New-York tribune., 1919-08-02
Moon and Sixpence
Vaughan 8 Novel a Study
In r omantic Realism

1t seems most strange to me that
more TODD is not made about w.
Somerset Vaughan pronounced like
the cry of a calf calling its mater
MA -a-a -awm"). Over in England.
where such patronymics are not BIZ
zarre, he is recognized as q realistic
novelist of great skill, as we'll as a
prollhc author of successful plays.
am told that he had as many as three
highly successful comedies running in
London at the same time, several years
ago.
This side the diminishing Atlantic
pIaygoers look at him somewhat as
kance. Most of them remember him
as the instigator of chat horrid thing
Our Betters'; Obj His only other
work which Americans know is the
novel "Of Human Bondage" and that
is ignored, | believe, chiefly because it
contains in he neighborhood of 700
pages.
People will have no excuse for not
reading -Maugham's latest book, 'The
Moon and Sixpence' 1t is Of regua-
tion length-300 pages-and it is one
OF the finest picces'of romantic realism
that | ever have seen.
Romantic realism you say? Well, it
is written with the most grimly real
hlghly romantic that one would con-
slider the events and characters impos-
slble were it not for the fact that
Vaughan has based it upon the actual
Tie Of certain French painter.
Briefly, the story concerns one
Strickland, a plodding. uninteresting
stockbrokcr. When this stockbroker
has attained the middle foxtes with
mediocre success, one day, without
warning, he disappears, leaving his
wife and children absolutely in the
lurch- and with only the information in
note that he intends to become
great painter, and he intends never
to see any of them again.
He goes to Paris, lives in the most
repulsive squalor, starving, stealing,
working as a stevedore at times, on the
bread line when possible, developing
meanwhile a style and q technique
Jeered at by every one. He cares moth
ing for recognition, reputation, money
his word for the whole world is "go
to hell! !" Finally he drifts to Tahiti,
where he goes native" marries a black
girl, who sticks by him when he
catches leprosy, and dies, still clutch
ing his paint brush, with a curse for
the universe.
Ten years afterward he is "discov-
cred" His paintings become the rage
Canvases for which he was begrudged
so francs sell for $4,000. a newer
generation is conquered by the beauty
which obsessed Strickland. which racked
and tore him, which made everything
else in life seem puny, altogether in
significant.
A tale for Conrad, surely. And, in
deed the resemblance TO Conrad is un-
mistakable. Vaughan has even en-
ployed the favorite Conrad dodge
used in Lord jim" and "Chance," :"
for instance, of telling the story
in bits Of testimony. Marlow be.
comes Vaughan. presumably, the
main narrator. Various personages--a
beachcomber, Captain Nichols; Tiare
johnson, the fat proprietress of an inn
at Alexandria, and many other casuals
-iill in the gaps which are ingeniously
left, as in Conrad, by this main mar
rator.
There are places where Vaughan
seems to me even to excel his model;
in the treatment of the women, for
instance, q matter in which Conrad
never quite seems at home; and in
humor, which here is stinging and
satirical, while Conrad almost never
sees things except grmly. 1t is no
fault. either that Vaughan has fol-
lowed Conrad so = ely; he has done a
laundering goo OF work.
There is sof -roversy over the
identity of the nal Of Strickland.
| think [ can selrle that point. I
talked recently with young British
officer who spent several months in
Tahiti with Vaughan while he was col
lecting the material for the story. lie
knows Vaughan we'll.
This young man Identifies Strickland
as certain French artist, one Gogin,
whose history comedies exactly with
the beauty-crazed painter of "The
Moon and SiXpence." Indeed, the tale
was almost ready made for Maugham's
skilful transcription.
J. V. A. WEAVER.