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传记>> máo mǔ William Somerset Maugham yīng guó United Kingdom wēn suō wáng cháo (1874niányuányuè25rì～1965niánshíèryuè16rì)
yuè liàng hé liù biàn shì The Moon and Sixpence
rú guǒ nǐ kàn liǎo yuán wén , jiù kě yǐ kàn chū zuò zhě de sī lù , yuè liàng shì měi hǎo , chún jié de dài míng cí , biàn shì shì jīn qián shè huì de dài míng cí . zhù rén gōng yuán lái shì yī gè fù yòu de shàng céng rén shì , zài jīng lì liǎo kōng xū de qián bàn shēng hòu , tā kāi shǐ liǎo zhēn zhèng de lǐ xiǎng zhuī qiú , tā de yī shēng dōuzài zhuī qiú chún cuì de měi , zhèn hàn de měi . ér yòng yuè liàng lái quán shì tā de zhuī qiú shì zuì hé shì de . duì yī bān rén lái shuō , yuè liàng gāo bù kě qiú , dàn zhè zhèng hǎo fǎn yìng liǎo zhù rén gōng zhí zhù de zhuī qiú hé gāo jié de rén gé . xiāng bǐ zhōu wéi de pèijué , tā men méi yòu yě bù xiǎng tuō lí xiàn shí de yù wàng , yīn cǐ yòng biàn shì lái xíng róng tā men suǒ zài de shì jiè shì zài hé shì bù guò liǎo， zhì yú zuò zhě yòng liù zhè gè shù zì , shí jì shàng méi yòu shénme tè bié de yì yì , máo mǔ de hěn duō zuò pǐn lǐ dū yòu yī xiē suí yì de dōng xī ( yě kě yǐ shuō shì chuàng yì huò zhě gè xìng biāo bǎng ), wǒ men bù yòng zài zhè gè shù zì shàng tòu xī .
wǒ jì dé dú zhè běn xiǎo shuō yǐ jīng hěn jiǔ liǎo。 jì yì bù zài qīng xī， méng lóng de huí yì shì zhōng tòng kǔ de cán jì。 dàn wǒ réng yào tuī jiàn zhè běn xiǎo shuō。 wǒ de yǎn guāng yī zhí shì lìng lèi de yǎn guāng， dàn wǒ duì wén běn de dú fǎ yě xǔ běn shēn jiù yòu shǔ yú wǒ de jì yì。 wǒ bù xiǎng shuō shì wǒ wù dú liǎo máo mǔ。 yīn wéi zuò pǐn yī dàn bèi chuàng zào chū jiù bù shǔ yú zuò zhě zì jǐ， yě xǔ zuò pǐn yòu shí hòu zhǐ shǔ yú zuò zhě zì jǐ！ wài lái de dú fǎ shì zhǒng zhù guān de xiǎng fǎ。
wǒ jì dé qián zhōng shū xiān shēng jué dìng xiě《 wéi chéng》 shí jiù shì yīn wéi shòu dào máo mǔ de cì jī。 qián xiān shēng de xué wèn shì méi yòu rén yǔ zhī kě yǐ pì měi de。 bié de bù zài duō shuō。 huà shuō duō liǎo huì rě chū má fán de。 qián zhōng shū xiān shēng shuō： máo mǔ dōunéng xiě chū nà yàng de xiǎo shuō。 dú zhě zhí duō shì wú fǎ jì suàn de。 máo mǔ dāng shí què shí shì zhì shǒu kě rè de rén wù。 yú shì hū《 wéi chéng》 héng kōng chū shì！ guān yú《 wéi chéng》 tā kě yǐ shuō shì jiè zhe qián xiān shēng de cái huá róng duō jiā yǔ yī tǐ de jié zuò。 qí zhōng kě yǐ kàn chū hěn duō 'ōu měi xiǎo shuō míng jiā de yǐng zǐ， yǐ wéi qián xiān shēng xué guàn zhōng xī de cái huá《 wéi chéng》 bèi xiě chéng liǎo yī bù jié zuò！
xián huà shuō de yǐ jīng duō liǎo， xià miàn wǒ tán tán zì jǐ duì《 yuè liàng hé liù biàn shì》 de kàn fǎ： máo mǔ yǐ qián shì gè yī shēng， ér dāng yī shēng de zhè duàn jīng lì wèitā rì hòu de chuàng zuò tí gōng liǎo dà liàng de cái liào。 dàn《 yuè liàng hé liù biàn shì》 de yuán xíng shì fǎ guó yìn xiàng pài huà jiā gāo gèng。
gāo gèng de huà běn shēn jiù hěn yòu jià zhí， zhè bù yǐ tā wéi yuán xíng de xiǎo shuō fēngmǐ hòu， gāo gèng de huì huà yì shù hé zuò pǐn shòu dào liǎo gèng dà de guān zhù， gāo gèng yìn xiàng pài zōng shī de dì wèi dé dào què lì。 tóng shí， tǎ xī tí dǎo ----- gāo gèng yǐn jū de xiǎo dǎo yě míng yáng yǔ shì， chéng liǎo lǚ yóu shèng dì。
gēn jù gāo gèng de zhù zuò《 mǎ lǐ 'ōu de gǔ dài xìn yǎng》 , zhī dào nǚ rén shì yuè shén xī nà , nán rén shì dì shén fǎ tuō。 dà dì zhī shén zhù zǎi rén shì de shēng chéng hé lún zhuǎn , nǎi shì bì rán de huǐ miè。 yuè zhī nǚ shén zhǎngguān yǒng yuǎn de fēng shōu hé bù xiǔ。
