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《The Moon and Sixpence》经典读后感10篇

2018-01-06 21:27:01 来源:文章吧 阅读:载入中…

《The Moon and Sixpence》经典读后感10篇

  《The Moon and Sixpence》是一本由W. Somerset Maugham著作,Vintage Classics出版的Paperback图书,本书定价:GBP 7.99,页数:224,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):Moon is distant, pence is secondhand

  At the age of twenty, 30th Dec 2013, the last day of 2013,three days after my birthday. I am sitting in one of the small compartment of countless complexes in Hong Kong , doing duties like making phone calls and paying the monthly tax return for my boss. For my personal time, I would watch online funny videos. my time has been squandered in the most meaningless way and the black hole of time sucked it all without a single sticky note to remind me.

  I looked into the mirror, where my face was emerged from the reflection of mercury, I saw a face without wrinkles and anguish, a face that is dauntless of fear and death, the face with ignorance and listlessness. I was terrified, trembled. And I told myself, it is the time to make a change. Give me a moment of confusions on the bus or during the coffee break, but give me a heart with peacefulness and steadiness when I am back to the earthy life. Listen only to my inner voice but not the voices with the sound of tossing coins, or the flipping of bundles of bonds.

  trickland in the book by Somerset Maugham the Moon and Sixpence spent the early 47 years as an ordinary man. The ordinary means living under the stigma of society, under the chain of love, under the standard of what has been defined as success. Some readers criticized that Strickland had been doing subtraction for the later half of his life while doing addition for the former part. But what is subtraction of time? Can you explicitly explain what kind of state of life is no wasting? Solid state? Which you are chasing and obtained the goal of others but lost your uniqueness and gifts. One day when you look back, you cried out in silence, overwhelmed with the feeling of wilderness. Liquid state? Which you tried to chase, but failed then moved to the lower level stigma, living, breathing, easting, nursing, delved into the daily chores and suffocated to death. Or gas state? Seeking, drifting, uncertain, cant make up your mind, eventually give up, constantly circling in the vicious cycle.

  trickland is not one of us, he seized his life in his own hand. He has the mega strong-willed mind to even decide on the life or death of his own. He is challenging the underlying of theocracy of humanity. The exception came along with great freedom, in which he maxed out his talent, his perception, and his selfishness. He gave an amnesty of himself, where most people not dare of doing. In the French documentary “Le Joli Mai”(The Lovely Month of May), the ending is summed up in this way” 只要贫穷尚存,你就不算有钱。只要忧伤尚存,你就不算快乐。只要监狱尚存,你就不算自由。” We are not free, not free from the regime, not free from the family, and not free from anything starts with “I”. Maybe, life is mounting a mountain that does not exist, but stand still will cause anxiety.

  《The Moon and Sixpence》读后感(二):人啊,是一种很有意思动物

  扇贝上读完了英文版。

  13年就读过中文版,但16年重新读英文版时,感受完全一样,或者说,在13年读的时候感受并不深刻。起初,我为主人生气,因为我似乎看到了作为女人,我也许很可能就是他在伦敦的老婆样子形象。但毛姆的文笔和对人性的描述针对很赞,随着情节慢慢展开,我逐渐认识并反思,最终迫不得已的承认了,从古至今月亮和六便士就无法很好的相容。世俗生活激情梦想的冲突无法调和。你要过什么样的生活,取决于你的选择

  只有一点:不要随意评价别人,也不要让别人随意评价你。

  这本书,我经历了几个情绪阶段。第一个阶段是前半部分主人公脱离在欧洲的生活时,他的无情和自私,让我对其妻子产生深深的同情,但是同时理解到主人公内心深深的孤独感。他的孤独,就像我们每个在城市中生活的人一样,是置身于闹市,而仍然感到的孤独。第二个阶段,是主人公鸠占鹊巢,朋友的妻子跟抛弃朋友跟着他最终自杀。对此,我对朋友又爱又恨,他是一类人的代表,我们身上都或多或少有他的影子。对主人公,我无法理解,他在毁灭自己的同时,也毁灭了别人。不过,对于朋友的妻子,她在被毁灭的同时,也在追求自己的内心。我无法评价。第三个阶段,略无聊,是主人公穷困潦倒一个人蹭东蹭西当船员在来到大溪地之前的日子,从各种路人甲路人乙的描述中逐渐还原出他那段时期的生活。第四个阶段,便是到了大溪地后的生活,与世隔绝世外桃源,一个足够他需求同时给他自由的女人,徐徐展开的生活画卷,直到他死的时候,他盲了一年,却更加的清醒,完成了无与伦比的杰作,最终与上帝达成和解,与自己达成和解。这个阶段,被深深的震撼,也对主人公有了很多的理解。

