The Moon and Sixpence by W. Somerset Maugham (most popular novels .txt) ๐
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The Moon and Sixpence tells the story of English stockbroker Charles Strickland, who abandons his wife and child to travel to Paris to become a painter. First published in 1919 in the United Kingdom by Heinemann, the story is inspired by the life of the French artist Paul Gauguin. Itโs told in episodic form from a first-person perspective. The narrator, who came to know Strickland through his wifeโs literary parties, begins the story as Strickland leaves for Paris. Stricklandโs new life becomes a stark contrast to his life in London. While he was once a well-off banker living a comfortable life, he must now sleep in cheap hotels while suffering both illness and hunger.
Maugham spent a year in Paris in 1904, which is when he first heard the story of Gauguin, the banker who left his family and profession to pursue his passion for art. He heard the story from others who had known and worked with Gauguin. Ten years later Maugham travelled to Tahiti where he met others who had known Gauguin during the artistโs time there. Inspired by the stories he heard, Maugham wrote The Moon and Sixpence. Although based on the life of Paul Gauguin, the story is a work of fiction.
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- Author: W. Somerset Maugham
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โYouโre inhuman,โ I answered. โItโs as useless to talk to you about these things as to describe colours to a man who was born blind.โ
He stopped in front of my chair, and stood looking down at me with an expression in which I read a contemptuous amazement.
โDo you really care a twopenny damn if Blanche Stroeve is alive or dead?โ
I thought over his question, for I wanted to answer it truthfully, at all events to my soul.
โIt may be a lack of sympathy in myself if it does not make any great difference to me that she is dead. Life had a great deal to offer her. I think itโs terrible that she should have been deprived of it in that cruel way, and I am ashamed because I do not really care.โ
โYou have not the courage of your convictions. Life has no value. Blanche Stroeve didnโt commit suicide because I left her, but because she was a foolish and unbalanced woman. But weโve talked about her quite enough; she was an entirely unimportant person. Come, and Iโll show you my pictures.โ
He spoke as though I were a child that needed to be distracted. I was sore, but not with him so much as with myself. I thought of the happy life that pair had led in the cosy studio in Montmartre, Stroeve and his wife, their simplicity, kindness, and hospitality; it seemed to me cruel that it should have been broken to pieces by a ruthless chance; but the cruellest thing of all was that in fact it made no great difference. The world went on, and no one was a penny the worse for all that wretchedness. I had an idea that Dirk, a man of greater emotional reactions than depth of feeling, would soon forget; and Blancheโs life, begun with who knows what bright hopes and what dreams, might just as well have never been lived. It all seemed useless and inane.
Strickland had found his hat, and stood looking at me.
โAre you coming?โ
โWhy do you seek my acquaintance?โ I asked him. โYou know that I hate and despise you.โ
He chuckled good-humouredly.
โYour only quarrel with me really is that I donโt care a twopenny damn what you think about me.โ
I felt my cheeks grow red with sudden anger. It was impossible to make him understand that one might be outraged by his callous selfishness. I longed to pierce his armour of complete indifference. I knew also that in the end there was truth in what he said. Unconsciously, perhaps, we treasure the power we have over people by their regard for our opinion of them, and we hate those upon whom we have no such influence. I suppose it is the bitterest wound to human pride. But I would not let him see that I was put out.
โIs it possible for any man to disregard others entirely?โ I said, though more to myself than to him. โYouโre dependent on others for everything in existence. Itโs a preposterous attempt to try to live only for yourself and by yourself. Sooner or later youโll be ill and tired and old, and then youโll crawl back into the herd. Wonโt you be ashamed when you feel in your heart the desire for comfort and sympathy? Youโre trying an impossible thing. Sooner or later the human being in you will yearn for the common bonds of humanity.โ
โCome and look at my pictures.โ
โHave you ever thought of death?โ
โWhy should I? It doesnโt matter.โ
I stared at him. He stood before me, motionless, with a mocking smile in his eyes; but for all that, for a moment I had an inkling of a fiery, tortured spirit, aiming at something greater than could be conceived by anything that was bound up with the flesh. I had a fleeting glimpse of a pursuit of the ineffable. I looked at the man before me in his shabby clothes, with his great nose and shining eyes, his red beard and untidy hair; and I had a strange sensation that it was only an envelope, and I was in the presence of a disembodied spirit.
โLet us go and look at your pictures,โ I said.
XLIII did not know why Strickland had suddenly offered to show them to me. I welcomed the opportunity. A manโs work reveals him. In social intercourse he gives you the surface that he wishes the world to accept, and you can only gain a true knowledge of him by inferences from little actions, of which he is unconscious, and from fleeting expressions, which cross his face unknown to him. Sometimes people carry to such perfection the mask they have assumed that in due course they actually become the person they seem. But in his book or his picture the real man delivers himself defenceless. His pretentiousness will only expose his vacuity. The lathe painted to look like iron is seen to be but a lathe. No affectation of peculiarity can conceal a commonplace mind. To the acute observer no one can produce the most casual work without disclosing the innermost secrets of his soul.
As I walked up the endless stairs of the house in which Strickland lived, I confess that I was a little excited. It seemed to me that I was on the threshold of a surprising adventure. I looked about the room with curiosity. It was even smaller and more bare than I remembered it. I wondered what those friends of mine would say who demanded vast studios, and vowed they could not work unless all the conditions were to their liking.
โYouโd better stand there,โ he said, pointing to a spot from which, presumably, he fancied I could see to best advantage what he had to show me.
โYou donโt want me to talk, I suppose,โ I said.
โNo, blast you; I want you to hold your tongue.โ
He placed a picture on the easel, and let me
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