Philosophy and Literature

I

On the Russian Trans-Siberian train from Vladivostok to Petrograd (now St. Petersburg), an American businessman won't stop talking for the entire ten-day journey. In his story, "A Chance Acquaintance," W. Somerset Maugham describes this 1917 meeting between Ashenden, a British character loosely based on himself, and the chatty American, named Harrington. The two passengers are blissfully unmoved by the revolution unfolding all around them. Ashenden casually suggests the two of them try and find another pair to pass the time playing bridge. Harrington refuses. "It beats me how an intelligent man can waste his time card-playing," Harrington asserts, "and of all the unintellectual pursuits I have ever seen it seems to me that solitaire is the worst. It kills conversation. Man is a social animal and he exercises the highest part of his nature when he takes part in social intercourse."¹ Ashenden doesn't understand the American's distaste for playing cards, especially bridge. "'There is a certain elegance in wasting time,' said Ashenden . … 'Besides,' he added with bitterness, 'you can still talk.'" [End Page 477]

Like many of his fictional characters, Maugham enjoyed eloquent, "time-wasting" games like bridge. Unlike solitaire, bridge encourages social interaction. Once, when his confounded bridge partner confronted Maugham with evidence that his high-class opponents were cheating, Maugham was nonplussed. "They gave us double Martinis to start with," he noted, "a slap-up lunch with a particularly good bottle of white Burgundy and old brandy with our coffee."² The dishonesty was irrelevant. For Maugham, a good bridge game, like the attendant conversation, should help temper one's moral outrage and skim over the unruly passions that so often plague our public and private lives. Elegance, for Maugham, meant presenting the appearance of calm and respectability, especially when such presentations conflicted with one's more turbulent emotions.

In Maugham's short story "The Three Fat Women of Antibes," the women around the bridge table desperately try to keep up appearances, both physically and emotionally. When passionate arguments inevitably threaten to undo the air of genteel conversation, Lena, the newest addition to the table, states, "I think it's such a pity to quarrel over bridge. … After all, it's only a game."³ But while it might be true that bridge is "only a game," Maugham took games seriously. Parlor games like bridge were spaces to practice and perfect the social mores on which colonial hierarchies were solidified. In Maugham's England, the game of life required an elegant performance of the many roles the genteel class was expected to play. That performance was predicated on a relentless effort to keep up ordinary appearances by regulating emotional displays. As Maugham wrote in a 1944 article for Good Housekeeping, a good bridge game rewards people who are "truthful, clearheaded, and considerate," characteristics essential "for playing the more important game of life."⁴

More than any other card game, bridge is built on conventions. Etiquette dictates how cards are shuffled, passed, and played. While there is always some room for surprise and risk, everyone around the table needs to know the bidding and playing conventions to ensure the best possible game. In every hand a silent partner, known as the dummy, lays their cards face up, thereby taking themself out of the action.

The persistence of such conventions is a holdover from the game of whist, the predecessor of bridge. In an early-nineteenth-century story, "Mrs. Battle's Opinions on Whist," essayist Charles Lamb describes an elderly whist player who enjoys the elegant waste of time that such long card games encourage. While dances and parties help build social skills around untrustworthy passions, card games like whist, and later bridge, [End Page 478] were more like "a long meal; not like quadrille, a feast of snatches. One or two rubbers might co-extend in duration with an evening. They gave time to form rooted friendships." This kind of congeniality mattered to serious people like Mrs. Battle, people who "despised superficiality, and looked deeper than the colours of things."⁵

The game of bridge...