zhè gè guān yú zhè gè zuò pǐn de tí wài huà， ér zhēn zhèng de wén xué nèi hán yuǎn fēi rú cǐ jiǎn dān de jiě dú。 wǒ zì jǐ de kàn fǎ shì： zhè gè běn xiǎo shuō yuǎn yuǎn chāo guò máo mǔ zì jǐ de jiě dú。 yīn wéi wǒ fā xiàn qí shí zhè běn xiǎo shuō xiě de shì guān yú tiān cái de shì qíng！ tiān cái shì gè cán kù de zì yǎn， rén men gēn běn bù yuàn yì chéng rèn tiān cái！ yīn wéi wǒ men zǒng xiāng xìn： tiān cái chū yú qín fèn！ shì shí shàng bìng fēi rú cǐ。 yóu qí zài wén xué lǐng yù。 zhēn zhèng de yōu xiù de yì shù jiā shì tiān cái。 wén xué bù guò shì yì shù zhōng zuì shàng chéng de jīng pǐn！ wǒ zhī dào de zhè gè jiù shì wǒ dú《 yuè liàng hé liù biàn shì》 de gǎn wù！ wǒ zuò xià wǒ cán kù de jué dìng fàng qì huà xué cóng 'ér zhuànxiàng wén xué jiù shì yīn wéi zhè gè yuán gù。 wǒ yě xǔ gèng shì hé gǎo wén xué。
wǒ gǎn jī wǒ zài dà yī nà cì líng hún de zhànlì！《 yuè liàng hé liù biàn shì》 zhù rén gōng sī tè lǐ kè lán dé nà “ kuàng yě de hū hǎn ” zhōng yú ràng wǒ rèn shí dào liǎo zì wǒ。
zuò jiā jiù shì zhè yàng de yī zhǒng rén， tā men bǎ rén lèi de zhì huì fā xiàn hòu yòng zuò pǐn biǎo xiàn chū lái。 wǒ zì jǐ shì xué xí huà xué de。 wǒ zì jǐ hěn nán jūn héng wén kē yǔ lǐ kē de sī wéi。 lǐ kē jiǎng de shì kē xué。 kē xué zhēn de shì gè hěn má fán de cí yǔ。 yán gé yì yì shàng shuō zhǐ yòu néng yòng shù xué gōng shì biǎo dá de dōng xī cái shì kē xué。 kē xué yuè lái yuè jiào wǒ huái yí？ huái yí suǒ wèi de kē xué？ suǒ wèi de kē xué gēn běn jiě jué bù liǎo rén lèi de wèn tí！ wǒ bù xiǎng jiè wén xué lái chǎn shì kē xué。 wǒ duō yán liǎo。
fáng zǐ lǐ de guāng xiàn tè bié 'àn， fǎng fó shì， tā tū rán zǒu rù liǎo yī gè shén de shì jiè； méng méng lóng lóng zhōng， tā hǎo xiàng jué dé zì jǐ zhèng zhì yú yī gè yuán shǐ sēn lín zhōng， dà shù xià cháng yáng zhe yī xiē chì shēn luǒ tǐ de rén。 tè lā sī yī shēng jīhū lián hū xī dū tíng zhǐ liǎo， guò liǎo yī huì 'ér tā cái zhī dào， tā kàn dào de shì sì bì shàng jù dà de bì huà。 tā xīn zhōng chū xiàn liǎo yī zhǒng jì wú fǎ lǐ jiě yòu bù néng fēn xī de gǎn qíng。 zhè fú huà jù yòu yā rén de qì shì， tā jì shì ròu yù de， yòu chōng mǎn wú xiàn rè qíng， yǔ cǐ tóng shí yòu hán zhe mǒu zhǒng kǒng jù chéngfèn ...... huì zhì zhè fú jù zuò de rén yǐ jīng shēn rù dào dà zì rán de yǐn mì zhōng， zhī dào liǎo yī bān rén suǒ bù zhī dào de shì wù。 tā huà de shì mǒu zhǒng yuán shǐ de lìng rén zhèn shè de dōng xī， jì měi de jīng rén， yòu wū huì xié 'è， tā de huà qí yì 'ér huāng dàn， hǎo xiàng yǔ zhòu chū chuàng shí de tú jǐng ---- yī diàn yuán， yà dāng hé xià wá ……
“ shàng dì 'ā， zhè shì tiān cái” tè lā sī yī shēng yǎn kǒu jīng hū。
zhè gè yuán wén de huà， gǎn xiè zuò zhě dào chū liǎo zhēn lǐ de huà， yì shù shì shǔ yú tiān cái de！ zhè gè shì zhèn hàn líng hún de huà yǔ！
yòu liǎng běn xiāng shìde xiǎo shuō《 yuè liàng hé liù biàn shì》 hé sài lín gé de《 mài tián de shǒu wàng zhě》。 zhè liǎng gè xiǎo shuō de zhù rén gōng yòu zhe jīng rén de xiāng sì。
《 yuè liàng hé liù biàn shì》 bù fá jīng cǎi de jù zǐ。 rú：