  引用一段评论:“查尔斯疾步如飞,如愿以偿地追上了他的噩运。5年之后,他在巴黎贫病交加,躺在小阁楼里奄奄一息,若不是朋友相救,几乎一命呜呼。后来,他沦落街头成了码头工人。又过了几年,他自我流放到太平洋的一个小岛上,身患麻风病,双目失明,临死之前叫人把他的巅峰之作付之一炬。15年之内,这个伦敦的股票交易员风驰电掣,越过城市、越过文明、越过中产阶级,越过太平洋,越过人性,终于追上了命运这匹烈马。”

  毛姆对人性的理解和描述,引人深思

  任何一个普通人,如果拷问其人性来,他的一生,都是波澜壮阔的人性史。

  所以说啊,人啊,是一种很有意思的动物。

  《The Moon and Sixpence》读后感(三):理想现实的两面

  个人推荐指数五星,这本书的作者是毛姆代表作。

  本文采用第一人称的视角叙述。主人公是一名作家,认识了思特里克兰德一家。这个家庭看上去美满幸福,但是思特里克兰德先生总是显得缺乏活力。不久之后思特里克兰德离开了家庭,去了巴黎,决心寻找自己的“艺术”。主人公找到思特里克兰德,他决心挣扎这种生活。思特里克兰德太太后来找到了谋生的技能,过得很好。五年之后主人公在巴黎见到了思特里克兰德,他过得穷困潦倒,但是依然沉浸在自己的梦想中,从未觉得后悔。在追求艺术的过程中,他的才能也渐渐得到认可。后来思特里克兰德决定抛弃文明生活,来到了接近原始的南太平洋群岛的塔希提岛,与主人公偶然相逢。思特里克兰德娶了一名土著姑娘,并且生了三个孩子,度过了三年短暂的幸福时光。后来孩子们死了,他也得了麻风病。最后在失明的时候在墙上完成了一幅力作。土著妻子埋葬了他,并且遵照他的遗愿,把他的遗作予以销毁,尽管主人公惋惜不已。而主人公也在他的绘画中理解了他的追求。

  1开始我对Charles 非常讨厌,我觉得这个人极度以自我为中心恩将仇报,太冷漠,没有责任心,但是到了后来,他来到小岛上过上幸福生活,也为他高兴,得了麻风病之后,受他人的冷漠,自己的孩子也死掉,感到好哀的。

  2一个人到了四十岁突然醒悟过来,追求自己儿时的理想,抛弃老婆和孩子,一个人跑到巴黎。需要多大的勇气和决心。

  3一个女人刚开始得知自己的男人跟外面的女人跑了,她说她会原谅他,到死也等着他回来,永远爱着他。后来才知道自己的男人为了画画去了巴黎,情感上并没有出轨,但是再也不回来,她永远恨这个男人,永远不会原谅他。咋一听觉得多么奇怪的逻辑。可是我站在这个女人的角度思考,可能前者这个女人将自己与其它的女人比较,知道外面有更优秀的女人,更优秀的女人把自己的丈夫勾引去了。后者则是把自己和物品相比较,一个活生生的人和画相比较,而自己的丈夫却选择了画,这是女人所不能原谅的。

  4我最同情的是没有画画天赋的男二号画家,圣母心大发,接来病弱的Strickland 先生画家养病,Strickland 先生画家的病好了,自己的老婆被拐走了。一段时间后自己的老婆因为得不到Strickland 的爱自杀了。

  5Strickland 是一个开挂的人,自从画画后,不管走到哪里都能吸引一大波妹子上钩,却口口声声说自己不再爱了,天理在哪里,最后还是在丛林找了个十几岁妹子结了婚,做人能不能真诚点。

  6理想与现实,Charles 最后实现了自己的艺术上成就,可是一生的现实却过的好苦逼。他的作品最后没能给他丛林同患难的妻子和孩子过上幸福的生活,而是荣誉都落在了前妻身上,我觉得好不公平啊。

  7这本书的最高潮是最后的四分之一。

  摘抄

  We were like tramcars running on their lines from terminus to terminus.

  As lovers, the difference between men and women is that women can love all day long, but men only at times.

  They are strangers in their birthplace.

  He had achieved that what he wanted. He had made a world and saw that it was good. Then, in pride and contempt, he destroyed it.

