一九一五年的《人性枷鎖》與一九一九年的《月亮與六便士》，則更確立他在文壇的地位。其他著作有《剃刀邊緣》、《餅與酒》--台灣1960s 有譯本、《書與你》、《毛姆寫作回憶錄》等。 ...
毛姆的《餅與酒/尋歡作樂》（Cakes and Ale）就常被认为是讽刺哈代与他第二任妻子的小说，传言如此之盛，使毛姆 ...
上海譯文版 翻譯成 尋歡作樂
Cakes and Ale: or, the Skeleton in the Cupboard (1930) is a novel by British author William Somerset Maugham. It is often alleged to be a thinly-veiled roman à clef examining contemporary novelists Thomas Hardy (as Edward Driffield) and Hugh Walpole (as Alroy Kear) -— though Maugham maintained he had created both characters as composites and in fact explicitly denies any connection to Hardy in his own introduction to later editions of the novel. Maugham exposes the misguided social snobbery leveled at the character Rosie Driffield (Edward's first wife), whose frankness, honesty and sexual freedom make her a target of conservative propriety. Her character is treated favorably by the book's narrator, Ashenden, who understands her sexual energy to be a muse to the many artists who surround her.
Maugham drew his title from the remark of Sir Toby Belch to Malvolio in William Shakespeare's Twelfth Night: "Dost thou think, because thou art virtuous, there shall be no more cakes and ale?" Cakes and ale are the emblems of the good life in the tagline to the fable attributed to Aesop, "The Town Mouse and the Country Mouse": "Better beans and bacon in peace than cakes and ale in fear".
Interestingly, it is one of two books to take the same quote for a title, the other being by Edward Spencer aka Edward Spencer Mott aka Nathaniel Gubbins.
“It's no good trying to keep up old friendships. It's painful for both sides. The fact is, one grows out of people, and the only thing is to face it.”
“The ideal has many names and beauty is but one of them.”
“It must be that there is something naturally absurd in a sincere emotion, though why there should be I cannot imagine, unless it is that man, the ephemeral inhabitant of an insignificant planet, with all his pain and all his striving is but a jest in an eternal mind. ”
“The Americans, who are the most efficient people on the earth, have carried [phrase-making] to such a height of perfection and have invented so wide a range of pithy and hackneyed phrases that they can carry on an amusing and animated conversation without giving a moment’s reflection to what they are saying and so leave their minds free to consider the more important matters of big business and fornication.”
“As we grow older we become more conscious of the complexity, incoherence, and unreasonableness of human beings; this indeed is the only excuse that offers for the middle-aged or elderly writer, whose thoughts should more properly be turned to graver matters, occupying himself with the trivial concerns of imaginary people. For if the proper study of mankind is man it is evidently more sensible to occupy yourself with the coherent, substantial, and significant creatures of fiction than with the irrational and shadowy figures of real life.”
“It's very hard to be a gentleman and a writer. ”
“A man who is a politician at forty is a statesman at three score and ten. It is at this age, when he would be too old to be a clerk or a gardener or a police-court magistrate, that he is ripe to govern a country. This is not so strange when you reflect that from the earliest times the old have rubbed it into the young that they are wiser than they, and before the young had discovered what nonsense this was they were old too, and it profited them to carry on the imposture...”
“I had not then acquired the technique that I flatter myself now enables me to deal competently with the works of modern artist. If this were the place I could write a very neat little guide to enable the amateur of pictures to deal to the satisfaction of their painters with the most diverse manifestations of the creative instinct. There is the intense ‘By God!’ that acknowledges the power of the ruthless realist, the ‘It’s so awfully sincere’ that covers your embarrassment when you are shown the coloured photograph of an alderman’s widow, the low whistle that exhibits your admiration for the post-impressionist, the ‘Terribly amusing’ that expresses what you feel about the cubist, the ‘Oh!’ of one who is overcome, the ‘Ah!’ of him
whose breath is taken away.”
whose breath is taken away.”