“ shì jiè shì lěng kù wú qíng de、 cán kù de。 wǒ men shēng dào rén shì jiān méi yòu rén zhī dào wèile shénme， wǒ men sǐ hòu méi yòu rén zhī dào dào hé chù qù。 wǒ men bì xū zì gān bēi qū。 wǒ men bì xū kàn dào lěng qīng jì liáo de měi miào。 zài shēng huó zhōng wǒ men yī dìng bù yào chū fēng tóu、 lòutóu jiǎo， rě qǐ mìng yùn duì wǒ men zhù mù。 ràng wǒ men qù xún qiú nà xiē chún pǔ、 dūn hòu de rén de 'ài qíng bā。 tā men de yú mèi yuǎn bǐ wǒ men de zhī shí gèng wéi kě guì。 ràng wǒ men bǎo chí zhe chén mò， mǎn zú yú zì jǐ xiǎo xiǎo de tiān dì， xiàng tā men yī yàng píng yì wēn shùn bā。 zhè jiù shì shēng huó de zhì huì。”
“ zài 'ài zhè zhǒng gǎn qíng zhōng zhù yào chéngfèn shì wēn róu。 ài qíng zhōng xū yào yòu yī zhǒng ruǎn ruò wú lì de gǎn jué， yào yòu tǐ tiē 'ài hù de yào qiú， yòu bāng zhù bié rén、 qǔ yuè bié rén de rè qíng héng héng rú guǒ bù shì wú sī， qǐ mǎ shì qiǎo miào dì zhē yǎn qǐ lái de zì sī； ài qíng bāo hán zhe mǒu zhǒng chéng dù de miǎn tiǎn qiè nuò。…… ài qíng yào zhàn jù yī gè rén mò dà de jīng lì， tā yào yī gè rén lí kāi zì jǐ de shēng huó zhuān mén qù zuò yī gè 'ài rén。 jí shǐ tóu nǎo zuì qīng xī de rén， cóng dào lǐ shàng tā kě néng zhī dào， zài shí jì zhōng què bù huì chéng rèn 'ài qíng yòu yī tiān huì zǒu dào jìn tóu。 ài qíng fù yú tā míng zhī shì xū huàn de shì wù yǐ shí zhì xíng tǐ， tā míng zhī dào zhè yī qièbù guò shì jìng huā shuǐ yuè， ài tā què yuǎn yuǎn chāo guò xǐ 'ài zhēn shí。 tā shǐ yī gè rén bǐ yuán lái de zì wǒ gèng fēng fù liǎo yī xiē， tóng shí yòu shǐ tā bǐ yuán lái de zì wǒ gèng xiá xiǎo liǎo yī xiē。 tā bù zài shì yī gè rén， tā chéng liǎo zhuī qiú mǒu yī gè tā bù liǎo jiě de mù de de yī jiàn shì wù、 yī gè gōng jù。……”
“ wǒ men měi gè rén shēng zài shì jiè shàng dōushì gū dú de。 měi gè réndōu bèi qiú jìn zài yī zuò tiě tǎ lǐ， zhǐ néng kào yī xiē fú hào tóng bié rén chuán dá zì jǐ de sī xiǎng； ér zhè xiē fú hào bìng méi yòu gòng tóng de jià zhí， yīn cǐ tā men de yì yì shì mó hú de、 bù què dìng de。 wǒ men fēi cháng kě lián dì xiǎng bǎ zì jǐ xīn zhōng de cái fù chuán sòng gěi bié rén， dàn shì tā men què méi yòu jiē shòu zhè xiē cái fù de néng lì。 yīn cǐ wǒ men zhǐ néng gū dú dì xíng zǒu， jìn guǎn shēn tǐ hù xiāng yǐ bàng què bìng bù zài yī qǐ， jì bù liǎo jiě bié de rén yě bù néng wéi bié rén suǒ liǎo jiě。 wǒ men hǎo xiàng zhù zài yì guó de rén， duì yú zhè gè guó jiā de yǔ yán dǒng dé fēi cháng shǎo， suī rán wǒ men yòu gè zhǒng měi miào de、 shēn 'ào de shì qíng yào shuō， què zhǐ néng jú xiàn yú huì huà shǒu cè shàng nà jǐ jù chén fǔ、 píng yōng de huà。 wǒ men de nǎo zǐ lǐ chōng mǎn liǎo gè zhǒng sī xiǎng， ér wǒ men néng shuō dé zhǐ bù guò shì xiàng ‘ yuán dīng de gū mǔ yòu yī bǎ sǎn zài wū zǐ lǐ ’ zhè lèi huà。”
zhāng xián liàng zài 〈 lǜ huà shù 〉 zhōng shuō：“ fán shì chū xiàn liǎng cì de shì wù bì yòu mǒu zhǒng yì yì， nà jiù shì mìng yùn！”
wén xué， wén xué zhēn de shì hěn nán yán de dōng xī， tā rú cǐ lìng rén fèi jiě， tā bù shì kào zhì lì， bù shì kào lǐ xìng kě yǐ bǎ wò de。 kē xué zuì dà de bì duān shì kě yǐ mó fǎng。 jí shǐ nǐ hěn bèn， nǐ réng rán kě yǐ zài kē xué shàng zuò chū chéng jì， yóu qí shì huà xué！ ér wén xué zé bù rán！ zhè gè yě xǔ jiù shì wén xué de mèi lì！ tā rú cǐ lìng wǒ chī mí！ ní cǎi shuō：“ mó fǎng wú yí yú zì shā”。 kē xué de běn zhì zhèng shì mó fǎng。
Plot summary
The novel is written largely from the point of view of the narrator, who is first introduced to the character of Strickland through his (Strickland's) wife and strikes him (the narrator) as unremarkable. Certain chapters are entirely composed of the stories or narrations of others which the narrator himself is recalling from memory (selectively editing or elaborating on certain aspects of dialogue, particularly Strickland's, as Strickland is said by the narrator to be limited in his use of verbiage and tended to use gestures in his expression).
