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with her husband. He lives a destitute but defiantly contented life there as 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 on the inside, cares nothing for physical discomfort and is indifferent to his surroundings. He is helped and supported by a commercially successful but hackneyed Dutch painter, Dirk
Stroeve, coincidentally, also an old friend of the narrator, who recognises Strickland's genius as a painter. After helping Strickland recover from a life-threatening illness, Stroeve is repaid by having his wife, Blanche, abandon him for Strickland. Strickland later discards the wife, because all he really wanted from Blanche was for her to be a model to paint, not a serious companion. It is hinted in the novel that he indicated that to her, but she took the risk anyway. Blanche then dies by suicide. She is another human casualty in Strickland's single-minded pursuit of art and beauty, the first casualties being his own established life, and those of his wife and children.
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277:, and being a friend and collaborator with many artists. Gauguin did work as a stockbroker, did leave his wife and family to devote his life to art, and did leave Europe for Tahiti to pursue his career. However, none of that happened in the brutal way of the novel's character. Maugham took inspiration from the published writings about Gauguin available at the time, as well as personal experience living among the artistic community in Paris in 1904, and a visit to Tahiti in 1914.
337:, Philip Carey, is described as being "so busy yearning for the moon that he never saw the sixpence at his feet." According to a 1956 letter from Maugham, "If you look on the ground in search of a sixpence, you don't look up, and so miss the moon." Maugham's title echoes the description of Gauguin by his contemporary biographer, Meier-Graefe (1908): "He may be charged with having always wanted something else."
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212:, first published on 15 April 1919. It is told in episodic form by a first-person narrator providing a series of glimpses into the mind and soul of the central character, Charles Strickland, a middle-aged English stockbroker, who abandons his wife and children abruptly to pursue his desire to become an artist. The story is, in part, based on the life of the painter
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particularly
Strickland's, because Strickland is said by the narrator to have a very poor ability to express himself in words. The narrator first develops an acquaintance with Strickland's wife at literary parties and later meets Strickland himself, who appears to be an unremarkable businessman with no interest in his wife's literary or artistic tastes.
236:. Strickland has already died, and the narrator attempts to piece together his life there from recollections of others. He finds that Strickland had taken up with a native woman, had two children by her (one of whom died), and started painting prolifically. We learn that Strickland had settled for a short while in the French port of
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The book is written largely from the point of view of the narrator, a young, aspiring writer and playwright in London. Certain chapters entirely comprise accounts of events by other characters, which the narrator recalls from memory, selectively editing or elaborating on certain aspects of dialogue,
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Strickland is a well-off, middle-class stockbroker in London, sometime in the late 19th or early 20th century. Early in the novel, he leaves his wife and children and goes to Paris. The narrator enters directly into the story at that point, when he is asked by Mrs
Strickland to go to Paris and talk
273:, and destructive genius is more related to a mythological version of Gauguin's life, which the artist himself developed and promoted, than the actual course of his life. The real Gauguin was a participant in the artistic developments in France in the 1880s, exhibiting his work regularly with the
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The idea remained in his mind for ten years, until a visit to Tahiti in 1914, where
Maugham was able to meet people who had known Gauguin, inspired him to start writing. The critic Amy Dickson examines the relationship between Gauguin and Strickland. She contrasts the novel's description of
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584:(1942), when Poirot asks one of the suspects (Angela Warren) if she read the book at the time the crime was committed. The victim in the case is a married artist infatuated with a younger woman he yearns to paint, and for whom he may or may not be about to abandon his wife.
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296:"I am an artist and you are right, you're not mad, I am a great artist and I know it. It's because I know it that I have endured such sufferings. To have done otherwise I would consider myself a brigand—which is what many people think I am."
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is not, of course, a life of Paul
Gauguin in the form of fiction. It is founded on what I had heard about him, but I used only the main facts of his story and for the rest trusted to such gifts of invention as I was fortunate enough to
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Strickland, "his faults are accepted as the necessary complement of his merits... but one thing can never be doubtful, and that is that he had genius", with
Gauguin's description of himself:
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Strickland is created as an extreme version of the "modern artist as 'genius'", who is indifferent and frequently hostile to the people around him.
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According to some sources, the title, the meaning of which is not explicitly revealed in the book, was taken from a review in
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before traveling to Tahiti, where he lived for a few years before dying of
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549:'s dance band hit "We've Got the Moon and Sixpence" (1932), sung by
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S Lee
Pogostin adapted it for American TV in 1959. That production,
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is at once a satire of
Edwardian mores and a Gauguin biography."
