Bøger af Oscar Wilde

La historia de Wilde se narra a través del amigo de un hombre llamado Erskine, quien se encuentra consternado por la teoría Hughes. Erskine había escuchado de dicha teoría a través de Cyril Graham, quien había intentado persuadir a Erskine sobre ella, pero Erskine se encontraba frustrado por la falta de evidencia histórica sobre la existencia de Willie Hughes. Graham intentó encontrar dicha evidencia, pero fracasó. En vez de ello, falsificó un retrato de Hughes en el que éste es representado con su mano en un libro en el que se observa la dedicatoria de los sonetos. Erskine es convencido a través de esta evidencia, pero después descubre que el retrato resulta ser falso; un descubrimiento que lo lleva a dudar nuevamente sobre la existencia de Willie Hughes. Graham todavía cree en la teoría y, para probarlo, se dispara a sí mismo. Erskine recuenta estos eventos al narrador, quien se impresiona ante la teoría de Willie Hughes y comienza con su propia investigación hasta convencerse, sin duda alguna, de que Willie Hughes fue no solo una persona real, sino que también el sujeto de los sonetos. Él presenta esta evidencia a Erskine pero después se despoja de ella, dejando de creer en su realidad. Sin embargo, Erskine renueva su creencia en dicha teoría y se propone a encontrar el rastro de Willie Hughes; empero, al igual que Graham, no encuentra evidencia útil. El narrador mantiene que no existía algo que encontrar, siendo que Hughes nunca existió. Erskine le envía una carta en la que le menciona que la verdad yace frente a él y, como prueba de su fe en ella, comete suicidio. Posteriormente, su amigo se dirigiría a su hotel en Cannes para encontrar a Erskine muerto. Él asume que Erskine cometió suicidio, como Graham, pero el doctor le menciona que la causa real de la muerte había sido una enfermedad de la que Erskine tenía conocimiento desde hace algunos meses; él había ido a París específicamente para morir. Erskine le deja a su amigo el retrato del Sr. W.H., el cual coloca en su casa. Mucha gente hace comentarios sobre el retrato, pero el narrador jamás menciona su historia y algunas veces se pregunta a sí mismo si, después de todo, éste es verdadero.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Salome: Tragoedie In Einem Akt 3 Oscar Wilde Insel-verlag, 1906 Drama; English, Irish, Scottish, Welsh; Drama / English, Irish, Scottish, Welsh

Oscar Wilde (16 October 1854 - 30 November 1900) was an extremely popular Irish writer and poet who wrote in different forms throughout his career and became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, plays and the strange circumstances of his imprisonment, followed by his early death.At the turn of the 1890s, Wilde refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote Salome (1891) in French in Paris but it was refused a license. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late Victorian London. Wilde reached the height of his fame and success with The Importance of Being Earnest (1895).

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

The novel begins on a beautiful summer day with Lord Henry Wotton, a strongly-opinionated man, observing the sensitive artist Basil Hallward painting the portrait of a handsome young man named Dorian Gray, who is Basil's ultimate muse. After hearing Lord Henry's world view, Dorian begins to think beauty is the only worthwhile aspect of life. He wishes that the portrait Basil painted would grow old in his place. Under the influence of Lord Henry (who relishes the hedonic lifestyle and is a major exponent thereof), Dorian begins to explore his senses. He discovers amazing actress Sibyl Vane, who performs Shakespeare plays in a dingy theatre. Dorian approaches her and soon proposes marriage. Sibyl, who refers to him as "Prince Charming", swoons with happiness, but her protective brother James tells her that if "Prince Charming" harms her, he will certainly kill him. Dorian invites Basil and Lord Henry to see Sibyl perform in Romeo and Juliet. Sibyl, whose only knowledge of love was love of theatre, casts aside her acting abilities through the experience of true love with Dorian. Disheartened, Dorian rejects her, saying her beauty was in her acting, and he is no longer interested in her. When he returns home, he notices that his portrait has changed. Dorian realises his wish has come true - the portrait now bears a subtle sneer and will age with each sin he commits, while his own appearance remains unchanged.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Complete Works Of Oscar Wilde, Volume 1; Complete Works Of Oscar Wilde; Robert Baldwin Ross Oscar Wilde Robert Baldwin Ross The Wyman-Fogg Company, 1905