Strickland, a well-off, middle-class stock broker in London some time in the late 19th or the first half of the 20th century. Early in the novel, he leaves his wife and children and goes to Paris, living a destitute but defiantly content life there as an artist (specifically a painter), lodging in run-down hotels and falling prey to both illness and hunger. Strickland, in his drive to express through his art what appears to continually possess and compel him inside, cares nothing for physical comfort and is generally ignorant to his surroundings, but is generously supported while in Paris by a commercially successful yet unexceptional Dutch painter, Dirk Stroeve, a friend of the narrator's, who immediately recognizes Strickland's genius. After helping Strickland recover from a life-threatening condition, Stroeve is repaid by having his wife, Blanche, abandon him for Strickland. Strickland later discards the wife (all he really sought from Blanche was a model to paint, not serious companionship, and it is hinted in the novel's dialogue that he indicated this to her and she took the risk anyway), who then commits suicide - yet another human casualty (the first ones being his own established life and those of his wife and children) in Strickland's single-minded pursuit of Art and Beauty.
After the Paris episode, the story continues in Tahiti. Strickland has already died, and the narrator attempts to piece together his life there from the recollections of others. He finds that Strickland had taken up with a native woman, had at least one child by her (only a son is directly referenced) and started painting profusely. We learn that Strickland had settled for a short while in the French port of Marseilles before traveling to Tahiti, where he lived for a few years before finally dying of leprosy. Strickland left behind numerous paintings, but his magnum opus, which he painted on the walls of his hut in a half-crazed state of leprosy-induced blindness, was burnt down after his death by his wife by his dying orders.
Inspiration
The inspiration for this story, Gauguin, is considered to be the founder of primitivism in art. The main differences between Gauguin and Strickland are that Gauguin was French rather than English, and whilst Maugham describes the character of Strickland as being largely ignorant of his contemporaries in Modern art (as well as largely ignorant of other artists in general), Gauguin himself was well acquainted with Van Gogh. How many of the details of the story are based on fact is not known. However, Maugham had visited the place where Gauguin lived in Tahiti, and purchased some glass panels painted by Gauguin in his final days.
About the title
According to some sources, the title, the meaning of which is not explicitly revealed in the book, was taken from a review of Of Human Bondage in which the novel's protagonist, Philip Carey, is described as "so busy yearning for the moon that he never saw the sixpence at his feet." Presumably Strickland's "moon" is the idealistic realm of Art and Beauty, while the "sixpence" represents human relationships and the ordinary pleasures of life.