  《The Moon and Sixpence》读后感(四):Individual and the world

  读这本书的时候,刚经历了大学第一学期的迷茫,对自我和外界越来越迷惑。身边不乏优秀得让人咋舌的人,却少有人让我从心底觉得特别和有趣。在一个鼓吹集体主义,标准化成功和标签的环境里,个人的声音越发微弱无力,如何和世界抗争或是达成妥协,成为新的问题。

  读这本书是反照内心的过程:

  “But you are forty.”

  quot;That's what made me think it was high time to begin." (47, William Heinemann Ltd, 1974)

  有人劝我说,你要早点找到你的兴趣点,像我这样,就太晚了。后来我想,他说的太晚,是跟他身边的其他人相比。有人从大一就发现了自己的passion,有的大四才发现,大四的那个会觉得自己浪费了四年。可是事实上,人生这么长,花四年来发现自己的passion,长吗。何况这几年的摸索,不也是使内心更加明朗的过程吗。

  在一个什么都越来越快的世界,慢似乎成了奢侈,晚似乎成了罪恶。可是,你管别人呢。

  I tell you I've got to paint. I can't help myself. When a man falls into the water it doesn't matter how he swims, well or badly: he's got to get out or else he'll drown. (48)

  喜欢中文的翻译“我必须要画画,就像溺水的人必须挣扎。”这句话让我意识到,strickland的这个passion根本就不是我们平常所说的“理想”。因为“理想”是的目的是实现,人为了这个“理想”要去奋斗,而奋斗,多多少少就带着一些人为的刻意。而他的passion更像是“使命”,或者说是“信仰”。--我生来就是要画画的,我不能不画画。在画画的时候,就只有painting itself,nothing else. 没有对成功的结果的追求,他在做这件事的时候甚至没有结果这个概念,结果是旁人加予他的。

  如果Strickland(或者说是高更)最后的画作没有名满天下,认识他的人会由结果揣测过程是无意义的;而在他的内心,在这个过程里,他已经得到了他所追求的,那就是画画,就是画画而已。而我们知道他,还是因为他最后达到了“世俗”的成功。

  自己内心的实现,与世人的价值判断,似乎永远不能平行。这是个悖论。

  ow I am well aware that pettiness and grandeur, malice and charity, hatred and love, can find place side by side in the same human heart. (60)

  人是复杂的。

  The world is hard and cruel. We are here not knows why, and we go none knows whither. We must be very humble. We must see the beauty of quietness. We must go through life so inconspicuously that Fate dose not notice us. And let us seek the love of simple, ignorant people. Their ignorance of better than all our knowledge. Let us be silent, content in our little corner, meek and gentle like them. That is the wisdom of life. (129-130)

  I don't want love. I haven't time for it. It's weakness. I am a man, and sometimes I want a woman. When I've satisfied my passion I'm ready for other things. I can't overcome my desire, but I hate it; it imprisons my spirit. (143)

  一个人的灵魂到了极度自由的时刻,是连爱都不需要了吗。

  When a woman loves you she's not satisfied until she possesses your soul. Because she's weak she has a rage for domination, and nothing less will satisfy her. She has a small mind, and she resents the abstract which she is unable to grasp. She is occupied with material things, and she is jealous of the ideal. The souls of man wanders through the uttermost regions of the universe, and she seeks to imprison it in the circle of her account-book. (144)

  略偏颇,结合波伏娃《第二性》,似乎不无道理。在一段好的爱情里,女性要打破世俗的弱势地位,只有两个人平等,且彼此独立,结合才是有意义的。

  erhaps it is Truth and Freedom that you seek, and for a moment you thought that you might release in Love. (151)

  I HAVE an idea that some men are born out of their due place. Accident has cast them amid certain surroundings, but they have always a nostalgia for a home they know not. (180)

  但其他人会想把你和他们变得一样。

  I wondered if Abraham really had made a hash of life. Is to do what you most want, to live under the conditions that please you, if peace with yourself, to make a hash of life; and is it success to be an eminent surgeon with ten thousand a year and a beautiful wife? I suppose it depends on what meaning you attach to life, the claim which you acknowledge to society, and the claim of the individual. (184)

  这段讲的很清楚了,就以它结尾吧。

  Dante的Inferno论文纠结了几天,毫无头绪,想想以后也许还是不要做学术的好。文学和艺术,融进生活会是更有趣的事情。

  《The Moon and Sixpence》读后感(五):a tale of conflicts

  Acute intelligence. Unconcealed bias. Piercing humour.

