　　《月亮与六便士（英文版）》系作者的代表作。为什么叫“月亮与六便士”？书名的意义出自某评论家在评论《人性的枷锁》时所写的某句话。原话如下：《人性的枷锁》里的主人公菲利普·凯利（Philip Carey）被形容为一个太过执着找寻月亮的家伙，以至于他从来就没发现过脚底下就有一块六便士。毛姆后来这样解释道：“假如你低头在地上不住地要找寻一块六便士硬币，头也不抬起来一下，那么，你就会丢掉月亮。”？

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

精彩书摘

　　《月亮与六便士（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
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前言/序言

　　经典名著的语言无疑是最凝练、最优美、最有审美价值的。雪莱的那句“如冬已来临，春天还会远吗？”让多少陷于绝望的人重新燃起希望之火，鼓起勇气，迎接严冬过后的春天。徐志摩一句“悄悄的我走了，正如我悄悄的来；我挥一挥衣袖，不带走一片云彩”又让多少人陶醉。尼采的那句“上帝死了”，又给多少人以振聋发聩的启迪作用。
　　读经典名著，尤其阅读原汁原味作品，可以怡情养性，增长知识，加添才干，丰富情感，开阔视野。所谓“经典”，其实就是作者所属的那个民族的文化积淀，是那个民族的灵魂缩影。英国戏剧泰斗莎士比亚的《哈姆雷特》和《麦克白》等、“意大利语言之父”的但丁的《神曲》之《地狱篇》《炼狱篇》及《天堂篇》、爱尔兰世界一流作家詹姆斯·乔伊斯的《尤利西斯》及《一个艺术家的肖像》等、美国风趣而笔法超一流的著名小说家马克·吐温的《哈克历险记》以及《汤姆索亚历险记》等，德国著名哲学家尼采的《查拉图斯特拉如是说》及《快乐的科学》等等，都为塑造自己民族的文化积淀，做出了永恒的贡献，也同时向世界展示了他们所属的民族的优美剪影。
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