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  • Libro
    Digital
The Picture Of Dorian Gray

The Picture Of Dorian Gray

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**Corrected Text:** 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 well 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. An 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.

**Corrected Text:** 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 well 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. An 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.
  • Isbn
    3410007380208
  • Peso
    8.7 MB
  • Número de páginas
    169
  • Idioma
    Inglés
  • Formato
    PDF
  • Protección
    DRM
  • Referencia
    BKW146357

Oscar Wilde

Autor

Oscar Fingal O'Flahertie Wills Wilde (Dublín, Irlanda, entonces perteneciente al Reino Unido, 16 de octubre de 1854-París, Francia, 30 de noviembre de 1900) fue un escritor, poeta y dramaturgo de origen irlandés. Wilde es considerado uno de los dramaturgos más destacados del Londres victoriano tardío; además, fue una celebridad de la época debido a su gran y aguzado ingenio. Hoy en día, es recordado por sus epigramas, sus obras de teatro y la tragedia de su encarcelamiento, seguida de su temprana muerte. En la década de 1890 refinó sus ideas sobre la supremacía del arte en una serie de diálogos y ensayos, e incorporó temas de decadencia, duplicidad y belleza en su única novela, El retrato de Dorian Gray. La oportunidad para desarrollar con precisión detalles estéticos y combinarlos con temas sociales le indujo a escribir teatro.