Adaptations
The book was filmed by Albert Lewin in 1943. The film stars George Sanders as Charles Strickland.
The novel served as the basis for an opera, also titled The Moon and Sixpence, by John Gardner to a libretto by Patrick Terry; it was premiered at Covent Garden in 1958.
Writer S Lee Pogostin adapted it for American TV in 1959. It starred Laurence Olivier
In popular culture
In the opening scene of Francois Truffaut's cinematic adaptation of Fahrenheit 451, several firemen are preparing books for burning. In the crowd of onlookers is a little boy who picks up one of the books and thumbs through it before his father takes it from him and throws it on the pile with the rest. That book is The Moon and Sixpence.
wǒ jì dé dú zhè běn xiǎo shuō yǐ jīng hěn jiǔ liǎo。 jì yì bù zài qīng xī， méng lóng de huí yì shì zhōng tòng kǔ de cán jì。 dàn wǒ réng yào tuī jiàn zhè běn xiǎo shuō。 wǒ de yǎn guāng yī zhí shì lìng lèi de yǎn guāng， dàn wǒ duì wén běn de dú fǎ yě xǔ běn shēn jiù yòu shǔ yú wǒ de jì yì。 wǒ bù xiǎng shuō shì wǒ wù dú liǎo máo mǔ。 yīn wéi zuò pǐn yī dàn bèi chuàng zào chū jiù bù shǔ yú zuò zhě zì jǐ， yě xǔ zuò pǐn yòu shí hòu zhǐ shǔ yú zuò zhě zì jǐ！ wài lái de dú fǎ shì zhǒng zhù guān de xiǎng fǎ。
wǒ jì dé qián zhōng shū xiān shēng jué dìng xiě《 wéi chéng》 shí jiù shì yīn wéi shòu dào máo mǔ de cì jī。 qián xiān shēng de xué wèn shì méi yòu rén yǔ zhī kě yǐ pì měi de。 bié de bù zài duō shuō。 huà shuō duō liǎo huì rě chū má fán de。 qián zhōng shū xiān shēng shuō： máo mǔ dōunéng xiě chū nà yàng de xiǎo shuō。 dú zhě zhí duō shì wú fǎ jì suàn de。 máo mǔ dāng shí què shí shì zhì shǒu kě rè de rén wù。 yú shì hū《 wéi chéng》 héng kōng chū shì！ guān yú《 wéi chéng》 tā kě yǐ shuō shì jiè zhe qián xiān shēng de cái huá róng duō jiā yǔ yī tǐ de jié zuò。 qí zhōng kě yǐ kàn chū hěn duō 'ōu měi xiǎo shuō míng jiā de yǐng zǐ， yǐ wéi qián xiān shēng xué guàn zhōng xī de cái huá《 wéi chéng》 bèi xiě chéng liǎo yī bù jié zuò！
xián huà shuō de yǐ jīng duō liǎo， xià miàn wǒ tán tán zì jǐ duì《 yuè liàng hé liù biàn shì》 de kàn fǎ： máo mǔ yǐ qián shì gè yī shēng， ér dāng yī shēng de zhè duàn jīng lì wèitā rì hòu de chuàng zuò tí gōng liǎo dà liàng de cái liào。 dàn《 yuè liàng hé liù biàn shì》 de yuán xíng shì fǎ guó yìn xiàng pài huà jiā gāo gèng。
gāo gèng de huà běn shēn jiù hěn yòu jià zhí， zhè bù yǐ tā wéi yuán xíng de xiǎo shuō fēngmǐ hòu， gāo gèng de huì huà yì shù hé zuò pǐn shòu dào liǎo gèng dà de guān zhù， gāo gèng yìn xiàng pài zōng shī de dì wèi dé dào què lì。 tóng shí， tǎ xī tí dǎo ----- gāo gèng yǐn jū de xiǎo dǎo yě míng yáng yǔ shì， chéng liǎo lǚ yóu shèng dì。
gēn jù gāo gèng de zhù zuò《 mǎ lǐ 'ōu de gǔ dài xìn yǎng》 , zhī dào nǚ rén shì yuè shén xī nà , nán rén shì dì shén fǎ tuō。 dà dì zhī shén zhù zǎi rén shì de shēng chéng hé lún zhuǎn , nǎi shì bì rán de huǐ miè。 yuè zhī nǚ shén zhǎngguān yǒng yuǎn de fēng shōu hé bù xiǔ。