  Each character is vivid and distinct, and though many of them are scrutinized with shrewd sarcasm, in the end, it is important to notice that in whichever ways they choose to live their lives, their ways are results of their personalities and there is not one way that would for sure bring greater or lesser happiness.

  Let us discuss a couple of central conflicts in the story:

  1. commonplace v. romance

  I suppose Strickland would most readily come to mind as a manifestation of this conflict, but he is in fact not very much affected by it. His decision to abandon his commonplace life in England, to abandon his family and position, was so easily made -- not because of any accumulated desire for a change or naive quest for romance, for such motives would have been not much less commonplace, but because of a simple, primitive and overwhelming desire to paint. He never considers painting romantic; it is a survival need for him.

  Commonplace v. romance is not a struggle of Strickland, but rather of the narrator, who actively seeks adventure:"In my heart was a desire to live more dangerously". Although "not unprepared for jagged rocks and treacherous shoals", for the narrator there is a conflict present because he needs to identify what is commonplace and what is romance first, and then make a conscious choice weighing the "social values" in "ordered happiness" against the change and excitement he craves for; whereas for Strickland this is not a matter of concern -- it does not matter what is commonplace, he does not give a twopenny about that -- he only knows that he has to paint.

  2. men v. women

  I do think there is an undisguised contempt for women in this book, not unlinked with the homosexuality of Maugham.

  According to the author, the difference between the conceptions of love of men and women is so great that they can never understand or get along well with each other. Women are seen as poor creatures who are obsessed with love and selfishly try to imprison men in the name of love -- there is some truth in such suppositions, for in general women are more interested in love than men, but obviously not all women see love as their ultimate goal in life and they may give other things superiority as well. Of course, the social circumstances at Maugham's time were quite different from those today, and progress has been made to render women much more independent of men now.

  otwithstanding all such and such, some lines are immensely interesting, and if not accurate at least worth our reflections:

  quot;...the most clear-sighted, though he may know, cannot realize that his love will cease; it gives body to what he knows is illusion, and, knowing it is nothing else, he loves it better than reality."

  quot;There are few men to whom it [love] is the most important thing in the world, and they are not very interesting ones; even women, with whom the subject is of paramount interest, have a contempt for them."

  quot;"Why do nice women marry dull men?' 'Because intelligent men won't marry nice women.'"

  3. happiness of the ignorant v. pain of the genius

  “And let us seek the love of simple, ignorant people. Their ignorance is better than all our knowledge."

  The genius, Strickland, never enjoys nor cares about material comfort. He is tortured by his vision until the final masterpiece is achieved, and after its completion, all meaning of life is gone for him. Only in death does the genius have tranquility, for his life is consumed by his gift.

  In contrast, Stroeve, who is admittedly a bad painter and often described as ridiculous, seems to get a simple happiness in the end. "...but perhaps, after all, it would have been better for me if my father's will had prevailed and I were now but an honest carpenter", says Stroeve as he decides to go back to his hometown. The narrator sees that Stroeve makes the right choice, and that even the tragedy of Blanche will eventually fade with the passage of time, because such pain is after all ordinary and much less powerful than the eternal suffering of the genius.

  Even Mrs. Strickland is rewarded with happiness, however dull her happiness appears to the readers. She is full of vanity and follows the mainstream, but there is really nothing wrong about that -- she is a building block of the orderliness of society. Not everyone can act like Strickland.

  Thus, each person has his/her own way of living. They simply need different things.

  4. in place v. out of place

  quot;They are strangers in their birthplace, and the leafy lanes they have known from childhood or the populous streets in which they have played, remain but a place of passage."

  I must confess that I do not particularly like the Tahiti part of this book -- to me it feels like another all too cliché hypocritical obsession of the self-important European men with the romanticized exotic lands of the east and of the tropical. Nevertheless, the sense of belonging felt towards a completely foreign place is fascinating. In our time especially-- the time of globalization -- the sense of belonging is an inescapable topic.

  I am sure the birthplace cannot ever mean nothing, but there really might be some other place that, as if by magic, fits you better than your most familiar surroundings.

  All a matter of luck, rather.

  《The Moon and Sixpence》读后感(六):Reading Notes for The Moon and Sixpence

  Chapter 1

  It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman: art is a manifestation of emotion, and emotion speaks a language that all may understand.

  Chapter 5

  he smiled, her smile was really very sweet, and she blushed a little; it was singular that a woman of that age should flush so readily. Perhaps her naivete was her greatest charm.

