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內容簡介

　　《月亮與六便士（英文版）》係作者的代錶作。為什麼叫“月亮與六便士”？書名的意義齣自某評論傢在評論《人性的枷鎖》時所寫的某句話。原話如下：《人性的枷鎖》裏的主人公菲利普·凱利（Philip Carey）被形容為一個太過執著找尋月亮的傢夥，以至於他從來就沒發現過腳底下就有一塊六便士。毛姆後來這樣解釋道：“假如你低頭在地上不住地要找尋一塊六便士硬幣，頭也不抬起來一下，那麼，你就會丟掉月亮。”？

目錄

CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
CHAPTER 13
CHAPTER 14
CHAPTER 15
CHAPTER 16
CHAPTER 17
CHAPTER 18
CHAPTER 19
CHAPTER 20
CHAPTER 2l
CHAPTER 22
CHAPTER 23
CHAPTER 24
CHAPTER 25
CHAPTER 26
CHAPTER 27
CHAPTER 28
CHAPTER 29
CHAPTER 30
CHAPTER 31
CHAPTER 32
CHAPTER 33
CHAPTER 34
CHAPTER 35
CHAPTER 36
CHAPTER 37
CHAPTER 38
CHAPTER 39
CHAPTER 40
CHAPTER 41
CHAPTER 42
CHAPTER 43
CHAPTER 44
CHAPTER 45
CHAPTER 46
CHAPTER 47
CHAPTER 48
CHAPTER 49
CHAPTER 50
CHAPTER 51
CHAPTER 52
CHAPTER 53
CHAPTER 54
CHAPTER 55
CHAPTER 56
CHAPTER 57
CHAPTER 58

精彩書摘

　　《月亮與六便士（英文版）》：
　　I confess that when first I made acquaintance with Charles Strickland I never for a moment discerned that there was in him anything out of the ordinary. Yet now few will be found to deny his greatness. I do not speak of that greatness which is achieved by the fortunate politician or the successful soldier； that is a quality which belongs to the place he occupies rather than to the man； and a change of circumstances reduces it to very discreet proportions.
　　The Prime Minister out of office is seen， too often， to have been but a pompous thetorician， and the General without an army is but the tame hero of a market town. The greatness of Charles Strickland was authentic. It may be that you do not like his art， but at all events you can hardly refuse it the tribute of your interest. He disturbs and arrests. The time has passed when he was an object of ridicule， and it is no longer a mark of eccentricity to defend or ofperversity to extol him. His faults are accepted as the necessary complement to his merits. It is still possible to discuss his place in art， and the adulation ofhis admirers is perhaps no less capricious than the disparagement of his detractors； but one thing can never be doubtful， and that is that he had genius. To my mind the most interesting thingin art is the personality of the artist； and if that is singular， I am willing to excuse a thousand faults. I suppose Velasquez was a better painter than El Greco， but custom stales one's admiration for him： the Cretan， sensual and tragic， proffers the mystery of his soul like a standing sacrifice. The artist， painter， poet， or musician， by his decoration， sublime or beautiful， satisfies the aesthetic sense； but that is akin to the sexual instinct， and shares its barbarity： he lays before you also the greater gift of himself. To pursue his secret has something of the fascination of a detective story. It is a riddle which shares with the universe the merit of having no answer. The most insignificant of Strickland's works suggests a personality which is strange， tormented， and complex； and it is this surely which prevents e'ven those who do not like his pictures from being indifferent to them； it is this which has excited so cunous an interest in his life and character.
　　It was not till four years after Strickland's death that Maurice Huret wrote that article in the Mercure de France which rescued the unknown painter from oblivion and blazed the trail which succeeding writers， with more or less docility， have followed. For a long time no critic has enjoyed in France a more incontestable authority， and it was impossible not to be impressed by the claims he made； they seemed extravagant； but later judgments have confirmed his estimate， and the reputation of Charles Strickland is now firmly established on the lines which he laid down. The rise of this reputation is one of the most romantic incidents in the history of art. But I do not propose to deal with Charles Strickland's work except in so far as it touches upon his character. I cannot agree with the painteris，who claim superciliously that the layman can understand nothing of painting， and that he can best show his appreciation of their works by silence and a cheque-book. 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. But I will allow that the critic who has not a practical knowledge
　　……

前言/序言

　　經典名著的語言無疑是最凝練、最優美、最有審美價值的。雪萊的那句“如鼕已來臨，春天還會遠嗎？”讓多少陷於絕望的人重新燃起希望之火，鼓起勇氣，迎接嚴鼕過後的春天。徐誌摩一句“悄悄的我走瞭，正如我悄悄的來；我揮一揮衣袖，不帶走一片雲彩”又讓多少人陶醉。尼采的那句“上帝死瞭”，又給多少人以振聾發聵的啓迪作用。
　　讀經典名著，尤其閱讀原汁原味作品，可以怡情養性，增長知識，加添纔乾，豐富情感，開闊視野。所謂“經典”，其實就是作者所屬的那個民族的文化積澱，是那個民族的靈魂縮影。英國戲劇泰鬥莎士比亞的《哈姆雷特》和《麥剋白》等、“意大利語言之父”的但丁的《神麯》之《地獄篇》《煉獄篇》及《天堂篇》、愛爾蘭世界一流作傢詹姆斯·喬伊斯的《尤利西斯》及《一個藝術傢的肖像》等、美國風趣而筆法超一流的著名小說傢馬剋·吐溫的《哈剋曆險記》以及《湯姆索亞曆險記》等，德國著名哲學傢尼采的《查拉圖斯特拉如是說》及《快樂的科學》等等，都為塑造自己民族的文化積澱，做齣瞭永恒的貢獻，也同時嚮世界展示瞭他們所屬的民族的優美剪影。
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