Chapter 1 lexicology as a part of linguistics: types and approaches

Phraseological fusions are wholly unmotivated word combinations. Examples include red tape-"bureaucratic procedures," heavy father-"serious or solemn part in a theatrical performance, "kick the bucket -"death," and others. The meaning of the individual components is completely unrelated to the meaning of the entire group, at least synchronically. Idiomaticity often goes hand in hand with the fusion's grammatical structure and total lexical stability.
Since its meaning may typically be understood through the metaphoric meaning of the entire phraseological unit, phraseological units are only partly motivated. For instance, if read as semantically driven via the combined lexical meaning of the component terms, one would naturally comprehend to show one's teeth and to wash one's dirty linen in public in their literal sense. However, the overall metaphor argues that in order to show one's teeth, one should “take a threatening tone” or “show an intention to injure”, in order to wash one's dirty linen in public, one should "discuss or make public one's quarrels." The lexical components of phraseological unities often exhibit a rather high level of stability.
To sum up, it should be said phrasing is one of the many elements that go into the process of communication, and it's maybe the most crucial since it helps us communicate effectively and swiftly despite linguistic differences and minimizes the chance of miscommunication.

CHAPTER 3
PHRASEOLOGICAL UNITS IN THE “MOON AND SIXPENCE” BY SOMERSET MAUGHAM
3.1 Somerset Maugham and “The Moon and Sixpence”: General Outline
One of the most well-known English authors of the 20th century is William Somerset Maugham. He was not just a renowned author, but also a playwright and short-story writer. Somerset Maugham is on par with the finest English writers of the 20th century because to his realistic representation of reality, good character observation, and engaging storylines, as well as his beautiful, expressive language, straightforward style, and lucid writing. Guy de Maupassant has been likened to Maugham for his ability to handle story. His stories have a sardonic or dejected undertone and are written in a concise, economical way. W. Somerset Maugham's numerous books and short tales all have their own distinctive literary styles. Although his language is straightforward, it incorporates deep and profound narratives and opinions (Curtis, A., Whitehead J., 1997:3).
William Somerset Maugham was a British dramatist, novelist, and short story writer who lived from 25 January 1874 to 16 December 1965. He was reportedly the best paid novelist in the 1930s and one of the most well-known writers of his day.
After becoming an orphan at the age of 10, Maugham was raised by an uncle and received his education at King's School in Canterbury. He joined St. Thomas' medical school in London after spending a year at Heidelberg, and in 1897 he earned his medical degree. His first book, Liza of Lambeth (1897), relied on his experiences as an obstetrician, and despite its modest popularity, it inspired him to give up practicing medicine. While on his trip, he visited Spain and Italy. In 1908, he had a theatrical victory by having four plays running concurrently in London, which secured his financial future.
Maugham worked for the British intelligence during World War I as an operative dispatched to Russia, where he remained until the October Revolution. He often met with Kerensky, Savinkov, and other people in Petrograd. Due to the revolution, the scout's mission was unsuccessful, but the novels nevertheless included references to it. Following the war, William Somerset Maugham engaged in a great deal of productive literary labor, publishing plays, novels, and short stories.
By 1940, Somerset Maugham has become one of the most famous and wealthiest writers in English literature. The fact that Maugham works "not for money, but to get rid of plaguing his imagination, ideas, characters, and kinds, but does not mind if the work gives, among other things, the power to write what he wants, and be the master of himself," was not kept a secret by him. The author authorized "the Somerset Maugham Award" in 1947, which honored the greatest British authors under the age of 35.
Once, Maugham observed, "Most people are unable to see anything, but I can see everything clearly right in front of my nose; the finest writers can see right through a stone wall. My vision is not as sharp." His literary encounters were compiled by Maugham in The Summing Up, a manual for writing creatively.
His reputation as a novelist is largely based on four books: “Of Human Bondage” (1915), a semi-autobiographical account of a young medical student's harrowing journey toward adulthood; “The Moon and Sixpence” (1919); “Cakes and Ale” (1930); and “The Razor's Edge” (1944), the tale of a young American. “The Moon and Sixpence” depicts an unconventional artist and is inspired by the life of Paul Gauguin.
As is to be expected, critics have tended to overlook Maugham's originality in favor of his management of narrative, surprise, and suspense, and his portrayal of a particularly diverse cast of individuals from around the globe and socioeconomic classes. The way Maugham continuously frames texts inside texts, emphasizing storytellers and the power of storytelling, is something that is still less frequently discussed in his work. If he is not a modernist, he is at least a proto-postmodernist in this sense(Aldington R., 1989:32).