  [Note: That women flush readily at such age is considered to be charming.]

  Chapter 8

  It is always distressing when outraged morality does not possess the strength of arm to administer direct chastisement on the sinner.

  《The Moon and Sixpence》读后感(七):初读随感

  (英语不好 对文意理解有误欢迎指出)

  charles strickland这种人,标准的活在后人的遥远的崇拜里。光是跳脱道德束缚这点就足够有魅力了,还完全地devote himself to painting,以高更为原型的妥妥的艺术家。

  “i've got to paint”just like a man falls into the water, he's got to get out or else he'll drown

  “i don't want love. i haven't time for it.”

  举世誉之还是非之都是“what the hell do you suppose i care ”

  画墙上,瞎了也画,死后自知已经达到了大师水平就够了把自己的作品该烧还要烧,烧得一个stick都不剩。

  The passion that held him was a passion to create beauty. It gave him no peace. It urged him hither and thither.

  只是有一点我很纳闷。

  他在道德上可以impassive可以despicable可以是个unmitigated cad可以抛弃妻儿可以客观上对dirk stroeve恩将仇报,我不会因此质疑他天才画家的身份。但是,他对为他而死的blanche冷淡至极,对自己没pity对其他人也没有pity对整个人类都不care a twopenny damn,于我而言这表示了他没有基本的人文关怀。

  是的for a moment his fortitude was shaken并掉了滴泪给深深爱着他的姑娘,但是除此之外您对美的追求完全跟人性没半毛钱关系全部投身自然了。

  我以为人类推崇的东西不管以什么形式都至少要爱着人类。纯粹的paint beauty passion不需要对人类的sympathy,art与他爱不爱人类没关系,但是被人类认可的art就需要。

  起初,我不认为人类会称赞对自己不利的东西,即使它是美的。

  不过也许人类能从毫无人文情怀的画家的画里意淫出满足自己的东西:毕竟都是人画的你再不关心亲人再不关心人类,追求的美的东西也是我们可以欣赏的吧~

  “It seems strange even to myself, when I have described a man who was cruel, selfish, brutal and sensual, to say that he was a great idealist.”

  然后我很喜欢stroeve夫妇,这俩人笔墨不多但个人觉得比strickland塑造得好(>_<)

  最后吐槽下毛姆,对人性的把握还是差点意思,当然我就看过这个和面纱啥都不懂只是感觉感觉。

  《The Moon and Sixpence》读后感(八):生命力

  没有生命力和创造力的平静生活是过于消极的虚无主义。下乡种田,归隐山林没有什么不好,只是在这个过程中你必须不停地塑造和升华自己的灵魂。『月亮与六便士』里的Strickland,抛弃妻儿,飘洋过海去画画,即使贫困潦倒疾病交加他也从来没有停止。他说『我必须画画,就像溺水的人必须挣扎。』

  这种纯粹地对生命力本身的追求才是最理想的生活状态。JAMC唱到 "I'm going to the darklands/To talk in rhyme/With my chaotic soul/As sure as life means nothing/And all things end in nothing/And heaven i think/Is too close to hell/I want to move i want to go/I want to go"

  愿你找到最真诚的梦想,灵魂与你同在。

  《The Moon and Sixpence》读后感(九):毛姆好漂亮的句子,好聪明的脑瓜儿,好懂收敛的笔意。

  月亮与六便士英文版读完。

  故事本身很简单,一个中年男人突然觉得,人生应该画,除此无他。

  故事叙述风格很朴素,为“我有一个朋友”系列,但小说应该大于故事,作家应该留给读者忘掉剧情后的才情。毛姆的文字,才情有秩序地迸发,一句一烟花,拿起又能放下,止于趣味,没有过度发挥,真难得。

  一,文体缜密。开篇说了许多不硬不横的观点,其实讽刺了不少。英文句子的结构在他笔下有序无轨地变换着,一直没语法错误,一直表达清晰,从不误长误短地把词汇按错了地方。

  二,词汇绚丽。一路阅读一路字典,每三行一生词,漫天遍野地绽放。写作辞藻华丽有两种:故意炫技与无意识为之。我的阅读量尚无法绝对判断毛姆属于哪类,那就虔诚地并入后者好了。

  三,思考男女。小说里反复让读者动脑筋,给了剧情,给了针对剧情的剖析,各位来下个结论,或者至少表个态。Strickland的妻子,Stoeve妻子,Tahiti岛上Strickland爱人,三位女性,三种反应对同一个男人,这男人如此行径荒唐,一位恨之,一位害怕,一位无条件付出。说故事的人常常甩出问号,常常用“年轻的自己”与现实对比,也经常显示自己的智慧,让读者觉得他是正确的。

