"A silent way unseen" : Maugham's use of nonverbal behavior in three novels

Abstract

The nonverbal behavior of three of W. Somerset Maugham's characters with artistic temperaments--Charles Strickland in The Moon and Sixpence, Larry Darrell in The Razor's Edge, and Edward Driffield in Cakes and Ale--provides important clues to the differences between these characters and the unartistic characters in the novels. Because, as much linguistic research has shown, a complete understanding of any communication situation requires an understanding of nonverbal communication, an accurate interpretation of the novels requires an examination of the characters' nonverbal behavior. Furthermore, because, as much literary research has shown, Maugham depicts in his artistic characters the psychological problem of alienation from society, those characters' nonverbal communication as well as their verbal communication reflects their position as outcasts. Since Strickland, Darrell, and Driffield perceive the world from a more spiritual level than ordinary characters, the artistic characters break six rules of conduct concerning nonverbal behavior held dear by their society. The rules are: (1) Dress. One appears as physically attractive as possible. (2) Environs. One makes one's dwelling appealing to visitors. (3) Courtesy. When spoken to courteously, one replies courteously. (4) Gratitude. When given help or praise, one shows gratitude. (5) Attention. When in conversation, one does not appear preoccupied. (6) Contrition/Defensiveness. When rebuked, one shows remorse by appearing guilty and apologetic or defensiveness by appearing angry, confident that one is not guilty or embarrassed. Strickland's painting and Darrell's faith progressively overtake the men, rendering them unaffected by the outrage their unorthodox behavior prompts from their fellow characters. However, Driffield's writing gradually gives way to society's demands, the instinct to write well dulled by money and position. Maugham uses descriptions of Driffield's conformity to society's demands concerning nonverbal behavior to mask Driffield's true feelings, but occasionally, even after Driffield becomes famous, Maugham uses descriptions of Driffield's nonverbal behavior to unmask the old artistic Driffield.