The Moon And Sixpence的读后感10篇
《The Moon And Sixpence》是一本由W. Somerset Maugham著作，Penguin Classics出版的Paperback图书，本书定价：USD 13.00，页数：204，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。
《The Moon And Sixpence》读后感(一)：The Moon vs. Sixpence
quot;Like so many young men, he was so busy yearning for the moon that he never saw the sixpence at his feet."
From Times Literary Supplement
The Moon and Sixpence is a novel written by William Somerset Maugham said to be based on the life of the painter Paul Gauguin. It is told by the first-person narrator so as to give readers freedom to imagine some parts of it. Generally speaking, it’s about Charles Strickland’s pursuit of his lifelong “love”, painting. At the beginning, he was a stockbroker who led a wealthy but dull life. He seemed dull too. But one day, without any forerunner, he went to Paris to make his painting dream come true. During his stay in Paris, Blanche, the wife of a friend of his, fell in love with him and even broke up with her husband. This relationship didn’t have a happy ending because Strickland just wanted to paint nude Blanche, after which he just left her as he left his wife years ago. Then Strickland went to a small island called Tahiti, on which he married a local girl and had kids. Though he had leprosy in his last years, he spent some quite peaceful time there, according to his acquaintances (because when the narrator arrived there, he was already dead).
This novel is a very powerful one, because of the details, the comments and thoughts of the narrator, and essentially the theme. It is called The Moon and Sixpence. According to my understanding, the story is about “the moon vs. sixpence”, in other words, ideal vs. reality. It is such a dilemma for most people, same for the stockbroker Strickland. His later choice made him one in a million, as he decided to give up all he had but his deep-in-heart ideal. That’s heroic.
“When people say they do not care what others think of them, for the most part they deceive themselves. Generally they mean only that they will do as they choose, in the confidence that no one will know their vagaries; and at the utmost only that they are willing to act contrary to the opinion of the majority because they are supported by the approval of their neighbors. It is not difficult to be unconventional in the eyes of the world when your unconventionality is but the convention of your set.”
It’s just amazing to see someone that devoted to his interest, when no one, literally no one around him showed any support. And it is moving. Just ask yourself whether you can do it or not. The answer will tell you why people shed tears for these heroes who follow their hearts. Human are human because we are socialized. But socialization doesn’t only have advantages; it has disadvantages too, making us lose ourselves in others’ opinions, for instance. With the disapproval of others actually comes more, like poor living condition. Compare Strickland’s two appearances before and after the decision to pursue his dream, you are really going to be astonished at the impact a dream can exert: how can such a respectable man settle in as someone no better than a tramp？ The answer was given in the last chapters when Captain Nichols talked about Strickland, “He was eternally a pilgrim, haunted by a divine nostalgia, and the demon within him was ruthless. There are men whose desire for truth is so great that to attain it they will shatter the very foundation of their world.” So incisive the comment is that I don’t think more is needed to add. Some kind of emotion, like passion, is hard to tell but to feel. Thanks to Maugham’ impassioned depiction of the last work of Strickland, an enormous painting drawn on the wall of his house on Tahiti, I think I can feel his violent passion for painting. “It was strange and fantastic. It was a vision of the beginnings of the world, the Garden of Eden, with Adam and Eve -- <i que sais-je？> -- it was a hymn to the beauty of the human form, male and female, and the praise of Nature, sublime, indifferent, lovely, and cruel. It gave you an awful sense of the infinity of space and of the endlessness of time.” If there’s more I can hope for, it is the painting itself. Unfortunately, it’s just a fiction, even in the story, the painting disappeared as the house being burnt down, not a bad ending though. It may be a revenge on those conformists who had tried to make him a conformist too.
As far as I am concerned, there is no need or possibility that everyone follows his dream. But if you are lucky enough to meet one, please applaud for him, if not for his sake, for the sake of the moon in your heart. You know he deserves it.
