Summary
The next part of the book begins with Strickland talking to the narrator as they sit in a Parisian cafe. The narrator confronts Strickland about what he has done to his wife and children by leaving them. Strickland shows no remorse or concern, but at the same time admits that he has been "monstrous." The narrator feels bewildered and uncertain of what to say next. They talk more and the narrator also learns that Strickland has not left his wife for another woman, but instead to pursue a life as a painter. The narrator remains disturbed by his coldness but also feels a deep sense of curiosity about his choices. They look for a restaurant.
They sit down to eat and the narrator feels guilty about continuing to spend time with Strickland after seeing his callous indifference. They talk and eat. Eventually a woman comes over and begins to talk to them, expressing clear romantic interest in Strickland. The narrator is forced to translate their conversation, as Strickland does not speak French and the woman does not speak English.
Strickland rebuffs her harshly and she leaves angrily. The narrator realizes Strickland really is wholly dedicated to his painting and also shows absolutely no concern for the feelings of others. He also discusses the way that Strickland appears entirely unaffected by the opinions of others, as his classmates in his painting courses show no respect for his work.
The narrator returns to London, perplexed by Strickland's behavior. He struggles with what he thinks he should say to Amy about the trip and Strickland's comments. He talks to Amy and Colonel MacAndrew, informing them that Strickland has taken up painting and that he is not involved with a woman. They are shocked and surprised. Amy says that she believes now that he will never return, as she expects this passion, unlike a love affair, will not fade. Amy and Colonel MacAndrew express their contempt for Strickland. The narrator leaves, still feeling confused about the strangeness of Strickland's behavior.
Following this conversation, Amy appears to resolve not to be an object of pity. She never complains about Strickland's departure and takes on work and receives support from Colonel MacAndrew. She also instructs the narrator not to contradict people who say Strickland left with a woman. The narrator becomes tired of the artistic social scene in London and departs for Paris. Before leaving, he sees Amy, who tells him to let her know if Strickland ever needs money. He believes that her offer is not made out of charity, but out of a sense of vindictive superiority.
In Paris, the narrator visits his old friend Dirk Strove. The narrator describes Dirk as a mediocre painter with a kind heart and a keen eye for great art. They spend time at his house and Dirk talks about meeting Strickland, much to the narrator's surprise. Dirk expresses admiration for his work, while his wife, Blanche, says he is a nasty man. Blanche says that Strickland came over and was openly rude to Dirk about his paintings before asking for money, which Dirk gave him. Dirk dismisses the matter casually, saying he bears no ill will about it.
After this, Dirk takes the narrator to see Strickland in person. Strickland is rude to them both, mocking Dirk and seeming unsure of where he has met the narrator before. After talking, the narrator begins to see that Strickland only really cares about pursuing some ideal of artistic achievement. He does not sell paintings or try to get into galleries, showing contempt for the very idea of chasing fame. Strickland also says again that he has no thought of the harm he has caused to others. He also says he has no time for love or romance. He mocks the narrator for being disgusted by him, but still choosing to spend an evening with him.
Analysis
This next part of the book focuses on the narrator's developing understanding of Strickland. He is deeply disturbed by Strickland's cruel indifference to other people, but also fascinated by his intense devotion to his art. He notes that Strickland has no interest in money, material possessions, or romance. Likewise, he cares little about the opinions of other artists. In the narrator's view, his only focus is perfecting his work to meet his own standards and ideals.
Strickland's coldness is also displayed in the subsequent scene at a French restaurant. A woman comes over to talk to the narrator and Strickland, with clear romantic interest in Strickland. Strickland rebuffs her advances rudely, making it clear to the narrator that his sole interest is painting, so much so that he does not feel the need to be even passably polite. The narrator is indignant and embarrassed by Strickland's behavior, but continues to be interested in him as a subject. When he returns to London and Colonial MacAndrew roundly dismisses Strickland, the narrator cannot quite agree with his assessment, as he thinks there is complexity within Strickland's cruel choices.
When the narrator sees Amy and delivers the news about Strickland, she has a surprising response. Instead of being comforted by the fact that Strickland did not run off with another woman, his strange decision to abandon her for painting makes her more certain that he will not return. She says that an affair might have run its course, but she believes that this is something else entirely and that he will never abandon this new dream. Later the narrator describes the way that she does not complain about her misfortune and even talks about Strickland with a degree of pity. He believes this is part of a carefully constructed performance and that she is not as genuine as he initially thought. He says something similar about the way she offers to lend Strickland money if he should need it, noting that it seems rooted in contempt not generosity. He believes it is a gesture made in an attempt to belittle Strickland.
Dirk appears as a type of foil to Strickland. He is a kind and cheerful man, who goes to great lengths to make other people happy. He loves art but his own work is decidedly mediocre, according to the narrator. His own work, the narrator adds, is largely derivative, depicting pleasant scenes from Italian villages. Unlike Strickland, he does not seem to put a great deal of care into his work and is merely happy to be a painter. He is not singularly focus on painting and instead seems to put most of his energy into making sure his wife is happy. In this way, he represents a different kind of life, one the narrator refers to as simple and domestic. He is a lesser artist, but a better person, a fact that the narrator grapples with as he wonders if Strickland's selfishness allows him to be great.
This section of the book deals with the narrator's growing fascination with Strickland and his questioning of his feelings about him. While he finds him to be morally repugnant, he chooses to spend time with him in Paris and even finds his jokes amusing. As much as these chapters are about Strickland, they are also about the narrator's reproach for his own interest in Strickland. He wants to better understand what kind of artist Strickland is and what his goals are, while at the same time feeling that his behavior is completely "odious."
