Moon and Sixpence

by W. Somerset Maugham

The faculty for myth is innate in the human race. It seizes with avidity upon any incidents, surprising or mysterious, in the career of those who have at all distinguished themselves from their fellows, and invents a legend to which it then attaches a fanatical belief. It is the protest of romance against the commonplace of life.

The incidents of the legend become the hero's surest passport to immortality.

Mr. Crabbe was as dead as mutton, but Mr. Crabbe continued to write moral stories in rhymed couplets.

I marvel at the felicity of their style; but with all their copiousness (their vocabulary suggests that they fingered Roget's Thesaurus in their cradles) they say nothing to me: to my mind they know too much and feel too obviously; I cannot stomach the heartiness with which they slap me on the back or the emotion with which they hurl themselves on my bosom; their passion seems to me a little anaemic and their dreams a trifle dull.

Mrs. Strickland had the gift of sympathy. It is a charming faculty, but one often abused by those who are conscious of its possession: for there is something ghoulish in the avidity with which they will pounce upon the misfortune of their friends so that they may exercise their dexterity. It gushes forth like an oil-well, and the sympathetic pour out their sympathy with an abandon that is sometimes embarrassing to their victims.

Strickland gave the polite little laugh with which people acknowledge a facetiousness in which they see nothing funny,

"You are a most unmitigated cad." "Now that you've got that off your chest, let's go and have dinner."

Only the poet or the saint can water an asphalt pavement in the confident anticipation that lilies will reward his labour.

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 neighbours. It is not difficult to be unconventional in the eyes of the world when your unconventionality is but the convention of your set.

I think I was a little disappointed in her. I expected then people to be more of a piece than I do now, and I was distressed to find so much vindictiveness in so charming a creature. I did not realise how motley are the qualities that go to make up a human being. Now 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.

"Why should you think that beauty, which is the most precious thing in the world, lies like a stone on the beach for the careless passer-by to pick up idly? Beauty is something wonderful and strange that the artist fashions out of the chaos of the world in the torment of his soul. And when he has made it, it is not given to all to know it. To recognize it you must repeat the adventure of the artist. It is a melody that he sings to you, and to hear it again in your own heart you want knowledge and sensitiveness and imagination."

propinquity

It is hard that a man's exterior should tally so little sometimes with his soul. Dirk Stroeve had the passion of Romeo in the body of Sir Toby Belch.

Women are constantly trying to commit suicide for love, but generally they take care not to succeed. It's generally a gesture to arouse pity or terror in their lover."

"The world is hard and cruel. We are here none 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 does not notice us. And let us seek the love of simple, ignorant people. Their ignorance is 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."

people talk of beauty lightly, and having no feeling for words, they use that one carelessly, so that it loses its force; and the thing it stands for, sharing its name with a hundred trivial objects, is deprived of dignity. They call beautiful a dress, a dog, a sermon; and when they are face to face with Beauty cannot recognise it. The false emphasis with which they try to deck their worthless thoughts blunts their susceptibilities. Like the charlatan who counterfeits a spiritual force he has sometimes felt, they lose the power they have abused.

Until long habit has blunted the sensibility, there is something disconcerting to the writer in the instinct which causes him to take an interest in the singularities of human nature so absorbing that his moral sense is powerless against it. He recognises in himself an artistic satisfaction in the contemplation of evil which a little startles him; but sincerity forces him to confess that the disapproval he feels for certain actions is not nearly so strong as his curiosity in their reasons. The character of a scoundrel, logical and complete, has a fascination for his creator which is an outrage to law and order. I expect that Shakespeare devised Iago with a gusto which he never knew when, weaving moonbeams with his fancy, he imagined Desdemona. It may be that in his rogues the writer gratifies instincts deep-rooted in him, which the manners and customs of a civilised world have forced back to the mysterious recesses of the subconscious. In giving to the character of his invention flesh and bones he is giving life to that part of himself which finds no other means of expression. His satisfaction is a sense of liberation. The writer is more concerned to know than to judge.

A man's 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.

But who can fathom the subtleties of the human heart? Certainly not those who expect from it only decorous sentiments and normal emotions.

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. 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. They may spend their whole lives aliens among their kindred and remain aloof among the only scenes they have ever known. Perhaps it is this sense of strangeness that sends men far and wide in the search for something permanent, to which they may attach themselves. Perhaps some deep-rooted atavism urges the wanderer back to lands which his ancestors left in the dim beginnings of history. Sometimes a man hits upon a place to which he mysteriously feels that he belongs. Here is the home he sought, and he will settle amid scenes that he has never seen before, among men he has never known, as though they were familiar to him from his birth. Here at last he finds rest.