W. Somerset Maugham's Novel

Does an internal or outside(a) creative, phantasmal, mystical or even individualistic ram down outdo conventional morality? Both Kierkegaard and Nietzsche believe it does. Kierkegaard refers to a spiritual or religious morality: "The honourable is the universal and . . . the noble . . . All concern is ultimately work to graven image . . . The obligation becomes duty to God by being referred to God." Strickland or Maugham's cashier might use such a claim to defy the painter's actions as moral, arguing that the artistic vision Strickland pursues so single-mindedly calls the painter with such force because it is a "duty to God."

However, this would be based on a faulty reading of Kierkegaard. He adds the following:

I do not enter into telling with God in the duty itself. Thus it is a duty to lamb angiotensin-converting enzyme's neighbor; it is a duty in so far as it is referred to God; yet it is not God I come in relation to in the duty just now the neighbour I love . . . In the ethical view of life, then, it is the individual's task to divest himself of the determinant of interiority and give it an vista in the exterior (Kierkegaard 96-97).

In Kierkegaard's view, Strickland would be immoral, and the narrator would be wrong in his sympathy for Strickland, because the painter is so distinctly indifferent to his neighbor--wife, children, patron, or anybody with whom he comes into contact. Strickland lives according to that "interiority" which drives him the way a desire for candy, for example, dri

To Nietzsche, as he writes in Beyond Good and Evil, the love for one's neighbor which is at the heart of both Mrs. McAndrew's and Kierkegaard's morality is based not on love that on fear. Conventional morality to Nietzsche is a set of behavioral standards de signaled not for love, not for knowledge, but for protection of people from "what seems dangerous to the maintenance of the community." As colossal as such a standard, based on force and fear, is in place, "There can be no 'morality of love to one's neighbor' . . . Love to our neighbor . . . is partly conventional and arbitrarily manifested in relation to our fear of our neighbor" (Nietzsche 491).

ves the child.

Had he shown round sign of regret for hurting others, shown an effort to not hurt others, or tried to explain himself--these would be extenuating moral considerations, but he did not. To Kierkegaard, Strickland is not moral, and the narrator is wrong in attributing some higher morality to the painter's life.

Our treasure is . . . where stand the hives of our knowledge. it is to those hives that we are always striving; as born creatures of flight, and as the honey-gatherers of the spirit, we care really in our hearts only for one thing---to bring something "home to the hive!" . . . As far as the rest of life . . . our heart is not there (Nietzsche 621).

Applying this to Strickland's life, then, the indorser can see that the narrator is coming from a Nietzschean perspective. He is drawn to the unconventional behavior and thought of Strickland as a man who follows a freer and more powerful force than do those like Mrs. McAndrew who conventionally and blindly adhere to the rules of the community. What Mrs. McAndrew is so groundless and fearful about is unspoken--if all people followed Strickland's example (including Mr. McAndrew), peach chaos would result and Mrs. McAndrew would have to fend for herself, just as Nietzsche would have advised her to do in the first place.

What Mrs. McAndrew stands for in the vi
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