《The Moon And Sixpence》读后感(二)：你的艺术是画画，我的艺术是生活
我们不妨先考虑另一个故事：一个基金经理，有个漂亮优雅的老婆，家里俩孩子健康而体面。突然，他不辞而别，抛弃了家庭，抛弃了工作，疯了一样得一个人跑去纳米比亚研究数学理论。他切断与家人的一切联系，也无所谓他人的看法。他辗转了几个国家，拆散过别人的家庭，也组成过新的家庭，最终带着他的爱好死在了巴巴多斯。几十年后，他的一个老相识在巴巴多斯旅游时发现了他的遗踪。老相识拾起了他的数学理论手稿，拿回大学找教授们研究这些手稿的价值。
“这么传奇的人生一定有着非凡的成就吧？！”老相识是这么跟教授们说的。
“对不起，我们持保留意见。这些理论在我们看来一文不值，因为这些理论早就被证明过了。”
一个传奇的人生若没有惊叹的结局，这还会是同一个故事嘛？
我问我自己，如果我真有一分钟想要追随Strickland脚步的冲动，我是想要拥有他的浪漫，还是想要社会认同我的浪漫？
我不知道。
那如果没人觉得Strickland浪漫，甚至至今所有人都觉得他的画是地摊烂货，那么我是不是还有勇气去体会这么一分钟的冲动？
至少我犹豫了。
但是Strickland没有犹豫过，当被人提起他的画和一些名家很像时他权当没有听见；对于那些只为追求画家名声而购画的人他嗤之以鼻。以至于”我“不得不赞叹，这才是真正的艺术家。
在1954年毛姆的一封信中他提到"If you look on the ground in search of a sixpence, you don't look up, and so miss the moon."即便是在1919年出版的时候，六便士也仅是微不足道的钱。而月亮，固然美好，却也不如六便士来的实在。到底该选六便士还是该选月亮呢？书中的“我”只在接近书末时候感叹到“他（Strickland）的艺术来自画画，我的艺术源于生活”。
“我”选择了折中“。但”我“有很好的借口，让人觉得我还是个浪漫主义的苗子。
书中的“我”能够为一个朋友远赴巴黎去调查老公的行踪，能够宽容的对待一个满口恶言的艺术家，能够欣赏文学，品味油画，能够在大洋上的小岛探索一个老相识的传奇。这也是浪漫。更重要的，“我”对此很在行。
这个发现不禁让我欣喜，因为它解决了我的犹豫。为什么我不能选一个我所擅长的领域，以艺术的方式进行下去呢？
这么粗鄙的想法一定是又一个没有勇气放弃的人的折中之术。倘若我能说给Strickland听，他眼里必然流露出对我折中世俗想法的鄙视。但是他自己呢，在被“我”大骂人面兽心之时，他也不曾在乎过啊！
《The Moon And Sixpence》读后感(三)：fulfill the purpose
A man,40-year-old,a broker,with a happy family,beautiful wife and a son and a daughter.But he left all of that,left London to Paris.Everybody thinks he dumped everything just for a women.
Until the author went after him,and found that he dumped anything for Art--painting.The leading role of this story is Strickland.
There is only W.Somerset Maugham can create this story in around of the world.
A mature person,in other words, a normal middle aged person,always take the big responsibility.some of them lead the wealth life to him and his family,others may be poor,but also need to support his whole family.what he can do,what a middle aged person can do,genereally,they just can track the past life and move on.There is little change,this is the most plainnest period,just follow the track.
However,Strickland dumped all his well life,live poor,no food,even no roof to shelter,he always need to borrow money from his friends to support his life. Maybe He has no tallent,at the beginning,his paintings could not be appreciated by nobody,he was nearly dead once he was very sick. His friends，Dirk,a stout friendly Dutchman,save him by carry him to his studio,but Strickland seduced Dirk Stroeve's wife.Strickland do not like her at all,he just wanted to sex and after he finished her nude painting,he had little feeling about her and dumped her, Mrs Stroeve commited to suicide.Strickland totally without any regret about it.