Al ser atacada con violencia la genial postura escénica que caracteriza actualmente las reposiciones shakespearianas en Inglaterra, los críticos parecen suponer tácitamente que Shakespeare era más o menos indiferente a los trajes de sus actores, y que si pudiesen contemplar las representaciones de Antonio y Cleopatra de Mrs. Langtry, diría probablemente que la obra, y sólo la obra, es esencial, y que todo el resto no es más que piel y ropa. También, a propósito de la exactitud histórica en la indumentaria, lord Lytton decía en un artículo la Nineteenth Century, como dogma artístico, que la arqueología se encuentra totalmente fuera de lugar en la representación de cualquier obra de Shakespeare, y que intentar destacarla era una de las pedanterías más estúpidas propias de una época de sabihondos. Más tarde estudiaré la situación en que se pone lord Lytton; pero en lo concerniente al rumor de que Shakespeare no se ocupaba en absoluto del vestuario de su teatro, cualquiera puede comprobar, si estudia atentamente el método de este autor, que ninguno de los dramaturgos franceses, ingleses o atenienses se preocupaban tanto como él de la indumentaria de sus actores y de sus efectos ilusionistas. Como él sabía perfectamente que la belleza del traje fascina siempre a los temperamentos artísticos, introduce continuamente en sus obras danzas y máscaras, sólo por el placer que proporcionan a la vista.

Five Plays by Oscar Wilde in One Volume! A WOMAN OF NO IMPORTANCE THE IMPORTANCE OF BEING EARNEST LADY WINDERMERE'S FAN SALOMÉ AN IDEAL HUSBAND

Miscellaneous Aphorisms/The Soul of Man is a Irish literature collection featuring two classic works by Oscar Wilde. It is absurd to have a hard and fast rule about what one should read and what one shouldn't. Moren than half of modern culture depends on what one shouldn't read.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Complete Writings Of Oscar Wilde, Volume 2; Complete Writings Of Oscar Wilde; Oscar Wilde Oscar Wilde The Nottingham Society, 1908 Literary Criticism; European; English, Irish, Scottish, Welsh; Drama / English, Irish, Scottish, Welsh; Literary Criticism / European / English, Irish, Scottish, Welsh

Lady Windermere's Fan, A Play About a Good Woman is a four-act comedy by Oscar Wilde, first produced on Saturday, 20 February 1892, at the St James's Theatre in London. The story concerns Lady Windermere, who suspects that her husband is having an affair with another woman. She confronts him with it but although he denies it, he invites the other woman, Mrs Erlynne, to his wife's birthday ball. Angered by her husband's supposed unfaithfulness, Lady Windermere decides to leave her husband for another lover. After discovering what has transpired, Mrs Erlynne follows Lady Windermere and attempts to persuade her to return to her husband and in the course of this, Mrs Erlynne is discovered in a compromising position. It is then revealed Mrs Erlynne is Lady Windermere's mother, who abandoned her family twenty years before the time the play is set. Mrs Erlynne sacrifices herself and her reputation to save her daughter's marriage. The best-known line of the play sums up the central theme: We are all in the gutter, but some of us are looking at the stars. Lord Darlington By the summer of 1891 Wilde had already written three plays: Vera; or, The Nihilists and The Duchess of Padua had found little success, and Salome had been censored. Unperturbed, he decided to write another play but turned from tragedy to comedy.[2] He went to the Lake District in the north of England, where he stayed with a friend and later met Robert Ross. Numerous characters in the play appear to draw their names from the north of England: Lady Windermere from the lake and nearby town Windermere (though Wilde had used "Windermere" earlier in Lord Arthur Savile's Crime), the Duchess of Berwick from Berwick-upon-Tweed, Lord Darlington from Darlington.[3] Wilde began writing the play at the prodding of Sir George Alexander, the actor manager of St James's Theatre.[4] The play was finished by October.[5] Alexander liked the play, and offered him an advance of £1,000 for it. Wilde, impressed by his confidence, opted to take a percentage instead, from which he would earn £7,000 in the first year alone (worth £698,600 today). Alexander was a meticulous manager and he and Wilde began exhaustive revisions and rehearsals of the play. Both were talented artists with strong ideas about their art. Wilde, for instance, emphasised attention to aesthetic minutiae rather than realism; he resisted Alexander's suggested broad stage movements, quipping that "Details are of no importance in life, but in art details are vital".[8] These continued after the opening night, when at the suggestion of both friends and Alexander, Wilde made changes to reveal Mrs Erylnne's relationship with Lady Windermere gradually throughout the play, rather than reserving the secret for the final act.[9] Despite these artistic differences, both were professional and their collaboration was a fruitful one. There is an extant manuscript of the play held in the William Andrews Clark Memorial Library at the University of California in Los Angeles.