  毛姆好漂亮的句子,好用的脑瓜儿,好懂收敛的笔意。

  阅读时间跨度略长,杂念绕心。

  应把中文版快速翻一遍,会有新收获。

  《The Moon and Sixpence》读后感(十):“做了坏事的人,大概都是因为寂寞吧”

  “Do you know how men can be so obsessed by love that they are deaf and blind to everything else in the world? They are as little their own masters as the slaves chained to the benches of a galley. The passion that held Strickland in bondage was no less tyrannical than love.”

  看到Brunot船长说“这一切都是因为爱与热情”时,我脑子里第一反应就是“做了坏事的人,大概都是因为寂寞吧”,内心不禁默默吐槽:这不能作为洗白的理由。

  其实我们从一开始就知道Strickland是个孤注一掷万物刍狗的天才。他除了画画,别无所求,抛弃妻子,做尽当时社会唾弃鄙视的事来。若说他只是行事孤僻,那也倒算了,性格也不讨喜,情商成负,最喜欢扫别人的兴,经常用一句“go to hell”成为话题终结者。连作者都谴责:他就是如此叛逆之人,你顺着他,只会给自己无趣,倒不如用冷屁股去诱惑他的热脸蛋,引他向自己倾诉苦水,让他认识到人生的不易,做人的艰辛。

  ——好吧,其实他是为了借钱。但是你看,Strickland连借钱都不屑找他看不上眼的人,如此看来,他的

  当然,作者一向毒舌,你要从各种蛛丝马迹中剥离出假象,才能得出那些状似抱怨实则颂扬的内实:这是一个忠于自我欲望的人。他真实不造作,对生活充满热情,并不抱怨那苦逼的瞎眼又麻风的命运。为了他的梦想,他可以摒弃一切,社会地位,老婆孩子,关心他的朋友,深爱他的有夫之妇……

  我并不是讨厌Strickland这个人。你知道,这是一个很多面的人。作为读者,我看着他的人生跌宕起伏,从彬彬有礼车水马龙的伦敦,到衣香鬓影的巴黎大都会,到褴褛乞讨的贫民区,到异域风情宛如的大溪地,看他从一个文明社会事业有成的白领,成为大街上依靠施舍的乞丐,最后在世外之地爆发出他生命的原色,这种波澜壮阔的生活,这种对美、对艺术、对生活的热情,多么精彩又扼腕。

  但我想,我是一定不想成为他的亲人朋友的。或许我就是作者批判的那些虚伪的社会人的其中之一吧。可是平凡如我,不得不设身处地想想作为一个普通人的日常:他的妻子,当丈夫一走了之后,她也能毅然坚强利用自己不多的技能之一成为打字员养家糊口,将两个未成年孩子拉扯大,至少这样的精神我是佩服的。

  又比如那位可怜的Dirk Stroeve以及他惨死的太太Blanche。他们做错了什么呢?Dirk在20多年前就能慧眼辨识出Strickland的才华,他在生活上、艺术上全心全意帮助Strickland,却被Strickland戏弄、蔑视,强行塞上一顶绿帽子,赔了夫人又折兵,最后只能远走他乡。那句“I'm not of any importance”在我看来是多么渺小,也是多么绝望。

  而自戕的太太Blanche,你可以说她愚蠢、自尊心太强又咎由自取,可Strickland难道是无辜的?她深爱着Strickland,大概也只因为对方将她毫不放在眼里,于是所有的一切牺牲、崇拜、追随、忍辱负重,都成了笑话一般的存在。

  ——那么为什么Ada又能获得他的宽许,在他身边数年、得到他的小小回报?难道就因为换了个地点,到了一个世外桃源,所以Strickland的心也柔软起来,容得下温暖的一点爱?

  大约天才是无法理解普通人的的伤心绝望,因为他们所追求的不在这里。只是就像《Hilary and Jackie》一样,天才大提琴手带给家人的痛苦远比她所带来的荣耀更多。

  但是我想,毛姆的主旨不止是Strickland有多么天才、人应该如何追求梦想、或者艺术的极致是何等的壮烈。他最后想对普通人说的,大概还是忠于自己,做一个对得起自己的心的真实之人。就算有梦想,就算梦想看来遥不可及、甚至可能永远没法实现,你也只需要尽力奔赴那个终点,不管别人怎么看待。

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