浅析毛姆《在中国屏风上》的中国意象

III1IntroductionMaughamisrecognizedas“oneofthemostpopularwritersofthetwentiethcenturyinEnglish”for65years.Hecreatednearly20novels,morethan100shortstories,32plays,andalsoalargenumberoftravelnotes,essays,memoirs,reviews,etc.inhislifetime.Hehasbeeninvolvedinalmostallliteraryfieldsexceptpoetry,whichisveryrareinthehistoryofEnglishliterature.SomersetMaughamachievedgreatsuccessinbothplaysandnovels,buthisgreatestachievementwasinthewritingofshortstories.Theshortstorieshecreatedinhislifearenotonlyconsiderableinnumber,butalsosplendidincontentandtechnique,widelypopularamongreadersandenduringforalongtime.Burgesssaid:“Hisachievementsinthenovel,thoughnotcomparabletoDickensorJames...andinthelesserformoftheshortstory,thereishardlyasinglewriter,comparabletohim”.In1916,MaughamtraveledtotheSouthPacificandhastraveledtotheFarEastseveraltimessince.In1959,MaughammadehislasttriptotheFarEast.HediedinFranceonDecember16,1965.BritishwriterSomersetMaughamhadplansforatriptotheFarEast.InAugust1919,hesetoutfromLiverpool,England,firstwenttoNewYork,USA,crossedtheAmericancontinenttotheWestCoast,tookaboattoHongKong,thenwenttoShanghai,BeijingandShenyang,andfinallyreturnedtoChinaviaJapanandtheSuezCanal.Fromthesecondhalfof1919tothewinterof1920,SomersetMaughamwasinChinaandwroteatravelnote-OnaChineseScreen.Fifty-eightpieces,longorshort,couldhavebeenthe“material”ofnovels,buttheywerelinkedtogetherinto“asetofnarrativesofatriptoChina”.OpeningthistraveljournalofMaughamislikeopeningasketchbookofafamouspainter.Withafewsimplestrokes,youcancapturethecharmofallthings.WhatMaughamshowedtotheBritishcompatriotswasanantique“Chinesescreen”thatexudesastrongorientalatmosphere.Whetheritistheancientorientalcountryshroudedinmysteriousmist,orthestrangeandunpredictableislandintheSouthPacific,toMaugham,itisastagewithdifferentstyles.Thetravelnotes“OnaScreenofChina”isasetofnarrativesthatdescribestheimageofChinainmanyaspects,includingnotonlythedescriptionofthesocialenvironment,naturallandscapesandcustoms,forexample,hedescribedthemountainsandriversthatMaughamvisitedinChina,andhealsowalkedthroughvariousbuildingsrepresentingthecrystallizationofancientpeople'swisdom.Facingnature'smiraculousworkmanshipandmajesticbuildings,Maughamshoweddeepadmiration.InMaugham'seyes,China'snaturallandscapeisfullofexoticflavors.Mountains,trees,rivers,ricefields,temples,farmhouses...constituteawonderfulpicture,whichmakeshimofteninvoluntarilyadmire.butalsothedescriptionofsurvivaloftypicalimagesofChinesecoolies,officials,andphilosophers.Besides,thebookrecordsthewriter’sexperiencesandfeelingsofthistriptoChina.TheChinadepictedbySomersetMaughamin“OnaScreenofChina”onlyappearedastheoppositeofwhattheWestcalled"highculture",nottherealChina.Whatthewriterconveyedistheideas,valuesandaesthetictendenciesoftheBritish.Onthebasisofcarefulanalysisofthetext,thispaperpointsoutthattheChinadepictedin“OnaScreenofChina”isnottherealChina,butaprojectionofthe“other”;causeofthisphenomenon.ThroughtheanalysisofChina'simageinthetravelnotes,thispaperrevealsMaugham'simaginationandmisunderstandingofChina,andinterpretsthedeepculturalpsychologybehindtheother'simageofChina.

