对社会的愤怒意识、惊人的反传统观点,是毛姆的一大标志。在他的作品中,叛逆者的形象屡见不鲜,从戏剧《圈子》中的伊丽莎白、《谢斐》中的谢斐,到长篇小说《人生的枷锁》中的菲利普、《克雷杜克夫人》中的伯莎、《刀锋》中的拉里,再到短篇小说《人生的严酷现实》中的尼基和《爱德华·巴纳尔德的堕落》中的爱德华,这些形象在毛姆的作品中频繁出现,使我们不时可以听到打破枷锁的声音。毛姆出生在维多利亚时期,但是并不满意那个传统守旧的时代遗留下来的条条框框,不时抨击强大的旧势力。他说:“我一直向生活要求的主要的东西是自由,内部和外部的自由,生活和写作中的自由。”~①他认为许多职业都有行规的限制,而艺术家是自由的,可以天马行空,随心所欲。因此他不顾家人的反对,决定以写作来谋生,这在当时是不为高贵门第所认可的职业。作为一个叛逆者,毛姆独爱研究和他一样具有反叛心理的人,在创作中同情乃至偏爱那些为自由而抗争的人。他的作品经常出现这样的人物:他们试图从给他们压力的伴偶、家庭、和社会中挣脱出来。纵观他的写作 The sense of anger towards society and the astonishing anti-traditional viewpoint are the hallmarks of Maugham. In his works, the image of rebels is not uncommon, from Elizabeth in the play “Circle”, from Xie Fei in “Xie Fei” to Phillip in the novel “The Shackles of Life”, “Lady Cradduck” Bertha, Larry in Blade, to Nicky in the short story The Harsh Real Life and Edward in The Fall of Edward Barnard, these images are common in Maugham’s work Appear, so that we can from time to time to hear the sound of shackles. Born in the Victorian era, Maugham was dissatisfied with the rules left behind by that traditional conservative era, attacking the mighty Old Forces from time to time. He said: “The main thing that I have demanded from life is freedom, internal and external freedom, freedom of life and writing.” "1 He believes that many professions have restrictions on rules and that artists are free, Can be abstract, arbitrary. Therefore, despite his family’s objections, he decided to make a living by writing, which at that time was not a job recognized by noble officials. As a rebel, Maugau devoted himself to studying the same rebellious person as he did, sympathizing with and even favoring those who fight for freedom. Often, his works appear such characters as they try to break free from their partner, family, and society that pressured them. Throughout his writing