Despite the outward extravagance of that aspect of his spectacularly diverse life, there is something softly humble and subtly diffident about Somerset Maugham's work that must undoubtedly be a reflection of some sector of his soul. Even yet, he was aware of how horrible it was for prosperity to corrupt even the most calm of hearts. No matter how dramatized or made-up any scenario, character, or episode may be, Maugham always strives to communicate the truth, no matter what it may ultimately turn out to be or how difficult it may be to do so. Truth has psychological effects on people that are comparable to those of drugs. A new vision that is as physically altering as any other is actually carved by the pattern of reality (Brown I, 1970:12).
Only after being able to acknowledge his limitations as a writer did Maugham achieve his breakthrough. Maugham noted that after he had accomplished it, he could concentrate on developing his strengths. In the end, Maugham's writing was straightforward and lacked many deep insights. Nevertheless, he was able to correctly capture the finer details of daily life in concise, straightforward writing. He uses dramatic, thrilling intensity in his short tales to describe bizarre, unique, and startling occurrences. His preferred technique is indirect storytelling, which helps him to convey his points without coming across as intrusive (Birkerts S., 1993:288).
One of the most famous works of Maugham’s is “The Moon and Six Pence”. It is a novel told in episodic form by the first-person narrator as a series of glimpses into the mind and soul of the central character, Charles Strickland, a middle-aged English stockbroker who abandons his wife and children abruptly to pursue his desire to become an artist. The story is said to be loosely based on the life of the painter Paul Gauguin.
The novel is written largely from the point of view of the narrator, who is first introduced to the character of Strickland through his (Strickland's) wife and strikes him (the narrator) as unremarkable. Some chapters are entirely made up of other people's stories or narrations that the narrator is recalling from memory while selectively editing or elaborating on specific dialogue, particularly Strickland's because the narrator claims that Strickland was verbally limited and more likely to express himself through gestures.
Sometime in the late 19th or early 20th century, Strickland is a prosperous, middle-class stockbroker in London. He departs from his wife and kids early in the book and moves to Paris, where he lives as an artist (particularly a painter) in squalor, stubbornly satisfied, staying in run-down lodgings, and succumbing to both disease and starvation. A friend of the narrator's, Dutch painter Dirk Stroeve, who is commercially successful but cliched, generously supports Strickland while he is in Paris because he recognizes Strickland's artistic brilliance. Strickland is driven to express through his art what seems to continually possess and compel him inside.
After assisting Strickland in recovering from an illness that was threatening his life, Stroeve receives compensation in the form of Blanche leaving him for Strickland. Blanche commits suicide after being abandoned by Strickland (who really only wanted her as a model for his paintings; this is implied in the dialogue of the novel), becoming the second person to lose their lives as a result of Strickland's obsessive pursuit of art and beauty after his own established life and those of his wife and children.
Tahiti is where the narrative picks up after the Paris episode. The narrator attempts to put together Strickland's life there from the memories of others even though he has already passed away. He learns that Strickland had married a native lady, fathered two children-one of whom passes away-and started painting a lot. We discover that Strickland spent a brief period of time residing in the French port city of Marseilles before relocating to Tahiti, where he spent a few years before passing away from leprosy. Strickland left behind a large number of paintings, but his most famous work-which he painted on the hut walls before becoming blind from leprosy-was destroyed after his death by his wife on his last request.
She determines that the topic of the book is that a man's desire to fulfill his goal or destiny may drive him to do anything by taking a close look at the main character, the narrative, and the environment.
The phrase "so occupied pining for the moon that he never saw the sixpence at his feet" is reported to have appeared in a review of Somerset Maugham's book Of Human Bondage, where the main character Philip Carey is described as being "so busy yearning for the moon." The book doesn't explicitly explain what the title means. In a 1956 letter, Maugham stated, "If you stare on the ground for a sixpence, you don't look up, and thus you miss the moon." He may be charged with constantly desiring something else, according to Meier-Graefe, Gauguin's biographer at the time, which is how Maugham's title sounds.
The novel presents two themes. In several of his works, Maugham depicts an individual's uprising against the firmly established norms of bourgeois society, revealing the unhappiness of life and the rebellion against the predetermined social order. In this line, "The Moon and Sixpence" was written. Based on the life of a painter, it tells the clash between the artist and traditional society.
With its vices as snobbery, money worship, deception, and self-interest, the aristocratic society profited off humankind's frailties. They saw money as a powerful instrument for controlling politics and economy. Money also united family members and helped the burgeois maintain their regal lifestyle; nonetheless, the husband was required to provide for his wife and children during his whole life. In order to maintain their dominance, the burgeois' elder generations coerced the younger generation.
Speaking about the extract, we can add that the prevailing mood of it is rather pessimistic. The majority of the sentences are quite long, as they bare some description to the reader. We can outline the inner conflict of man in the extract. Surely Captain Nichols realizes his position in the family, but he undertakes no steps to make himself free, and this is his greatest problem. Thus, the extract provokes contradictory assessments, as we see Captain is able to change his life but has no wish to do that.