2Chinain1920Thefirst,“TheOpeningoftheCurtain”isalazy,comfortablepicture:ayoungmaninaguapihatgallopsonaMongolianpony,andtheyscatteralamedogaround.,twochubbymenchattingtogether,dressedverywell,"theystaredatthebirdintheirhandswithgentleeyes"andwerecontent.Thebackgroundisa“graduallydecaying”citywallthatresemblesthe“PalestineCityWall”intheancientpainting,“ancientandfullofpheasant”.Onthescreen,aBeijingsedanapproached.Lookingatthesedanthatwasgraduallydisappearinginthetwilight,Maughamimaginedwhowassittingcross-leggedinthecar.“Maybeheisalearnedmanfullofexperience”,whoisgoingto“sharetheTangstyleandSongCaiwhoisalmostnolongersad”withhisfriends.Orasingingprostitute,“dressedinbrightclothesmadeofhigh-qualitysilkandsatin,withapieceofjadeonherjet-blackhair”,whoisgoingoutforabanquet,“exchangingsomegracefulandelegantcopingwiththoseromanticsonsandbrothers”Maughamdidseetheancient,gloriousChinaheexpected.InFragment,“thepewterpotisgracedwithelegantdesign;thecoolie'sricebowlhasitsroughside,butitisalsoelegantlydecorated”.“Onapieceofwrappingpaper,thereisalsoanArabicpattern.Butwhenyouseethefinedecorationonthewoodenfacadeofashop,theoutstandingcarvings,thelacquerworkwithgiltorembossedlacquer,thedelicateThecounterandthemeticulouslycarvedsignboardareevenmoreunexpected.”Even“inaremotevillageyoucanfindthesamejoyinthebeautifuldecoration”,andinthesparsely-traveledarea,youcanseetheingenuityofChineseartistseverywhere:“Thestonesofthebridgebasearebuiltlikeintricateflowerornaments,therailingsaredecoratedwithlionsordragons.”ThisiswhatSomersetMaughamsawandhopedtoseewhenhehadjustpulledbackthecurtainofmystery.Here,itiscompletelydifferentfromhishomelandontheothersideoftheocean.Ithasanintriguingstyle.Thepeopleonthescreenareleisurely,peacefulbuthappy,andeverythingissoharmonious.Inthe“ShanCheng”,hedescribesthebroken,darkmountaincity.“Outsidethecitywalls,coveredwithlargewethouses”;insidethecity,“thedifferenttradescometogether,soyouhavetogothroughameatmarketstreetwithbloodymeatstripsandoffalhangingonbothsides,andfliesbuzzingaround.,themangydoghuntsabouthungryunderthere...”Thenoisehereis“disturbingandfrustrating,”untilitis“maddening”attheend.“Thisisacityofathousandkindsofnoise,wherehawkershawktheirwoodenbells;blindentertainersandmassagewomenplayallegro;peopleinrestaurantssingoperasshrilly,fromaroomThereisaloudsoundofhammeringgongs,andtheremaybeaweddingorafuneral.”And“thehoarsecryofthecooliesandbearers,thelingeringwailingofthebeggars,”theendlessmelancholycracklingofthetrumpeters,and“thebassaccompanimentofallthesesavagemelodies,thechatter,Thelaughter,thenoise,theshouting,thearguing,thechatterofthepeople.”“Then,whenallthesetiresomecrowdsandnoisestireyourears,it'sastench.Yearsandexperiencehavetaughtyoutodistinguishbetweendifferentstench,andyoursenseofsmellbecomesverysharp.BadsmellsTormentyournerves,likethesoundofsomeclumsyandbrutishinstrumentplayingaterriblesymphony.”SomersetMaugham'sdistasteforthismountaincityinChinacanbedescribedasextreme,andthetwoimagesofChinain"OntheChineseScreen”aredisturbing.In“Inn”,“inthequietinn,themaninthenextroomcoughedinpain”.Listeningtohimcoughingallnightisnotonlytowonderhowlongthepoorfellowwilllive.Then,aroosterGoldmancrowing,atrumpeterblewhishorn,andafteralongbang,theinnbegantostiragain,thelightswereon,andthecooliespackedtheirbagsandgotreadytogo.FromthiswecanseethatChinainSomersetMaughamiseithermysterious,unpredictableandexotic;orbackward,poor,barbaric,andincomprehensible.Inshort,theChinaonthescreenisnottherealChina,itisjustthe“other”inMaugham'seyes,afictionalfantasy.SowhatisthereasonwhyMaugham,agreatwriterwithkeenobservation,hassuchaprejudicewhendescribingChina?InthefollowingIwillexplainonebyone.