Hoch über der Stadt thront der Glückliche Prinz auf seinem Sockel. Eine kleine Schwalbe findet ihren Weg zu ihm, als sich ihre Abreise in den Süden nach Ägypten verspätete, weil sie sich in eine Schilfpflanze verliebt hatte. Sie hilft dem Glücklichen Prinzen bei seinen Wünschen und erzählt ihm Geschichten von fernen Ländern.Die romantische Geschichte vom Glücklichen Prinzen ist ein Klassiker von Oscar Wilde (*16.10.1854 in Dublin; + 30.11.1900 in Paris). Er war ein irischer Schriftsteller und Kritiker, berühmt für seine wundervollen Märchen und seinen feinen Sinn für Humor.Das Märchen wurde von Cornelia Kandler illustriert und übersetzt, es liegt in diesem Buch zweisprachig im englischen Original und deutsch vor.BITTE BEACHTEN: Die Übersetzung sollte nah am Original bleiben und hat daher keinen eigenen literarischen Wert.Größe A4 hoch, durchgängig farbig illustriert.www.bitundgraphit.deOscar Wilde, *16.10.1854 in Dublin; + 30.11.1900 in Paris. Irish writer and critic in the Victorian Great Britain. Well known for his wonderful fairy tales and for his fine sense of humour. - Cornelia Kandler is a German illustrator

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR d book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Oscar Fingal O'Flahertie Wills Wilde (1854 - 1900) was an Irish writer and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, his novel The Picture of Dorian Gray, his plays, and the circumstances of his imprisonment and early death. Oscar Wilde was born at 21 Westland Row, Dublin (now home of the Oscar Wilde Centre, Trinity College), the second of three children born to Sir William Wilde and Jane Wilde, two years behind William ("Willie"). Wilde's mother was of Italian descent, and under the pseudonym "Speranza" (the Italian word for 'Hope'), wrote poetry for the revolutionary Young Irelanders in 1848 and was a lifelong Irish nationalist. In this book: The Importance of Being Earnest An Ideal Husband The Picture of Dorian Gray The Canterville Ghost The Happy Prince and Other Tales De Profundis