zhè gè guān yú zhè gè zuò pǐn de tí wài huà， ér zhēn zhèng de wén xué nèi hán yuǎn fēi rú cǐ jiǎn dān de jiě dú。 wǒ zì jǐ de kàn fǎ shì： zhè gè běn xiǎo shuō yuǎn yuǎn chāo guò máo mǔ zì jǐ de jiě dú。 yīn wéi wǒ fā xiàn qí shí zhè běn xiǎo shuō xiě de shì guān yú tiān cái de shì qíng！ tiān cái shì gè cán kù de zì yǎn， rén men gēn běn bù yuàn yì chéng rèn tiān cái！ yīn wéi wǒ men zǒng xiāng xìn： tiān cái chū yú qín fèn！ shì shí shàng bìng fēi rú cǐ。 yóu qí zài wén xué lǐng yù。 zhēn zhèng de yōu xiù de yì shù jiā shì tiān cái。 wén xué bù guò shì yì shù zhōng zuì shàng chéng de jīng pǐn！ wǒ zhī dào de zhè gè jiù shì wǒ dú《 yuè liàng hé liù biàn shì》 de gǎn wù！ wǒ zuò xià wǒ cán kù de jué dìng fàng qì huà xué cóng 'ér zhuànxiàng wén xué jiù shì yīn wéi zhè gè yuán gù。 wǒ yě xǔ gèng shì hé gǎo wén xué。
wǒ gǎn jī wǒ zài dà yī nà cì líng hún de zhànlì！《 yuè liàng hé liù biàn shì》 zhù rén gōng sī tè lǐ kè lán dé nà “ kuàng yě de hū hǎn ” zhōng yú ràng wǒ rèn shí dào liǎo zì wǒ。
zuò jiā jiù shì zhè yàng de yī zhǒng rén， tā men bǎ rén lèi de zhì huì fā xiàn hòu yòng zuò pǐn biǎo xiàn chū lái。 wǒ zì jǐ shì xué xí huà xué de。 wǒ zì jǐ hěn nán jūn héng wén kē yǔ lǐ kē de sī wéi。 lǐ kē jiǎng de shì kē xué。 kē xué zhēn de shì gè hěn má fán de cí yǔ。 yán gé yì yì shàng shuō zhǐ yòu néng yòng shù xué gōng shì biǎo dá de dōng xī cái shì kē xué。 kē xué yuè lái yuè jiào wǒ huái yí？ huái yí suǒ wèi de kē xué？ suǒ wèi de kē xué gēn běn jiě jué bù liǎo rén lèi de wèn tí！ wǒ bù xiǎng jiè wén xué lái chǎn shì kē xué。 wǒ duō yán liǎo。
fáng zǐ lǐ de guāng xiàn tè bié 'àn， fǎng fó shì， tā tū rán zǒu rù liǎo yī gè shén de shì jiè； méng méng lóng lóng zhōng， tā hǎo xiàng jué dé zì jǐ zhèng zhì yú yī gè yuán shǐ sēn lín zhōng， dà shù xià cháng yáng zhe yī xiē chì shēn luǒ tǐ de rén。 tè lā sī yī shēng jīhū lián hū xī dū tíng zhǐ liǎo， guò liǎo yī huì 'ér tā cái zhī dào， tā kàn dào de shì sì bì shàng jù dà de bì huà。 tā xīn zhōng chū xiàn liǎo yī zhǒng jì wú fǎ lǐ jiě yòu bù néng fēn xī de gǎn qíng。 zhè fú huà jù yòu yā rén de qì shì， tā jì shì ròu yù de， yòu chōng mǎn wú xiàn rè qíng， yǔ cǐ tóng shí yòu hán zhe mǒu zhǒng kǒng jù chéngfèn ...... huì zhì zhè fú jù zuò de rén yǐ jīng shēn rù dào dà zì rán de yǐn mì zhōng， zhī dào liǎo yī bān rén suǒ bù zhī dào de shì wù。 tā huà de shì mǒu zhǒng yuán shǐ de lìng rén zhèn shè de dōng xī， jì měi de jīng rén， yòu wū huì xié 'è， tā de huà qí yì 'ér huāng dàn， hǎo xiàng yǔ zhòu chū chuàng shí de tú jǐng ---- yī diàn yuán， yà dāng hé xià wá ……
“ shàng dì 'ā， zhè shì tiān cái” tè lā sī yī shēng yǎn kǒu jīng hū。
zhè gè yuán wén de huà， gǎn xiè zuò zhě dào chū liǎo zhēn lǐ de huà， yì shù shì shǔ yú tiān cái de！ zhè gè shì zhèn hàn líng hún de huà yǔ！
yòu liǎng běn xiāng shìde xiǎo shuō《 yuè liàng hé liù biàn shì》 hé sài lín gé de《 mài tián de shǒu wàng zhě》。 zhè liǎng gè xiǎo shuō de zhù rén gōng yòu zhe jīng rén de xiāng sì。
《 yuè liàng hé liù biàn shì》 bù fá jīng cǎi de jù zǐ。 rú：
“ shì jiè shì lěng kù wú qíng de、 cán kù de。 wǒ men shēng dào rén shì jiān méi yòu rén zhī dào wèile shénme， wǒ men sǐ hòu méi yòu rén zhī dào dào hé chù qù。 wǒ men bì xū zì gān bēi qū。 wǒ men bì xū kàn dào lěng qīng jì liáo de měi miào。 zài shēng huó zhōng wǒ men yī dìng bù yào chū fēng tóu、 lòutóu jiǎo， rě qǐ mìng yùn duì wǒ men zhù mù。 ràng wǒ men qù xún qiú nà xiē chún pǔ、 dūn hòu de rén de 'ài qíng bā。 tā men de yú mèi yuǎn bǐ wǒ men de zhī shí gèng wéi kě guì。 ràng wǒ men bǎo chí zhe chén mò， mǎn zú yú zì jǐ xiǎo xiǎo de tiān dì， xiàng tā men yī yàng píng yì wēn shùn bā。 zhè jiù shì shēng huó de zhì huì。”
