The Painted Veil

is the most philosophically profound work among Maugham's Eastern writings. Set against the backdrop of a plague-ravaged town called Mei-tan-fu

the novel presents the spiritual transformation of its characters from fear and escape to acceptance and transcendence through a wealth of death narratives. Using the Taoist philosophy of death as an analytical framework

this paper systematically examines the forms of death narratives in

The Painted Veil

interprets the literary expression of concepts such as "the inevitability of life and death

" "the oneness of life and death

" "xuanjie (the released suspension)

" and "an shi chu shun (being at peace with the moment and following along with the natural course)" within the text

and distinguishes the philosophical differences between the two paths of death imagery represented by Kitty and Walter. The study shows that Kitty's spiritual awakening presents a composite state of Taoist wuwei (non-action) wisdom and existential courage

while Walter's death reveals the fundamental tension between mechanical rationality and Taoist natural compliance. The paper also re-examines Maugham's reception of Taoist thought

arguing that his understanding is a "creative misreading

" and that the novel's ending—Kitty's awakening "toward death"—engages in a profound dialogue with Zhuangzi's concept of xuanjie

offering an Eastern wisdom for modern people facing existential anxiety.