...
trickland left Mrs.Stroeve's nude painting on Dirk's studio. Dirk think it's Strickland's best painting.
....
trickland is totally out of any bondage.no friend,no money,no food,he is free,could painting.
At the end of the book,Before he was dead he paint pretty wonderful paint,then Strickland is no regret for his whole life,he have fulfilled his purpose.
trickland always say it doesn't matter a two penny damn to me.I thought the title<Moon and sispence>,Moon stands for dream while sispence stands for trival stuff.
In all,it's a very great book,I can't even narrate the whole story，and express my whole feeling.But I am really touched in the bottom of my heart.
I read the Kindle edition on my phone,I would like to buy a paper one.and my english need to be improved urgently.
W.Somerset Maugham becomes my favorate author.
《The Moon And Sixpence》读后感(四)：月亮还是六便士，这不是一个问题
很多时候，尤其是等你长大之后的很多时候，你还就真的不得不承认这世上就是有很多所谓的「天才」。他们的存在多么让人沮丧——当他们在各自的领域都已做到极致，我们还吭哧吭哧地努力个什么劲啊。你再能写作，这世上已经有莎士比亚，有陀思妥耶夫斯基了。你再能谱曲，已经有巴赫、莫扎特了。你再能打球，打得过科比么，打得过张继科么。你再最强大脑，你比得过水哥么。
你小时候说长大了要当什么来着？宇航员？科学家？建筑师？再不济也是个警察啥的吧。可是长着长着，当你某天听到朴树的《平凡之路》，听到李宗盛的《山丘》，你居然有了心头有被闷棍重重一击的感觉。平凡，果然是，「唯一的答案」。你笑笑，然后越来越懂得如何圆融地去与生活讲和，如何「嬉皮笑脸面对人生的难」。
但。
我们总还是希望能看到有人能冲出现实的周遭，英雄一般地，过一遍我们没能过成的人生。提醒我们还是有另一种人生。Don’t take anything for granted.
像毛姆书中的那个“我”，躲在寻常的作家身份背后，在认知人性的旅途中去冒险。活不成那样的人，至少可以在别人的故事里去一次呀。
I recognized its social values, I saw its ordered happiness, but a fever in my blood asked for a wilder course. There seemed to me something alarming in such easy delights. In my heart was a desire to live more dangerously. I was not unprepared for jagged rocks and treacherous shoals if I could only have change – change and the excitement of the unforeseen.
在The Moon and Sixpence里我们可以遇见一个。他叫Charles Strickland。
做得好好地股票经纪人，优渥的生活，妻子儿女。然而这位在所有人眼中从来都是循规蹈矩、平乏无味的中年大叔Strickland突然在他四十岁的某一天留下张字条就出走了。对，就是留了张字条，没有一句解释地，出走了。身上就一百块钱，住在巴黎破旧的旅馆，为要从头开始学画画。
我猜你想知道他做这样的决定挣扎过吗？对自己有过诸如 「月亮还是六便士，这是一个问题」这般哈姆雷特式的诘问吗？然而答案恐怕是要令你失望的，因为对于Strickland，这从来都不是一个要他挣扎要他选择的问题——因为被所谓「the divine tyranny of art」抓住的时候，他没有选择。
毛姆借着小说叙述人的口是这样说的：
And the passion that held Strickland was a passion to create beauty. It gave him no peace. It urged him hither and thither. He was eternally a pilgrim, haunted by a divine nostalgia, and the demon within him was ruthless. There are men whose desire for truth is so great that to attain it they will shatter the very foundation of their world. Of such was Strickland, only beauty with him took the place of truth. I could only feel for him a profound compassion.