He was a Grecian lad, who coming home With pulpy figs and wine from Sicily Stood at his galley's prow, and let the foam Blow through his crisp brown curls unconsciously, And holding wave and wind in boy's despite Peered from his dripping seat across the wet and stormy night.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Si Sir Robert Chiltern es ahora Secretario de Estado de Asuntos Exteriores, es porque ha sabido mantener en secreto el origen de su fortuna: una transacción fraudulenta por la que vendió secretos de estado al Barón Arnehim. Toda la alta sociedad inglesa y sus pares de la Cámara de los Comunes lo tienen por un hombre respetable e íntegro. Símbolo de la honestidad y la competencia futuro político parece brillante, contando siempre con el respaldo de su esposa, Lady Chiltern, que lo considera el marido ideal. Sin embargo, las apariencias son engañosas y el orden social se basa únicamente en la mentira individual y colectiva. ese brillante porvenir se complica con la aparición de la señora Cheveley, "una mujer con un pasado", una mujer cuya reputación no es intachable, que somete a chantaje a Sir Robert Chiltern: o bien la ayuda en otra operación deshonesta o bien revelará su secreto, provocando un escándalo que lo cubrirá de infamia. Lady Chiltern no es consciente de este grave error en el pasado de su marido; él teme perder, además de su posición, el amor de su esposa, mujer de estrictos principios morales. De hecho, finalmente ella se entera, porque Robert no cede al chantaje y la señora Cheveley se apresura a contar a Lady Chiltern lo que sabe. Desesperado y angustiado, Lord Chiltern decide recurrir al consejo de Lord Goring, un viejo y querido amigo. La intervención del amigo fiel, pondrá en evidencia los tejemanejes de la señora Chevely y consigue la reconciliación del matrimonio.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Salome: The Duchess Of Padua; Works; Oscar Wilde Oscar Wilde A.R. Keller, 1907

La casa dei melograni ("A House of pomegranates") fu una raccolta di racconti pubblicata da Oscar Wilde nel 1891, che comprende quattro racconti: "Il giovane principe", "Il compleanno dell'Infanta", "Il pescatore e la sua anima", "Il figlio delle stelle". L'autore aveva già prodotto favole per un pubblico giovane, ma queste storie furono giustamente accusate di usare un linguaggio troppo sofisticato per tali lettori. Fortunatamente gli apprezzatori delle favole non hanno età, e qui potranno trovare un tema molto caro all' autore: la Bellezza, con tutti i conflitti che la accompagnano.Nella prima edizione furono pubblicate anche le illustrazioni di Charles de Sousy Ricketts, e Charles Haslewood Shannon, celebri collaboratori dell'autore, illustrazioni che riproponiamo nel presente volume.

Innocent young Dorian Gray has his portrait painted by a close friend. Soon after, under the influence of amoral Lord Henry Wotton, he jilts his fiancee, leading to her suicide. This is the start of a life of increasing debauchery, Gray realising that the outward signs of this are apparent only in the portrait. Eventually the picture, secreted in his childhood playroom, becomes almost hideous to behold. But Gray still has one pure love - Gladys, the niece of the original painter.

La decadencia de la mentira es un diálogo que se torna en debate sobre el valor del arte. Dos opiniones enfrentadas, que el arte renuncie a la belleza a favor de la verdad, sacrificando algo tan humano y maravilloso como el arte. Wilde presents the essay in a Socratic dialogue, with the characters of Vivian and Cyril having a conversation throughout. The conversation, although playful and whimsical, promotes Wilde's view of Romanticism over Realism. Vivian tells Cyril of an article he has been writing called "The Decay Of Lying: A Protest". In the article Vivian defends Aestheticism and "Art for Art's sake". As summarized by Vivian, it contains four doctrines: Art never expresses anything but itself. All bad art comes from returning to Life and Nature, and elevating them into ideals. Life imitates Art far more than Art imitates Life. Lying, the telling of beautiful untrue things, is the proper aim of Art. The essay ends with the two characters going outside, as Cyril asked Vivian to do at the beginning of the essay. Vivian finally complies, saying that twilight nature's "chief use" may be to "illustrate quotations from the poets."

Intenciones es el conjunto de cuatro ensayos básicos y fundamentales a cerca de la crítica y la estética en el arte. Contiene: La decadencia de la mentira Pluma, lápiz y veneno El crítico artista La verdad sobre las máscaras

A menos que se sea rico, no sirve de nada ser una persona encantadora. Lo romántico es privilegio de los ricos, no profesión de los desempleados. Los pobres debieran ser prácticos y prosaicos. Vale más tener una renta permanente que ser fascinante. Estas son las grandes verdades de la vida moderna que Hughie Erskine nunca comprendió. ¡Pobre Hughie! Intelectualmente, hemos de admitir, no era muy notable. Nunca dijo en su vida una cosa brillante, ni siquiera una cosa mal intencionada. Pero era, en cambio, asombrosamente bien parecido, con su pelo castaño rizado, su perfil bien recortado y sus ojos grises. Era tan popular entre los hombres como entre las mujeres, y tenía todas las cualidades, menos la de hacer dinero.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Oscar Wilde: Lord Arthur Saviles Verbrechen. Drei Erzählungen Edition Holzinger. Taschenbuch Berliner Ausgabe, 2016 Vollständiger, durchgesehener Neusatz mit einer Biographie des Autors bearbeitet und eingerichtet von Michael Holzinger Lord Arthur Saviles Verbrechen: Erstdruck in The Court and Society Review, Ende 1887. Die Sphinx ohne Geheimnis: Erstdruck in The World, Mai 1887. Der Modellmillionär: Erstdruck in The World, Juni 1887. Herausgeber der Reihe: Michael Holzinger Reihengestaltung: Viktor Harvion Gesetzt aus der Minion Pro, 11 pt.

The Ballad of Reading Gaol is a poem by Oscar Wilde, written in exile in Berneval-le-Grand, after his release from Reading Gaol on 19 May 1897. Wilde had been incarcerated in Reading after being convicted of homosexual offences in 1895 and sentenced to two years' hard labour in prison. During his imprisonment, on Tuesday, 7 July 1896, a hanging took place. Charles Thomas Wooldridge had been a trooper in the Royal Horse Guards. He was convicted of cutting the throat of his wife, Laura Ellen, [1] earlier that year at Clewer, near Windsor. He was aged 30 when executed.[2][3] Wilde wrote the poem in mid-1897 while staying with Robert Ross in Berneval-le-Grand. The poem narrates the execution of Wooldridge; it moves from an objective story-telling to symbolic identification with the prisoners as a whole.[4] No attempt is made to assess the justice of the laws which convicted them, but rather the poem highlights the brutalisation of the punishment that all convicts share. Wilde juxtaposes the executed man and himself with the line "Yet each man kills the thing he loves".[5] Wilde too was separated from his wife and sons. He adopted the proletarian ballad form, and suggested it be published in Reynold's Magazine, "because it circulates widely among the criminal classes - to which I now belong - for once I will be read by my peers - a new experience for me".[6] The finished poem was published by Leonard Smithers on 13 February 1898[7] under the name C.3.3., which stood for cell block C, landing 3, cell 3. This ensured that Wilde's name - by then notorious - did not appear on the poem's front cover. It was not commonly known, until the 7th printing in June 1899, that C.3.3. was actually Wilde. The first edition, of 800 copies, sold out within a week, and Smithers announced that a second edition would be ready within another week; that was printed on 24 February, in 1,000 copies, which also sold well. A third edition, of 99 numbered copies "signed by the author", was printed on 4 March, on the same day a fourth edition of 1,200 ordinary copies was printed. A fifth edition of 1,000 copies was printed on 17 March, and a sixth edition was printed in 1,000 copies on 21 May 1898. So far the book's title page had identified the author only as C.3.3., although many reviewers, and of course those who bought the numbered and autographed third edition copies, knew that Wilde was the author, but the seventh edition, printed on 23 June 1899, actually revealed the author's identity, putting the name Oscar Wilde, in square brackets, below the C.3.3..[8][9] It brought him a small income in his remaining lifetime. The poem consists of 109 stanzas of 6 lines, of 8-6-8-6-8-6 syllables, and rhyming a-b-c-b-d-b. Some stanzas incorporate rhymes within some or all of the 8-syllable lines. The whole poem is grouped into 6 untitled sections of 16, 13, 37, 23, 17 and 3 stanzas. A version with only 63 of the stanzas, divided into 4 sections of 15, 7, 22 and 19 stanzas, and allegedly based on the original draft, was included in the posthumous editions of Wilde's poetry edited by Robert Ross, "for the benefit of reciters and their audiences who have found the entire poem too long for declamation"