritual void they had left behind. This is emphasized by Larry’s eventual happiness within his spiritual discoveries. He asserts “You see, money to you means freedom; to me it means bondage,” (284) indicating the discontent money should bring him if it were to mean being bogged down to a place that left him unsatisfied and without his faith. Rather instead of seeking the material gain of the societies around him, he places his focus on a spiritual affair, and, in the end, Maugham assumes “so it may be that he is satisfied to lead his chosen life and be no more than just himself,” (314). In composing this comparison, Maugham creates a display that criticizes society for its own beliefs and faith, believing the idealization of material worth has contributed to the subsidized cost of false happiness. He asserts, in modernist form, that breaks from established traditionalism is an important step to the development of human happiness. However, in doing so, he does not completely dismiss the existence of a society as it is.

In The Razors Edge, Maugham takes advantage of a new narrative style which places himself at the center of the story. These accounts are furthered in their personal criticisms by Maugham’s placement of himself as not just the author, but the narrator of the story, breaking a fourth wall of sorts in placing himself as a character, and providing a clear examination of each character through his own eyes. In doing so, however, he also acknowledges a very important truth: that no truth is absolute. Larry, at one point, states "The fact that a great many people believe something is no guarantee of its truth," (264) In this assumption, he dismisses the ability for society to be judged as a whole, as, as an independent state of existence from the rest of its world, it cannot be fully assumed as to what it seeks, nor can one assume to know what exactly the individuals born of that society believe. He states that, despite not always leading to happiness, each person he had encountered within this novel “got what they wanted: Elliott social eminence; Isabel an assured position backed by a substantial fortune in an active and cultured community; Gray a steady and lucrative job, with an office to go to from nine till six every day; Suzanne Rouvier security; Sophie death; and Larry happiness.”( 314). In this, he equates that success does not always equate to happiness, and that not everyone shares the same meaning of life, as this is not always what people are seeking. Don Adams helps to bolster this description, observing the importance of the impact upon individual characters

“But each of the typological characters provides a different and revealing answer, and by the end of the novel Maugham considers that, … [he] cannot tell the reader how his particular story concludes, which seems to promise an unsatisfying ending, he has been surprised to find that the novel's narrative nevertheless has resolved itself into a logical and emotionally rewarding conclusion,” (Adams).

Each character depicted within this novel represents a different existence and, as such, represents a different idea they find themselves searching for and separate resolutions which they desire and encounter. Despite whatever unpleasantness might arise, or how others may feel, in a modernist fashion, Maugham asserts that, against expectation and tradition, this is not always unsatisfactory.

In the Razor’s Edge, Maugham examines the meanings of salvation through society’s departure from spiritual gain in favor of material gain and expectations, criticizing the shift yet also addressing acceptance in how one chooses to find their own life meanings. While Maugham offers a criticism upon western modern societies of the British and the Americas, he does not entirely dismiss their intentions. In Maugham’s work and utilization of varying and unique characters with different personalities and goals, he recognizes that, while perhaps the world has too large a focus upon the material, it is not within one independent’s place to ascertain with certainty the ways and desires of others. The world is a subjective place and the success of society lies within the people it creates.

Works Cited

Adams, Don. “‘What Then Is Right Action?’: Somerset Maugham's Ethical Parables.” Soundings: An Interdisciplinary Journal, vol. 99, no. 2, 2016, pp. 105–135. JSTOR, www.jstor.org/stable/10.5325/soundings.99.2.0105. Accessed 5 Feb. 2020.

Maugham, W. Somerset. The Razor's Edge. Vintage International, 2003.

Ross, Woodburn O. “W. Somerset Maugham: Theme and Variations.” The English Journal, vol. 36, no. 5, 1947, pp. 219–228. JSTOR, www.jstor.org/stable/807777. Accessed 5 Feb. 2020.

“Salvation.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/salvation. Accessed 6 Feb. 2020.