那这样的人，这样被艺术的暴虐抓住，以至于在社会道德的维度尽显混蛋本色（于家庭抛妻弃子、于朋友以恶报善，于一个死心塌地爱他的女人，用不爱逼死）的人，至少在其对艺术生命的追求上总该是个正能量的故事吧，然而依然并不是。贫困潦倒、在巴黎差点病死、沦落为码头工人、最后在小岛上得了麻风病死去。生前的作品不被赏识，临死拼着最后一口气画的整个屋子——他艺术生命完全彰显的作品，一定要让Ata答应在他死后一把火通通烧掉。死后倒是他的画作变得非常值钱，然而，那与他自己本身的命运，已经毫无关系了。
从前喜欢拿月亮和六便士说事，觉得自己要在两者的选择中间纠结。
而今认真重读一遍，才开始理解——月亮还是六便士，其实并不是一个问题。
对于Strickland们来说，他们往往都是被一个高于他们自身的纯粹力量抓住，而根本没有选择的人。那个力量，可以是所谓的Calling或者Vision。那个力量，可以是关于真理或者爱或者美。对他们而言，一旦月亮在他们的生命里出现，六便士便不复存在了，至少，他们完全看不见了。
而对于平凡的我们来说，所有在月亮和六便士之间的举棋不定、纠结摇摆，不过是我们没有被真正给到那个月亮的可选项，不过是月亮并没有以其绝对的、不能左右的姿态出现在我们的生命当中。因而，对于我们来说，月亮还是六便士，也并不是一个问题。如果我们觉得有，那也应该是我们矫情自我杜撰的伪问题。我们不过是，又贪恋六便士提供的安适，又对美丽的月亮心动不已。尽管很难去承认，我们大多数的时候，可能真的只是，叶公好龙。
所以，Christine同学，以后有两点请你记得：
一，对你自己，请记得不要动不动拿月亮和六便士说事。
还记得苏轼的那句话吗？
「欲仕则仕，不以求之为嫌；欲隐则隐，不以去之为高。」
就是这样。
二，对别人，要去了解，不要论断。因为多的是，你不知道的事。
当时读的时候，书里的叙述者有一个态度你很受教，记下来给你：
I am a little shy of any assumption of moral indignation. There is always in it an element of self-satisfaction which makes it awkward to anyone who has a sense of humor. It requires a very lively passion to steel me to my own ridicule. There was a sardonic sincerity in Strickland which made me sensitive to anything that might suggest to a pose.
可是你说，怕自己会在六便士里渐渐变得麻木，怕有一天认不得月亮的样子怎么办？
那就多去书里，电影里，音乐里，旅途中去遇见真正心有月光的人。遇不到，不苛责，因为谁都并不欠你这个。遇到了，是令人欢喜的幸运，是赚到了。
至于那些「天才」嘛，他们是他们，你是你啊。
平凡如你，你的快乐不就在于胡适爷爷的那句：
「怕什么真理去穷，进一寸有一寸的欢喜。」
《The Moon And Sixpence》读后感(五)：无关梦想
我大概就此成为毛姆的脑残粉了吧.
这一切的起源倒不是读了他的任何一本书, 而是这个镜头一直都在我心里忘不掉:
那还是未搬家前的书房, 你取下那套书, 给我: 有人问我要过这套书, 但是书要给值得的人, 你拿去吧.
那套书的第一本, 就是<毛姆读书笔记>
那个午后并不大的书房里的阳光, 刻骨铭心, 暖色的阳光里我只看到时间的残酷.
不嫌弃的话, 这篇文章献给你, 我读书道路上重要的领路人.
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月亮与六便士, 打破了我不在Kindle上看小说的传统, 成为我看的第一本毛姆.
这是一个非常容易被理解成"一个追梦人"的故事: 一个循规蹈矩的股票交易员, 有一天发现了自己真正激情所在, 于是抛下妻子, 先到巴黎, 而后到一个莫名的小岛, 专心地画画, 寂寞地死去, 在他死后, 世人称他为天才.
