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52THE PICTURE OF DORIAN GRAY
© Mukhanbetalieva M.N.*
School-gymnasium № 30, Republic of Kazakhstan, Atyrau
Though Oskar Wilde is known today primarily as a playwright and as the author of The Picture of Dorian Grey (1891) - his only novel - he also wrote poetry, fairy tales, essays and criticism, all of which express his aesthetic approach to life and art. Indeed, he was the most popular spokesman in the late 19th century advocating the doctrine of aestheticism, which insisted that art, should be primarily concerned with art for art's sake, not with politics, religion, science, bourgeois morality.
The picture of Dorian gray is the only published novel written by Oskar Wilde, first appeared as the lead story in Lippincott's Monthly Magazine on 20 June 1890. Wilde later revised this edition, making several alterations, and adding new chapters: the amended version was published by Ward, Lock, and Company in April 1891. The basic theme is of a man whose portrait ages while he remains young, leading him to debauchery.
The artist is the creator of beautiful things.
To reveal art and conceal the artist is art's aim.
These sayings were originally published as a defense of his work in the fortnightly review (1 march 1891), and published as the work's Preface in subsequent editions. The critic is 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. There 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 Cali ban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Cali ban 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.
* Teacher of English.
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.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse making a useless thing is that one admires it intensely.
All art is quite useless.
It is silly of you, for there is only thing in the world worse than being talked about, and that is not being talked about.
But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or a forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don't think.
There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. It is better not to be different from one's fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They life as we all should life -undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands. Your rank and wealth, Harry; my brains, such as they are - my art, whatever it may be worth; Dorian Gray's good looks-we shall all suffer for what all suffer for what the gods have given us, suffer terribly.
When I like people immensely, I never tell their names to any one. It is like surrendering a part of them. I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvelous to us. The commonest thing is delightful if one only hides it.
You seem to forget that I'm married, and the one charm of marriage is that it makes a life of deception absolutely necessary for both parties. Being natural is simply a pose, and the most irritating pose I know.
Conscience and cowardice are really the same things... conscience is the trade-name of the firm. That is all.
Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the colored canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own my soul.
As for believing things, I can believe anything, provided that it is quite incredible.
Laughter is not at all a bad beginning for a friendship, and it is far the best ending for one.
"You don't understand what friendship is, Harry," he murmured - "or what enmity is, for that matter. You like everyone; that is to say, you are indifferent to every one".
I make a great difference between people. I choose my friends for their good looks, man acquaintances for their good characters, and my enemies for their good intellects. A man cannot be too careful in the choice of his enemies. I have not got one who is a fool. They are all men of some intellectual power, and consequently they all appreciate me.
Now, the value of an idea has nothing what's ever to do with the sincerity of the man who expresses it. indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be colored by either his wants, his desires, or his prejudices.
I like persons better than principles, and like persons with no principles better than anything else in the world.
Poets are not as scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions.
I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue.
It is a sad thing to think of, but there is no doubt that genius lasts longer than beauty. That accounts for the fact that we all take such pains to over - educate ourselves. In the wild struggle for existence, we want to have something that endures, and so we fill our minds with rubbish and facts, in the silly hope of keeping our place. The thoroughly well - informed man - that is the modern ideal. And the mind of the thoroughly well - informed man is a dreadful thing. It is like a brick - a bract shop, all monsters and dust, with everything priced above its proper value.
Those who are faithful know only the trivial side of love; it is the faithless who know love's tragedies.
Women have no appreciation of good looks; at least, good women have not.
I wish I could change places with you, Dorian. The world has cried out against us both, but it has always worshipped you. It always will worship you. You are the type of what the age is searching for, and what it is afraid it has found. I am so glad that you have never carved a statue, or painted a picture, or produced anything outside of yourself! Life has been your art. You have set yourself to music. Your days are your sonnets.
Art has no influence upon action. It annihilates the desire to act. It is superbly sterile. The books that the world calls immoral are books that show the world it is own shame.