3TheimageofChinain"OntheChineseScreen"IntheprocessoftravelinginChina,MaughammetallkindsofChinesepeople,amongwhichtheChinesecivilianswerethemostimportantpart.In“OntheChineseScreen”,Maughamputmoreattentiononcooliesandthelike.Chinesepeopleatthebottomexpressedtheirpraisefortheirhardworkandtenacity.SomersetMaughamsawtheredandhardscarswornbythepolesonthecoolies,theirthinnessandthewrinklesengravedbythesunandwindandsand.Thesepainfuldepressionscausedbythehelplessnessofsurvivalarousedthereaders.resonance.Althoughsomewhatone-sided,thecoolieimageinSomersetMaughamstillallowsustoseethelivingplightandtragicexperienceoftheChinesepeopleatthebottominthe1920s.Secondly,healsodescribedtheimagesofChineseofficialsandChineseliteratihemet,expressinghisadmirationforChineseliteratibetweenthelines,aswellasthemisreadingofChineseofficialsbetweenChineseandforeignculturaldifferences.NextIwillanalyzethemonebyone.3.1TheimageofChinesecoolies“OntheChineseScreen”hasatotalof58articles.Someofthemwroteaboutcoolies,suchas“Tuoshou”and“JiangzhongHaozi”,whichwrotetheimagesofcooliesinChinaandtheirlivingconditions.Theauthormentionsthecoolieimagemanytimesinthebook.And“coolie”refersto”theoldforeigner'snameforthelaborersinIndia,Chinaandothereasterncountrieswhosoldtheirstrengthtodoheavywork”.Thisiswhattheauthorsaysinthiscollection.Forexample,thetrackerin“JiangzhongHaozi”,andthebearerin“ThePackBeast”arecooliesinthewriter’seyes.Thesetrackersandpoleworkersalllivedbyhardwork.TheyrepresentedthecoolieimageofoldChinainthe1920s.Maughamexpresseddeepsympathyforthemthroughhiswords.Inadditiontosympathy,thereisalsoridiculeandcontempt.Whendescribingthecoolie'sclothesandstrawhatinthearticle“Tuoshou”,itiswritten:“Allhisclotheswereonlyashortjacketandapairoftrousers,andiftheclotheswereneatandtidywhentheywerefirstworn,Whenitbrokeandneededtoberepaired,heneverconsideredfindingapieceoffabricofthesamecolor,butusedwhateverhehadonhand.Inordertoprotectthesunfromtherain,heworeastrawhat,likeafirefighter.”Whenitcomestothecoolies'clotheswithpatchesofdifferentcolors,heisinaplayfulattitude;whenitcomestothecoolies'strawhats,itisakindofridiculeandsarcasm.Thecoolies’patchesofdifferentcolorsarenotforfun,butasalastresortduetoconstraintssuchaseconomicconditions.Inthearticle“JiangzhongHaozi”,whendescribingtheworksceneoftheboatmanontheriver,Maughamwrote"tryingallout,asifpossessedbyademon","crawlingonallfours,likeawildbeast".Thisvoiceishardlymadebyhumanbeings.ItissoulWeepingbitterlyintheboundlessseaofbitterness.Thiswastheboatman'slastdesperateprotest,anditwasJiangZhong'schant.Inaddition,thecontemptshownbyMaughamisoftenindirectlyexpressedbycitingotherpeople'sviews.In“Henderson”,heborrowedhiswords:TheChinesealwayshavetohaveamaster,andtheyalwayswouldliketo.AreChinesepeoplelikethis?Hendersoncouldn'tbeartotakearickshawwhenhefirstcametoChina,butwhenHendersonspentthreeyearsinShanghai,hewasalreadytakingarickshawregularly.WhentheauthorandHendersongotothestoreinarickshaw,thedriversaresweatingprofuselyfromtheheat.Maughamproposestoletthedrivertakeabreakbeforegoingshopping,butHendersoncursesloudlybecausethedrivermissestheturn.ThesefullydemonstrateHenderson'scontemptforcooliesandevenallChinese,aswellasahigh-flyingcolonialistmentality.MaughamsaidnothingaboutHenderson'swords.Suchareactionshowsthattheauthorisholdingatacitattitude,andindirectlyshowsMaugham'smentalityofdespisingChinesecoolies.In“TheSpiritofDemocracy”,whendescribingwhathappenedtothesquatofficerattheinn,SomersetMaughamwrotethatthesquatofficerwasreluctanttolivewiththecooliesandthenroaredthreats.Butassoonasswitchtheconversationtosomeothersubject,theofficialwastalkingtoagroupofshabbycooliesagain.Theofficialwasnotasstubbornasbefore.Hedidn’tmindsittingonanequalfootingwiththecoolies,andhecouldn'tseethecondescensionanytimesoon.Maughamwrote:“Thisseemstobetherealthing.Democracy”.SomersetMaughambelievedthatthepositionandwealthcausedtherankandrankamongpeopletobecompletelyaccidental,anddidnothinderpeople’scommunication.ThestricthierarchyofsuperiorsandinferiorsislikeamountainthatweighsdowntheChinesepeopleinfeudalsociety.Howcandemocracycomefrom?Therefore,ratherthansayingthatMaughamcreatedarealimageofChinainhisworks,itismorethatheimaginedit,notarealdemocracy.Throughtheaboveexplanation,weunderstandtMaugham'sattitudetowardsChinesecooliesiscomplexandcontradictory.WesawtheimageofcooliesinChinainthe1920s,whichwasseenthroughtheeyesofthe“other”.Theimageofthecoolieinthetextisjustthathereliesonsomeexternalobservations,anddoesnotcommunicateandcommunicatewiththecooliesinlanguage,andaddshisownimaginationandspeculationinmanyplaces,soithasacertainone-sidedness.Althoughitisone-sided,thecoolieimageinSomersetMaughamstillallowsustoseethelivingplightandtragicexperienceoftheChinesepeopleatthebottominthe1920s,anditisalsohelpfulforustoreflectonourselvesandbetterunderstandourselves.ThisisalsothesignificanceofourdiscussionontheimageofChinesecooliesinMaugham'spen.3.2TheimageofChineseliteratiDuringhistravelsinChina,MaughammadeaspecialtriptoGanyuHutong,DongchengDistrict,Beijing,andvisitedafamousphilosopher.“ThelastrepresentativeofoldChina”wasGuHongming.IntheeyesofthepeopleaftertheRepublicofChina,GuHongmingwasstubbornandunrepentant.Hewasa“madman”whowentagainstthetrendofthetimes.Heclaimedtobe“thelastbraidofChina.”However,intheWesternsocietyatthattime,amongEuropeanandAmericanscholars,GuHongmingwasregardedasaverygreatChinesephilosopher.Brandes,afamousDanishscholar,believedthatGuHongmingwas“themostimportantwriterinmodernChina.”Tolstoy,aRussianwriter,alsowrotetohim.GuHongminghadthegreatestinfluenceinGermanyatthattime.ShenLaiqiu,astudentstudyinginGermany,said:“InGermany,Ihavebeenincontactwithmanypeopleinsociety.TheygenerallyexpressafavorableimpressionoftheChinesepeopleandareinterestedinorientalculture.Unexpectedly,GuHongming'snamewaspasseddowninthemouth.”Therefore,visitingGuHongmingwasalsooneofMaugham's“excitingwishesinthissomewhatarduoustrip”.MaughamintroducedtheWesternerinthisway.InterestedChinesephilosopher:"HeisagreatauthorityonChineseConfucianismandissaidtobefluentinEnglishandGerman.HehadbeenateacherformanyyearswithoneofthegreatestgovernorsandministersoftheEmpressDowagerCixi,butnowheislivingaretiredlife.Maughamjudgedfromtherumorsthathewasamanofcharacter,andasexpected,whenMaugham'sresidenthostsentanoteaskingGuHongmingtocometomeettheforeignwriter,herefused.MaughamwassurprisedbecausehehadneverencounteredasimilarsituationinChina.SomersetMaughamimmediatelyrealizedthatitwasinappropriatetoapproachaphilosopherinsuchanarrogantway,andwroteanotherletterinquiringinthepolitesttermsimaginable,andwasfinallyallowed.Duringthemeetingthenextmorning,Maughamalmostlikeavideorecorder,whichrecordedthewholeprocessofthemeeting,whichitselfreflectedMaugham'sadmirationforGuHongming.However,duetolanguageandculturalbarriers,theChineseimagesinSomersetMaugham'sworksaresometimesmysterious.Mr.Gulivedinadilapidatedandlow-risecourtyard.Hewasold,thinandshriveled,withyellowteeth,buthewaseloquentwhenitcametophilosophy,likeafighter.InMaugham'sview,hewaslearned,eloquent,andgentle.Hehadthetalenttogovernthecountrybutfailedtobeentrustedbytheruler.Evenifhisprivatelifeisabitunbearable,itdoesnotaffectMaugham'sadmirationforhimintheslightest.Mr.Guisjustliketheoldtraditionherepresents,whichmakesMaughamfascinated.WhenMaughamleft,GuHongmingsplashedinkandgaveapoem,Maughamaskedhimtotranslate,hesaid:“Don'texpecttoshowmethetruth.AskoneofyourEnglishfriends.ThosewhopretendtoknowChinahasthemostpeople,andtheresultisthattheydon'tknowanything.”Forthosemissionarieswhocallthemselves"Sinologists"andtheirarrogancecausedbytheirignorance,GuHongmingcan'thelpbutbeangry.AfterMaughamreturnedtoChina,hespeciallyaskedsomeonetotranslatethispoem,anditturnedouttobeapoemaboutaprostitute.SomersetMaughamsaid:“Franklyspeaking,thepoetryisundoubtedlyofahighstandard,andwhenIreadit,Iwasalittlesurprised.”MaughamwasridiculedinfrontofGuHongming,buthisattitudetowardsGuHongmingwasreverent,evenalittlefearful.TherearetworeasonswhyMaughamreveresGuHongmingsomuch.First,heisconvincedbyGuHongming'sprofoundChineseandWesternknowledgeandcarefulandconfidentthinking.Second,hehasacertainresonanceandagreementwithGuHongming'sthought.Atthispoint,GuHongmingpublishedthebook“TheChineseSpirit”inEnglishandaseriesofessaysontherelationshipbetweentheGreatWarandEasternandWesterncivilizations,claimingthatChineseculturecansavetheWest.HebelievesthatthereasonwhyChinahasbeenabletosurviveformorethan2,000yearswithoutthepoliceandarmyispreciselybecauseofthewayofConfuciusandMencius,andtheonlythingthatcanresistthedestructiveforceofmodernEuropeanmaterialcivilizationisthebroadandprofoundChinesecultureandthetoleranceoftheChinesepeople.InTheChineseSpirit,hepointedoutthatWesternerscouldfindtheirlong-lostmoralpowerinChinesecivilization.This“civilizedwealth”isthepoliticalandreligiousvirtuesoftheChinesewhohavebeenbaptizedbyConfucianism.TheChinesepeople,especiallythescholar-officials,placegreatemphasisonemotionalcultivation,spiritualself-sufficiency,andmoralself-satisfaction,whichtoacertainextentweakensthepursuitofmaterialthingsandtheexplorationofthematerialworld,whichintheeyesofWesternersisaremedyforsalvation.AgoodmedicinefortheillsofWesternmaterialcivilization.Therefore,forMaugham,whoseeksnewmoralvalues,itisinevitabletolookuptoGuHongming.3.3ChineseofficialsInadditiontowritingabouttheChinesepoor,MaughamalsodeliberatelypaidattentiontoanothergroupinChinaatthattime,namelyChineseofficials.ItcanbesaidthatMaugham'simageofChineseofficialsinthe20thcenturyisveryfull.In"OntheChineseScreen",Whatheleadsreaderstoseeisthetruetemperamentofthecharacters.Regardlessofbeautyorugliness,thistruthistheessenceoflife,anditisalsothewayoflifethatMaughamhasbeenlookingforandexploringinhisexotictravels.Forexample,theconversationwiththecabinetministersalsoreflectsthemisunderstandingsandassociationsthatMaughamdisplayedasaWesterner.TheEmpressDowagerCixicametopoweraftertheXinYoucoupin1861,whichhadacertainimpactonthepoliticalsituationinthelateQingDynasty.ThevariouspoliticalmeasuresshetookduringtheperiodwhenshewasunderthecurtainenabledthecontinuationoftheQingDynasty,whichwasonthevergeofcollapseatthattime,andtoacertainextentalsopromotedthemodernizationoftheQingDynasty.However,duetoCixi'spoliticalshort-sightedness,atacriticalmomentwhenChinawasfacinginternalandexternalaggression,shewasbetteratmaneuveringthanrunningthecountry.WhentheWesternizationMovementthreatenedherfeudalruleinstitutionally,herattitudetowardstheWesternizationMovementalsochangedfrominitialsupporttoOpposition,makingChina'sroadtomodernizationfaltered.Duetolackofpoliticalforesight,Cixiwasignorantinthefaceofmanynewthings,superstitiousinFengShui,andbelievedthatbuildingarailwaywoulddestroythedragonveins;forpleasure,whenthecountrywasincrisis,shedidnothesitatetospendalotofmoneytobuildtheSummerPalace,whichmadetheWesternizationMovementlacksufficientfunds.Intermsofforeignrelations,Cixioscillatedbetweenxenophobiaandforeigner.DuringtheSino-Frenchwar,sheagainledChinaandFrancetosignthe“Sino-FrenchNewTreaty”thathumiliatedthecountry.Chinawasdefeatedwithoutafight;whentheWesternizationMovementfailed,sheturnedtoXenophobia,warswithforeignpowers,andafterfailure,theyturnedtoforeigners,cededlandandpaidindemnities,makingChinathelargestdebtorcountryatthattime,withhugefiscaldeficits.In“TheBanquet”,Maugham'sfrienddescribedheras"alovelyandkindperson",butitactuallyledtoChina'sgradualdeclineintoasemi-colonialandsemi-feudalsociety.Regardlessofthefateofthecountry,notcaringaboutthehardshipsofthepeople,theemperorwhoonlyforpleasure.ItalsoreflectsMaugham'signoranceandmisunderstandingofChina.Thisuglinessalsomanifestsitselfinindividuals.“CabinetMinister”isarichandcolorfulportrayalofaChineseofficialwithaglossyappearancebutanuglyappearance.Hewasthin,withthin,gracefulhands,andahintofmelancholyinhislarge,darkeyes,lookinglikeascholaroravisionary,withafriendlysmile.Withexquisitecalligraphyandoilpaintingshanginginhisroom,hetalkedtoMaughamaboutthesituationinChinawithasomberexpression,andwasworriedthattheancientcivilizationwasbeingmercilesslydestroyed.HeinvitedSomersetMaughamtoadmirehisartcollection,fromwhichhehadanexcellentartisticappreciation.However,thiscabinetminister,whohasagoodartistictasteandisworriedaboutthestatusquoinChina,isactuallyavillainwhoiscorrupt,derelictionofduty,hypocriticalandcruel,andbribery.SomersetMaughamwasextremelysarcasticandcriticalofhisinconsistentbehavior,believingthatChineseofficialsweretoblameforChina'sdecline.Tosumup,withhisprofoundobservationandsharpwriting,SomersetMaughamusedtwowaystodescribetheimageoftheChinesepeople:oneisanintuitiveobservationasabystander,andtheotherisrelayedbyBritishmissionaries,businessmenandpoliticiansinChina.ItmainlydescribestheChineseimagesoftwotypesofpeople,oneisordinarypeople,andtheotherisdignitaries.Intheseforeigners,whethertheyareragged,skinny,shriveledcoolies,orordinarypeoplewhoarerunningaroundforaliving,intheireyes,theyareallvoyeuristic,vulgarandignorantpeople.Onthesurface,theypraisetheChinesepeople,buttheycan'thearotherssaythattheChinesepeoplearenotgood;ontheotherhand,theyhatetheChinesepeople.SomersetMaughampaintedabizarreimageofChinaforWesternreadersinhistravelnotes.ForMaughamandWesternreaders,thisexoticimagepresentsnotonlytherealityofChinainaspecificeraandaspecificregion,butalsoMaugham'simaginationasa"tourist"andthecollectiveconsciousnessoftheWest,andtherearemanyelementsofimaginationandmisunderstanding.