可以非常轻易地就撰写出类似知音体的文字: 一定要不顾世俗的目光追随你的梦想啊少年, 成功一定会找到你的.
然而在我眼里, 这样的解读未免太方便, 太轻巧, 太省力气, 太哗众取宠, 太牵强附会, 太讨好了.
在我眼里, Charles Strickland 是一个被魔鬼, 或者亦可以说是被天使俯身的人.
他这么解释自己为什么要画画: 这就好像一个人溺水了, 不管他是不是会游泳, 游得好不好, 他一定要游, 不然他就会淹死.
当你被一种巨大的力量击中的时候, 也许真的是无路可逃, 只能迎流而上. 世人看到的是创造出的美, 然而正如毛姆在小说里反反复复强调的, 鲜有人看到创作者在背后的挣扎与折磨, 而理解不了这份挣扎与折磨, 反过来又无法真正理解最后的美.
我一直相信世界上分成两种人, 一种是循规蹈矩的传统意义上的人, 一种是被赋予特殊使命的天才, 或者是魔鬼, 他们也许会在前半生装扮成一个普通的人, 但到某一个节点, 埋藏在命运旋律里的那个鼓点一定会爆发. 于是我们拥有了达芬奇, 梵高, 莫扎特, 马勒, 柴可夫斯基...(<--艺术知识的匮乏一览无遗...)
有这些人的存在对于这个世界是一件幸事, 然而对于这些个体而言, 命运通常都是悲剧性的, 不仅仅体现在身体/精神上的折磨, 还有的是来自别人的异样的目光. 虽说我也对Strickland面对爱自己的女人自杀竟然无动于衷这一事实感到愤怒, 然而最后他得上麻疯在村子里无人敢接近自己独自在屋子的墙上画画还是颇为凄凉, 欣慰的又是这些人通常都有着对他人评价不屑一顾的铁石心肠, 或者说是自我保护--当然也有少数过于敏感的因此而更加悲惨的人, 譬如说梵高.
绕回来到Strickland这个例子, 我相信他只是在中年时得到了指使, 看到了自己的本命所在, 而除了执行, 除了画出他内心的那头野兽, 他别无选择(不得不说溺水的比喻真的很妙). 在这条道路上他可以无视别人的不解, 嘲讽, 愤怒, 金钱上的贫乏, 病痛的折磨, 而他之所以可以忍受这一切并不是因为什么梦想的力量大于一切, 而仅仅是他一直在和时间赛跑, 看是自己先把内心的那头野兽解放出来, 还是慢了一步而被它撕得粉碎.
从这个意义上说, 这是一个求生的故事, 而人类求生的本能总是最强大的. 所以他最后失明在那个小屋子里可以恬然地死去, 可以从容地交付妻子把巅峰之作付之一炬, 因为他知道他跑在了前面, 这不算是一种胜利, 而仅仅是他活下来了, 得到了喘息的机会. 尽管代价是真正的死去.
这本书做不了什么人生哲理启蒙故事, 也不能激励我放下一切就此开始新生活. 因为我不知道我是谁, 我不知道我属于普通的那批, 还是属于幸运的或是不幸的被标记的特殊的那一批. 而在这也许存在的命运的鼓点到来之前, 我能做的, 唯有等待, 像毛姆所说, 看着自己的生活, 像一条安静的而又毫无意义的溪流, 穿过平原穿过树林, 流入平静的大海. 而当这条溪流路过那个特别的村庄, 那个梦里出现的一看见就觉得似曾相识的就知道命之所属的地方, 我只希望自己有足够的力量和勇气, 去跟上, 去超过, 去享受, 这个已经写好的命运.
