贝苏尼 提上来给小路：根据王尔德小说改编的电影是—— 2004-11-9 03:33 [Click:88]
The Picture of Dorian Gray.
Here is the famous preface by Oscar Wilde.
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The artist is the creator of beautiful things.
To reveal art and conceal the artist is art's aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest, as the lowest, form of criticism is a mode of autobiography.
Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass.
The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.
No artist desires to prove anything. Even things that are true can be proved.
No artist has ethical sympathies. And ethical sympathy in an artist is an unpardonable mannerism of style.
No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art.
Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree the artist is in accord with himself.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.
- Re: 鈥滈亾杩�.鏍奸浄鐨勭敾鍍忊�濓紝璋佺湅杩囪繖涓數褰憋紵posted on 11/19/2004
- Re: 鈥滈亾杩�.鏍奸浄鐨勭敾鍍忊�濓紝璋佺湅杩囪繖涓數褰憋紵posted on 11/19/2004
I like Wilde (blindly) but haven't read anything by him, a shame. If I just want to read one of his works, which one should I read?
Thanks X - posted on 11/20/2004
他的东西都不错的，都不难读，代表作嘛，很难讲。他最后在监狱里写给douglas的一封长信，叫De Profondis，阐述了他的基本观点，不过看了后很让人难过
的。你要是能忍受，倒是推荐的。
他的戏剧是比较容易的，而且里面很多俏皮话，也都是经典。
戏剧：an ideal husband,有电影，可以对照看。
The Importance of Being Earnest 记得也有电影。
Lady Windermere's Fan
A Woman of No Importance
little wrote:
I like Wilde (blindly) but haven't read anything by him, a shame. If I just want to read one of his works, which one should I read?
Thanks X - posted on 11/20/2004
Thank you Maya.
I am just reading De Profundis by Oscar Wilde. A noble man with sorrow. I like what he said:
"I must say to myself that I ruined myself, and that nobody great or small can be ruined except by his own hand. I am quite ready to say so. I am trying to say so, though they may not think it at the present moment. This pitiless indictment I bring without pity against myself. Terrible as was what the world did to me, what I did to myself was far more terrible still."
I wonder perhaps without his imprisonment, his aesthetic experience would nothave been complete. Here he is relishing his life, thoughts and emotions in various forms in the cell. He is the Artist even in his cell.
So when you know that 'Suffering is permanent, obscure, and dark And has the nature of infinity' (Wordsworth) and whe you accept it's true in your life, you might as well start to enjoy whatever you can - an attempt to manipulate our sensations?
I'd better finish reading it...
- posted on 11/29/2004
摘闲闲书话爱染的评论：http://www3.tianyaclub.com/new/Publicforum/Content.asp?idWriter=1966696&Key=225283050&strItem=books&idArticle=51933&flag=1
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《狱中记》是除了《快乐王子》外我读过唯一一部王尔德的书，懒惰如我，甚至还曾经大段大段的摘抄过。开始的时候对波西，至少是书里的波西厌憎极了，可是后来我忽然发现，对于王尔德来说，波西只是一个符号，他把自己的愿望投射到这个并不善待他的人身上。他口口声声数落着波西的绝情、愚蠢、背叛，但真的，若不是出于我们自己的意愿，又有谁能欺骗、背叛，甚或毁掉我们呢？
在揭露波西的种种恶行的段落里，王尔德真是说的淋漓尽致。你会觉得他真是认清他了。然而这种刀锋般锐利的分析到最后归结成一句话：你犯了世界上所
有的罪也没关系，但是为什么现在你竟然不理我了？！
事实上，王尔德要的只是波西的只言片语，牢狱生活对享尽世间荣华的唯美主义者王尔德来说意味着什么？从天堂到地狱这样的用词庸俗但恰当。可以说波西是促成此事的重要催化剂，可是王尔德归根结底只是在计较一件事：“你为什么不给我写信”！瞧，人们知道自己爱上了魔鬼，没有谁骗了谁。他出狱后，还是投入了这个“与你的友谊是我思想的堕落”的人怀中。
什么是悲剧？这就是悲剧。不只是王尔德，悲剧的种子存在于每个人的生命中，就如同解脱的种子一样。王尔德已经是意识到了，悲哀神圣，他这样写到：“所谓荣华，快乐和成功可能会有粗糙额果实和低劣的质地，但悲哀才是天地间最敏感的东西。人眼看不到的，标识力量方向的敏感的金箔，假如与悲哀相比，也是粗糙的。除了爱的手之外，为了什么手触到它，也是粗糙的。它会是一个流血的伤口，即使是爱的手触到它，它也会流血，尽管人感觉不到痛苦。……生活和艺术的最终形式是悲哀。”
“人们可以在刹那间得到某种东西，但在以后铅一样沉重的漫长时光里，我们却失去了它。因为人们要维持住‘灵魂能够达到的顶点’是那样的困难。我们是在‘永恒’里思想的，但我们却是慢慢地度过‘时光’的。”王尔德似乎觉得在波西那里找到或接近了“灵魂能够达到的顶点，他选择了受折磨，出于自己的愿望。
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