“ zài 'ài zhè zhǒng gǎn qíng zhōng zhù yào chéngfèn shì wēn róu。 ài qíng zhōng xū yào yòu yī zhǒng ruǎn ruò wú lì de gǎn jué， yào yòu tǐ tiē 'ài hù de yào qiú， yòu bāng zhù bié rén、 qǔ yuè bié rén de rè qíng héng héng rú guǒ bù shì wú sī， qǐ mǎ shì qiǎo miào dì zhē yǎn qǐ lái de zì sī； ài qíng bāo hán zhe mǒu zhǒng chéng dù de miǎn tiǎn qiè nuò。…… ài qíng yào zhàn jù yī gè rén mò dà de jīng lì， tā yào yī gè rén lí kāi zì jǐ de shēng huó zhuān mén qù zuò yī gè 'ài rén。 jí shǐ tóu nǎo zuì qīng xī de rén， cóng dào lǐ shàng tā kě néng zhī dào， zài shí jì zhōng què bù huì chéng rèn 'ài qíng yòu yī tiān huì zǒu dào jìn tóu。 ài qíng fù yú tā míng zhī shì xū huàn de shì wù yǐ shí zhì xíng tǐ， tā míng zhī dào zhè yī qièbù guò shì jìng huā shuǐ yuè， ài tā què yuǎn yuǎn chāo guò xǐ 'ài zhēn shí。 tā shǐ yī gè rén bǐ yuán lái de zì wǒ gèng fēng fù liǎo yī xiē， tóng shí yòu shǐ tā bǐ yuán lái de zì wǒ gèng xiá xiǎo liǎo yī xiē。 tā bù zài shì yī gè rén， tā chéng liǎo zhuī qiú mǒu yī gè tā bù liǎo jiě de mù de de yī jiàn shì wù、 yī gè gōng jù。……”
“ wǒ men měi gè rén shēng zài shì jiè shàng dōushì gū dú de。 měi gè réndōu bèi qiú jìn zài yī zuò tiě tǎ lǐ， zhǐ néng kào yī xiē fú hào tóng bié rén chuán dá zì jǐ de sī xiǎng； ér zhè xiē fú hào bìng méi yòu gòng tóng de jià zhí， yīn cǐ tā men de yì yì shì mó hú de、 bù què dìng de。 wǒ men fēi cháng kě lián dì xiǎng bǎ zì jǐ xīn zhōng de cái fù chuán sòng gěi bié rén， dàn shì tā men què méi yòu jiē shòu zhè xiē cái fù de néng lì。 yīn cǐ wǒ men zhǐ néng gū dú dì xíng zǒu， jìn guǎn shēn tǐ hù xiāng yǐ bàng què bìng bù zài yī qǐ， jì bù liǎo jiě bié de rén yě bù néng wéi bié rén suǒ liǎo jiě。 wǒ men hǎo xiàng zhù zài yì guó de rén， duì yú zhè gè guó jiā de yǔ yán dǒng dé fēi cháng shǎo， suī rán wǒ men yòu gè zhǒng měi miào de、 shēn 'ào de shì qíng yào shuō， què zhǐ néng jú xiàn yú huì huà shǒu cè shàng nà jǐ jù chén fǔ、 píng yōng de huà。 wǒ men de nǎo zǐ lǐ chōng mǎn liǎo gè zhǒng sī xiǎng， ér wǒ men néng shuō dé zhǐ bù guò shì xiàng ‘ yuán dīng de gū mǔ yòu yī bǎ sǎn zài wū zǐ lǐ ’ zhè lèi huà。”
zhāng xián liàng zài 〈 lǜ huà shù 〉 zhōng shuō：“ fán shì chū xiàn liǎng cì de shì wù bì yòu mǒu zhǒng yì yì， nà jiù shì mìng yùn！”
wén xué， wén xué zhēn de shì hěn nán yán de dōng xī， tā rú cǐ lìng rén fèi jiě， tā bù shì kào zhì lì， bù shì kào lǐ xìng kě yǐ bǎ wò de。 kē xué zuì dà de bì duān shì kě yǐ mó fǎng。 jí shǐ nǐ hěn bèn， nǐ réng rán kě yǐ zài kē xué shàng zuò chū chéng jì， yóu qí shì huà xué！ ér wén xué zé bù rán！ zhè gè yě xǔ jiù shì wén xué de mèi lì！ tā rú cǐ lìng wǒ chī mí！ ní cǎi shuō：“ mó fǎng wú yí yú zì shā”。 kē xué de běn zhì zhèng shì mó fǎng。
Plot summary
The novel is written largely from the point of view of the narrator, who is first introduced to the character of Strickland through his (Strickland's) wife and strikes him (the narrator) as unremarkable. Certain chapters are entirely composed of the stories or narrations of others which the narrator himself is recalling from memory (selectively editing or elaborating on certain aspects of dialogue, particularly Strickland's, as Strickland is said by the narrator to be limited in his use of verbiage and tended to use gestures in his expression).