《The Moon And Sixpence》读后感(六)：厌女症的毛姆
关于毛姆其人：William Somerset Maugham1874年1月25日生于巴黎。父亲是供职于英国驻法使馆的律师。毛姆不满十岁时成为孤儿被送回英国由伯父抚养。在坎特伯雷皇家公学的日子里常常受到欺凌和羞辱。
关于什么样的人可以成为伟大的作家一问，已经有哲人给出答案即：“童年不幸的人”。痛苦的童年使得毛姆孤僻、敏感、内向，培养出了一个观察者的性格。然而苦难的磨砺可能影响一个人的视角，幸福的人眼里的世界是温暖的，不幸的人眼里的世界是龌龊的，因而他们写出的东西既可说是深刻，也可视为阴郁。在不友好的社会中存活下来，成为毒舌是很正常的。
艺术追求与社会桎梏的冲突
《月亮和六便士》中的主人公像被魔鬼附体般突然迷上绘画出走后，过上了像流浪汉一样的生活，在巴黎住在寒酸的小旅馆，在大溪地无法保持稳定的工作。这其实很正常，我所认识的艺术家通常认为流浪给人灵感，好的艺术家不应该过着太物质的生活，那样艺术很快也会商业化失去初心。
关于思特里克兰德抛弃一切社会桎梏后展现出的毫无礼仪的粗暴行为以及毫无感恩之心的恶毒，很多人解释为艺术家的天性。社会的各种压力确实可能使人喘不过气，无法自由创作。但是私认为对自由的渴望与对他人一概的恶意是两回事。无论把这位艺术家捧到什么天才的地位，这个人冷酷嘲笑热心帮助过自己的所有人，没有任何善良的品质，用太宰治的话来说就是“人间失格”。大爱无疆，好的艺术应该是悲天悯人的。真正的艺术家不需要做一个彻底的混蛋。
女人与爱情
虽然文学作品永恒的主题是爱情，但是《月亮和六便士》里的主人公思特里克兰是最鄙视爱情的，或者说也许毛姆本身不那么相信爱情，毛姆的行文间偶尔会有轻度厌女症一样的理论：——“为什么讨人喜欢的女人总是嫁给蠢物？”——“因为有脑子的男人是不娶讨人喜欢的女人的。”
于是书中的爱情描写就会有这样的论调：“她对自己的丈夫从来就没有什么感情，过去我认为她爱施特略夫，实际上只是男人的爱抚和生活的安适在女人身上引起的自然反应。大多数女人都把这种反应当做爱情了。这是一种对任何一个人都可能产生的被动的感情，正像藤蔓可以攀附在随便哪株树上一样。因为这种感情可以叫一个女孩子嫁给任何一个需要她的男人，相信日久天长便会对这个人产生爱情，所以世俗的见解便断定了它的力量。但是说到底，这种感情是什么呢？它只不过是对有保障的生活的满足，对拥有家资的骄傲，对有人需要自己沾沾自喜，和对建立起自己的家庭洋洋得意而已；女人们秉性善良、喜爱虚荣，因此便认为这种感情极富于精神价值。但是在冲动的热情前面，这种感情是毫无防卫能力的。”听起来很难听，因为戳中了大部分的爱情关系的核心。
而思特里克兰德呢，第一次出场是中规中矩的社交场合，虽然不善言辞，也不失礼。紧接着他突然人格转变，爆发出尖刻冷漠的一面，抛家弃子学画画去了。
这位思特里克兰德的爱情观为：“我不需要爱情。我没有时间搞恋爱。这是人性的弱点。我是个男人，有时候我需要一个女性。但是一旦我的情欲得到了满足，我就准备做别的事了。我无法克服自己的欲望，我恨它，它囚禁着我的精神。我希望将来能有一天，我会不再受欲望的支配，不再受任何阻碍地全心投到我的工作上去。因为女人除了谈情说爱不会干别的，所以她们把爱情看得非常重要，简直到了可笑的地步。她们还想说服我们，叫我们也相信人的全部生活就是爱情。实际上爱情是生活中无足轻重的一部分。我只懂得情欲。这是正常的，健康的。爱情是一种疾病。女人是我享乐的工具，我对她们提出什么事业的助手、生活的伴侣这些要求非常讨厌。”
因此我认为毛姆本人有厌女症。“但凡男人写女人的东西都是值得怀疑的，因为男人既是法官又是当事人。”有学者如是说。
爱达
无法长期忍受女人的思特里克兰德人生后期与土著女子爱达生活在一起。思特里克兰德说：爱达给他自由，做饭、照顾孩子，听从他的话，她满足他对女人所希望的一切。听起来这不是爱情，但是的确是婚姻的一种常态。
我相信爱达懂爱情，而且她的爱情是超越到一种境界的。她给了这个艺术家自由，照顾他的起居，使他有安定的生活环境，有足够的时间精力去创作大量杰作。后来思特里克兰德染上麻风病，整个岛都开始躲着他们，她还是照顾着病人。而照顾过重病患者的人大概都知道恶疾是一种多么消磨人的意志的龌龊的事情，尤其那性格乖戾暴躁的病人是多么难伺候，可爱达被人们孤立依旧没放弃自己的男人。思特里克兰德壁在逝世前要求爱达在他死后把墙上的伊甸园壁画付之一炬，爱达同意了，可是那是她的房子，她的财产，她无条件满足爱人的心愿，烧掉了自己的家。
人们在这本小说里看到了一个一心追求艺术、不通人性世故的怪才，开始思考逃离世俗社会寻找心灵家园的可能性。而女人在毛姆笔下是庸俗的，满脑子爱情、琐事与物质，劣根性很重，不值得赞赏的。土著女子就更低级了，饭店老板娘当初说土著姑娘就是喜欢白人，带有西方意识的无耻的优越性。后世大多把《月亮和六便士》解读成了一本探讨艺术与桎梏的小说。因为不同的人生会造成读同一本书的不同角度与感受。然而私以为越过西方视角以及男人视角，爱达才是全书里最伟大的人物。
《The Moon And Sixpence》读后感(七)：Well, it is life.