4ThesymbolicmeaningofthescreenThescreen,akindoffurnitureusedtoblockthewindintraditionalChinesebuildings,iscalled“screeningthewind”.Asanimportantpartoftraditionalfurniture,thescreenisauniquesceneofChinesetraditionalculture.ItisauniquehandicraftcreatedandinventedbytheChinesenation.Screensaregenerallydisplayedinprominentpositionsintheinterior,andplaytheroleofseparation,beautification,windprotection,coordinationandsoon.Itcomplementseachotherwithclassicalfurniture,complementseachother,andbecomesaninseparablewholeofChinese-stylehomedecoration,presentingaharmoniousbeautyandtranquilbeauty.WhydidSomersetMaughamcallhiswork“TheScreen”?Theaestheticfunctionofthescreentileisprobablythesame.Itbothrejectsandattracts,obscuresandpresentsboththedivisionandpartitionofspace,andthetransitionandconnectionofdifferentspaces.Thepaintingsonthescreensoftenseemtoappearanddisappear,loomingandappearing,betweenclarityandblur,realandunreal.Maughamwasundoubtedlyverycleverinchoosingsuchanobjectofgreatorientalcolorandmysteriousbeautytonamehistravelogue.Throughthisnaming,henotonlysatisfiedthecuriosityofthoseWesternreaderswhoareignorantofChina’shistoryandcurrentsituation,buteagertoseethetruth,healsosuccessfullyreservedspaceforself-justificationforhissuperficialdescription.Thename“Screen”seemstoimplysomekindofincompleteness,unsystematicityanduncertainty,buttheauthorpromisestointroducetoreadersthismysteriouscountrythroughthe“ChineseScreen”composedofessaysofdifferentlengths.Getaglimpseofsomefeaturesaboutthenature,geography,culturallandscapeandnationalcharacterofthisancientempire,andthenreflectontheuniversalhumanissuesinvolvedandthefateoftheancientempire.WhenMaughamcametoChina,the1911Revolutionhadjustsucceeded,theancientfeudalempirehadcollapsed,andthenewRepublicofChinawasinthemidstofinternalandexternaltroubles.Incontrast,Maugham’sownhomelandhadjustexperiencedthenightmareofWorldWarI,andtheBritishEmpirewasinshock,althoughstillmaintainingadecentappearancetoacertainextent,butitsauthoritativepowerwasclearlynotwhatitusedtobe.Throughtravelliterature,introducingthevisionofothersandprovidingareferenceandmirrorforlocalculturehasalwaysbeenthetraditionalmodeandready-maderoutineofBritishtravelliterature.Inthissense,thefateoftheancientChineseEmpireseemstohavesomeenlightenmentsignificanceforthemodernBritishEmpire.InMaugham’simpressionsandfeelingsaboutChina,WeiShididnothaveanelementof“sympathy”foreachother.Onthewhole,OnaChineseScreenpresentsWesternreaderswiththeimageofadecaying