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The novel served as the basis for a 1957 opera, also titled
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is central to the protagonist's solving the mystery in the
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The Selected Novels of W. Somerset Maugham, (Volume 2)
244:. Strickland left behind numerous paintings, but his
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This article is about the novel. For the films, see
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534:Learn how and when to remove this message
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633:It is also mentioned frequently in two
300:Dickson sums up the novel as follows:
419:Pub named "The Moon and Sixpence" in
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516:adding citations to reliable sources
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459:by removing the content or adding
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1714:British novels adapted into films
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599:mentions the book in his novella
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16:1919 novel by W Somerset Maugham
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503:needs additional citations for
455:Please help Knowledge (XXG) to
265:The life of the French artist
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1684:Novels by W. Somerset Maugham
324:The Times Literary Supplement
44:Cover of the first UK edition
1257:Ten Novels and Their Authors
1709:Heinemann (publisher) books
840:public domain audiobook at
715:, William Heinemann, 1953 (
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1719:Novels adapted into operas
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570:The book was mentioned in
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1060:Creatures of Circumstance
755:, Routledge, 1987, p. 10.
751:and John Whitehead, eds,
643:(1998); and, in passing,
618:(1966), an adaptation of
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608:In the opening scene of
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826:Internet Movie Database
770:johnlintongardner.co.uk
565:The Ship Without a Crew
369:as Charles Strickland.
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735:in B. Thompson (ed.),
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717:ebook at archive.org
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1689:Roman Ă clef novels
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1669:1919 British novels
1566:Miss Sadie Thompson
1462:The Vessel of Wrath
1286:The Land of Promise
1241:On a Chinese Screen
1150:The Land of Promise
1086:The Vessel of Wrath
882:W. Somerset Maugham
680:The Way to Paradise
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353:as Strickland and
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1478:Too Many Husbands
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1390:The Narrow Corner
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1454:Another Dawn
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1446:Isle of Fury
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1430:Secret Agent
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1342:The Magician
1340:
1334:The Canadian
1332:
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1318:East of Suez
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1302:The Divorcée
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913:The Magician
911:
905:Mrs Craddock
903:
895:
836:
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793:
773:. Retrieved
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685:Paul Gauguin
678:
644:
640:Bag of Bones
638:
635:Stephen King
632:
627:
620:Ray Bradbury
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595:
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579:
574:'s mystery (
569:
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561:Howard Pease
556:
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545:
530:
521:
510:Please help
505:verification
502:
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444:may contain
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363:Albert Lewin
355:Eileen Sharp
351:Henry Ainley
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220:Plot summary
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29:
1622:Being Julia
1398:Our Betters
1269:Adaptations
1233:Non-fiction
1158:Our Betters
399:Hume Cronyn
347:New Theatre
341:Adaptations
335:protagonist
271:sociopathic
252:Inspiration
246:magnum opus
1663:Categories
1470:The Letter
1358:The Letter
1326:The Circle
1310:Jack Straw
1190:The Letter
1174:The Circle
775:3 December
524:March 2024
446:irrelevant
357:as Ata. A
196:Wikisource
551:Al Bowlly
547:Ray Noble
461:citations
306:modernism
238:Marseille
78:Publisher
1142:Penelope
1036:Ashenden
1001:Catalina
842:LibriVox
687:'s life.
653:See also
649:(2015).
637:novels:
622:'s 1953
612:'s film
605:(1958).
567:(1934).
465:reliable
261:possess.
130:22207227
60:Language
1641:Related
1542:Quartet
1222:Sheppey
1044:Ah King
961:Theatre
824:at the
421:Glossop
397:, with
349:, with
242:leprosy
143:823.912
63:English
1633:(2006)
1625:(2004)
1617:(2000)
1609:(1984)
1601:(1964)
1593:(1962)
1585:(1957)
1577:(1954)
1569:(1953)
1561:(1951)
1558:Encore
1553:(1950)
1545:(1948)
1537:(1947)
1529:(1946)
1521:(1946)
1513:(1946)
1505:(1944)
1497:(1944)
1489:(1942)
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1473:(1940)
1465:(1938)
1457:(1937)
1449:(1936)
1441:(1936)
1433:(1936)
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1409:(1934)
1401:(1933)
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1377:(1930)
1369:(1929)
1361:(1929)
1353:(1928)
1345:(1926)
1337:(1926)
1329:(1925)
1321:(1925)
1313:(1920)
1305:(1919)
1297:(1917)
1289:(1917)
1281:(1915)
1260:(1954)
1252:(1938)
1244:(1922)
1225:(1933)
1217:(1932)
1209:(1930)
1201:(1928)
1193:(1927)
1185:(1926)
1177:(1921)
1169:(1919)
1161:(1917)
1153:(1913)
1145:(1909)
1137:(1909)
1129:(1907)
1121:(1902)
1063:(1947)
1055:(1940)
1047:(1933)
1039:(1928)
1031:(1926)
1023:(1921)
1004:(1948)
996:(1946)
988:(1944)
980:(1941)
972:(1939)
964:(1937)
956:(1932)
948:(1930)
940:(1925)
932:(1919)
924:(1915)
916:(1908)
908:(1902)
900:(1897)
889:Novels
563:novel
234:Tahiti
180:
167:
117:263 pp
50:Author
1294:Smith
1134:Smith
1110:Plays
878:Works
692:Notes
376:, by
114:Pages
68:Genre
1550:Trio
1382:Rain
1079:Rain
777:2020
467:and
401:and
186:Text
124:OCLC
23:and
880:by
812:at
798:at
514:by
463:to
194:at
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724:^
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