偶遇毛姆。
记得有人说过，读完一本好书就像要和一个很好的朋友分别，会难过。
的确，读到后来的时候有一种深深的眷恋感在里面，甚至都不希望故事结束。
You will never know what life is really like or could be like. When you seek something and when you are responding to the voice inside your heart, you will know, I believe, it is the way you should go.
ut, too many times, what I did was to tell the inner voice,"Good girl, why don't you wait？ We will embrace the best time to satisfy your thirsty very SOON." However, the best time, most of the cases, will never come; or it will come when you do not desire it any longer.
What Maugham depicted, without doubt, was not simply a character called Charles Strickland, which was a genius, an artist, a obscure but attractive person; instead, he described, from the eyes of my present me, was a life attitude: human beings are obscure creatures, and you always need to gather up your courage and to respond to your inner voice. (No, this is not what I really want to say...)
Well, about the details, to tell the truth, it was from the other characters, other than Charles Strickland, that I pounded more on and identified myself with.
Like Stroeve.
When he was loving his wife with all his heart and tried so hard to win her back, I saw stupidity of my own, which is not only a stupidity caused by love or romance. Too many times, we know that we cannot win something back no matter how hard we try, but we will still go for it, holding on the fancy that our efforts, love, sympathy--everything sentimental--will move the "god" and produce a good result; all of these efforts and emotions were just excuses and pretexts we found for ourselves in order to avoid the truth, the merciless, cruel, sordid truth.
ometimes, it is not ugly, but beauty, that is cruel, that challenges all our life routines and moral disciplines, and that is heinous.
Just like life and human--the reality is not pretty, nor totally sordid. It is just the reality, it is just the truth. It is just the fact that we need to be faced with.
ut, certainly, it is admitting the fact that all the things mentioned above existed in oneself that deserves the most courage.
est parts I love--Chapter 39, 42, 43.