Strickland, a well-off, middle-class stock broker in London some time in the late 19th or the first half of the 20th century. Early in the novel, he leaves his wife and children and goes to Paris, living a destitute but defiantly content life there as an artist (specifically a painter), lodging in run-down hotels and falling prey to both illness and hunger. Strickland, in his drive to express through his art what appears to continually possess and compel him inside, cares nothing for physical comfort and is generally ignorant to his surroundings, but is generously supported while in Paris by a commercially successful yet unexceptional Dutch painter, Dirk Stroeve, a friend of the narrator's, who immediately recognizes Strickland's genius. After helping Strickland recover from a life-threatening condition, Stroeve is repaid by having his wife, Blanche, abandon him for Strickland. Strickland later discards the wife (all he really sought from Blanche was a model to paint, not serious companionship, and it is hinted in the novel's dialogue that he indicated this to her and she took the risk anyway), who then commits suicide - yet another human casualty (the first ones being his own established life and those of his wife and children) in Strickland's single-minded pursuit of Art and Beauty.
After the Paris episode, the story continues in Tahiti. Strickland has already died, and the narrator attempts to piece together his life there from the recollections of others. He finds that Strickland had taken up with a native woman, had at least one child by her (only a son is directly referenced) and started painting profusely. We learn that Strickland had settled for a short while in the French port of Marseilles before traveling to Tahiti, where he lived for a few years before finally dying of leprosy. Strickland left behind numerous paintings, but his magnum opus, which he painted on the walls of his hut in a half-crazed state of leprosy-induced blindness, was burnt down after his death by his wife by his dying orders.
Inspiration
The inspiration for this story, Gauguin, is considered to be the founder of primitivism in art. The main differences between Gauguin and Strickland are that Gauguin was French rather than English, and whilst Maugham describes the character of Strickland as being largely ignorant of his contemporaries in Modern art (as well as largely ignorant of other artists in general), Gauguin himself was well acquainted with Van Gogh. How many of the details of the story are based on fact is not known. However, Maugham had visited the place where Gauguin lived in Tahiti, and purchased some glass panels painted by Gauguin in his final days.
About the title
According to some sources, the title, the meaning of which is not explicitly revealed in the book, was taken from a review of Of Human Bondage in which the novel's protagonist, Philip Carey, is described as "so busy yearning for the moon that he never saw the sixpence at his feet." Presumably Strickland's "moon" is the idealistic realm of Art and Beauty, while the "sixpence" represents human relationships and the ordinary pleasures of life.
Adaptations
The book was filmed by Albert Lewin in 1943. The film stars George Sanders as Charles Strickland.
The novel served as the basis for an opera, also titled The Moon and Sixpence, by John Gardner to a libretto by Patrick Terry; it was premiered at Covent Garden in 1958.
Writer S Lee Pogostin adapted it for American TV in 1959. It starred Laurence Olivier
In popular culture
In the opening scene of Francois Truffaut's cinematic adaptation of Fahrenheit 451, several firemen are preparing books for burning. In the crowd of onlookers is a little boy who picks up one of the books and thumbs through it before his father takes it from him and throws it on the pile with the rest. That book is The Moon and Sixpence.
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传记>> máo mǔ William Somerset Maugham yīng guó United Kingdom wēn suō wáng cháo (1874niányuányuè25rì～1965niánshíèryuè16rì)
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