The Moon and Sixpence presents an essentialist view of gender in which women fundamentally derive identity and meaning from their relationships with men, whereas men fundamentally derive identity and meaning from their own accomplishments. Thus, from the novel’s perspective, women are always trying to entrap and control men to secure meaningful lives, whereas men are always trying to escape female captivity to accomplish something important. It is only when a woman submits totally to male control, by contrast, that a woman and man can live happily together. This dynamic is clearest in the romantic relationships of Charles Strickland, a conventional English stockbroker who abandons his family to become a painter. The novel’s unnamed narrator describes Strickland’s wife, Mrs. Strickland, as devastated by her husband’s abandonment not so much because she loves him as because she must work to support herself without him—changing her identity from upper-class “lady of leisure” to crass, middle-class businesswoman. The narrator describes Strickland’s next lover, married Blanche Stroeve, as trying desperately to distract Strickland from his painting with her wiles in an inherently unequal relationship: she derived the meaning of her life from her love of him, whereas he derived the meaning of his life from his art. It is only when middle-aged Strickland marries a 17-year-old Tahitian girl, Ata, who submits to him beating her, obeys his every command, never disturbs his painting, and refuses to leave him even when he’s dying of leprosy, that the novel represents a heterosexual relationship as somehow “happy” and stable. In this way, the novel actually valorizes of Strickland’s relationship with Ata and thus seems to validate the notion that girls and women should minimize themselves in service of male ambition.
Women vs. Men ThemeTracker
Women vs. Men Quotes in The Moon and Sixpence
Her black dress, simple to austerity, suggested her bereaved condition, and I was innocently astonished that notwithstanding a real emotion she was able to dress the part she had to play according to her notions of seemliness.
It chilled me a little that Mrs Strickland should be concerned with gossip, for I did not know then how great a part is played in women’s life by the opinions of others. It throws a shadow of insincerity over their most deeply felt emotions.
Their life in its own way was an idyll, and it managed to achieve a singular beauty.
“Women are constantly trying to commit suicide for love, but generally they take care not to succeed. It’s generally a gesture to arouse pity or terror in their lover.”
Here lies the unreality of fiction. For in men, as a rule, love is but an episode which takes its place among the other affairs of the day, and the emphasis laid on it in novels gives it an importance which is untrue to life […] As lovers, the difference between men and women is that women can love all day long, but men only at times.
I suppose that art is a manifestation of the sexual instinct […]. It is possible that Strickland hated the normal release of sex because it seemed to him brutal by comparison with the satisfaction of artistic creation.
“She leaves me alone […]. She cooks my food and looks after her babies. She does what I tell her. She gives me what I want from a woman.”
“Thou art my man and I am thy woman. Whither thou goest I will go too.”