Table 1
Screen fictions
Year Name of films Country of production Producer Actors of Dorian Gray Add
1910 Dorian Grays portrait Denmark Axel Strom Valdemar Psi-lander
1913 The Picture of Dorian Gray USA Phillips Smalley Wallace Reid
1915 The Picture of Dorian Gray USA Matt Moore
1915 The Picture of Dorian Gray Russia Vsevolod Mayerhold Varvara Yanova
1916 The Picture of Dorian Gray USA Fred W. Durrant Henry Victor
1917 The Picture of Dorian Gray Germany Richard Oswald Bernd Aldor
1918 The Picture of Dorian Gray Hungary Alfred Deesy Norbert Dan Bella Lugoushi in the act of Lord Henry
1945 The Picture of Dorian Gray USA Albert Luin Hurd Hartfield Harry Straddling winner of Oskar
1953 The Picture of Dorian Gray USA Franklin Seffner
1958 The Picture of Dorian Gray (in the musical "II novelliere") Italy Daniele D'Anza
1961 The Picture of Dorian Gray (from the soap opera "Armchair Theatre") Great Britain Charles Jarrott Jeremy Brett
1961 The Picture of Dorian Gray (from the soap opera "Golden Snow-case") USA Paul Bougart Sean Garrison
1968 The Picture of Dorian Gray USSR Nadejda Marusalova, Victor Turbin Valerii Babya-tinskii Yuri Yakovlev, Alexander Lazarev
1969 The Picture of Dorian Gray (soap opera) Mexico Ernesto Alonso Enrique Alvarez Felix
1970 The Picture of Dorian Gray Great Britain, Italy, Germany Massimo Dallamano Helmut Berger
1973 The Picture of Dorian Gray USA Glenn Jordan Shane Briant
1976 The Picture of Dorian Gray (from the soap opera "BBC Play of the month") Great Britain John Gorrie Peter Firth
1977 The Picture of Dorian Gray (from the soap opera "Los libros" France Pierre Boutron Patrice Alexsandre
1977 The Picture of Dorian Gray Spain Jaime Chavarri Agustin Bescos
1983 The Picture of Dorian Gray USA Tony Maylam Belinda Bauer
1984 The Picture of Dorian Gray Germany Ulricke Ottinger
2001 The Picture of Dorian Gray USA, Canada Allan Goldstein Atan Arickson Malcolm MacDowell act out Lord Henry
2003 The Picture of Dorian Gray USA Stiven Norrington Stuart Taun-send
2004 The Picture of Dorian Gray USA David Rosenbaum Josh Dunamel
2006 The Picture of Dorian Gray USA Duncan Roy David Gallagher Present time
2007 The Picture of Dorian Gray John Cunningham
2009 The Picture of Dorian Gray Jonathan Courrte-manche
2009 Dorian Gray Great Britain Oliver Parker Ben Barns Colin Furt act out Henry
Literature:
1. The Picture of Dorian Gray / by Oscar Wilde. - 1891.
2. The Picture of Dorian Gray. - 13 - chapter version. - 1890.
3. The Picture of Dorian Gray. - 20 - chapter version.
4. Complete works of Oscar Wilde / ed. By Robert Rossi. - Boston, 1905.
5. Criticisms and reviews / Oscar Wilde. - New York, 1925.
6. The complete works of Oscar Wilde. - New York, 1923.
7. The essays of Oscar Wilde. - New York: Cosmopolitan Book Corp., 1916.
ТЕАТРАЛЬНОСТЬ ПРОИЗВЕДЕНИЙ Ч. ДИККЕНСА КАК СОЦИОКУЛЬТУРНЫЙ ФЕНОМЕН
© Садыхова Л.Г.*
Московский государственный технический университет им. Н.Э. Баумана,
г. Москва
Произведения Ч. Диккенса рассматриваются в данной работе в контексте популярности среди его читателей театра, и особенно - театра мелодрамы. Выявляются разные аспекты театральности книг Диккенса: в частности, соответствующие метафоры, мелодраматические коды и мелодраматический стиль.
Чарлз Диккенс, 200-летний юбилей со дня рождения которого пришелся на этот год, был одним из тех немногих писателей, к которым популярность пришла сразу и сопутствовала всю жизнь. Естественно предположить, что такой успех - закономерное следствие отображения чего-то очень значимого для той или иной культуры, органически присущего ей и / или воспроизведения каких-то важных изменений, через которые она проходила в соответствующую эпоху.
Что могло быть таким значимым - социокультурным феноменом - в случае Британии XIX столетия? Век научно-технического прогресса и расцвета империи, это время было также началом массовой культуры, и театр был ее самым доступным и популярным развлечением [6]. Театр XIX века, с одной стороны, откликался на те злободневные вопросы, о которых писали газеты (впервые ставшие тогда повсеместно доступным чтением) - и, с другой стороны, запечатлевал те постепенные изменения в общественных устоях, что происходили в этот период, от новых способов времяпрепровождения и моды до морали [3].
Целью данной работы будет, в связи с этим, выявление театральности произведений Диккенса (в самых разных ее аспектах) как феномена викторианской культуры.
Известно, что Диккенс не только был завзятым театралом, но и сам принимал активное участие в так называемых любительских постановках - в том
* Доцент кафедры Социологии и культурологии, кандидат культурологи.
