Bøger af Oscar Wilde

Dorian Gray, a handsome young man, receives a beautiful painting of himself from his good friend Basil Hallward. In the same moment, a new acquaintance, Lord Henry, introduces Dorian to the ideals of youthfulness and hedonism, of which Gray becomes immediately obsessed. Meanwhile, the painting in Dorian's possession serves as a constant reminder of his passing beauty and youth, driving his obsession.

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. J'avais dîné avec Erskine dans sa jolie petite maison de Bird Cage Walk et nous étions assis dans sa bibliothèque, buvant notre café et fumant des cigarettes, quand nous en vînmes à causer des faux en littérature. Maintenant je ne me souviens plus ce qui nous amena à un sujet aussi bizarre en un pareil moment, mais je sais que nous eûmes une longue discussion au sujet de Macpherson, Ireland (William Henry, 1777-1835) prétendit avoir trouvé des manuscrits inédits de Shakespeare qu'il publia à partir de 1795. Il finit par avouer son invention. (Note du traducteur.) et de Chatterton et qu'en ce qui concerne ce dernier, j'insistai sur ce point que ses prétendus faux étaient simplement le résultat d'un désir artistique de parfaite ressemblance, que nous n'avons nul droit de marchander à un artiste les conditions dans lesquelles il veut présenter son oeuvre et que tout art étant à un certain degré une sorte de jeu, une tentative de réaliser sa propre personnalité sur quelque plan imaginatif en dehors de la portée des accidents et des limites de la vie réelle; - censurer un artiste pour un pastiche, c'était confondre un problème de morale et un problème d'esthétique.

Este libro contiene las páginas de crítica y estética fundamentales de Oscar Wilde, y quizá las más originales que escribiera nunca.

This collection of literature attempts to compile many of the classic, timeless works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

The Happy Prince, and Other Tales By Oscar Wilde

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.

It was Lady Windermere's last reception before Easter, and Bentinck House was even more crowded than usual. Six Cabinet Ministers had come on from the Speaker's Levée in their stars and ribands, all the pretty women wore their smartest dresses, and at the end of the picture-gallery stood the Princess Sophia of Carlsrühe, a heavy Tartar-looking lady, with tiny black eyes and wonderful emeralds, talking bad French at the top of her voice, and laughing im-moderately at everything that was said to her.

IT was Lady Windermere's last reception before Easter, and Bentinck House was even more crowded than usual. Six Cabinet Ministers had come on from the Speaker's Levée in their stars and ribands, all the pretty women wore their smartest dresses, and at the end of the picture-gallery stood the Princess Sophia of Carlsrühe, a heavy Tartar-looking lady, with tiny black eyes and wonderful emeralds, talking bad French at the top of her voice, and laughing immoderately at everything that was said to her. It was certainly a wonderful medley of people. Gorgeous peeresses chatted affably to violent Radicals, popular preachers brushed coat-tails with eminent sceptics, a perfect bevy of bishops kept following a stout prima-donna from room to room, on the staircase stood several Royal Academicians, disguised as artists, and it was said that at one time the supper-room was absolutely crammed with geniuses. In fact, it was one of Lady Windermere's best nights, and the Princess stayed till nearly half-past eleven.

Oscar Wilde's classic The Picture of Dorian Gray and three additional stories

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 Soul of Man under Socialism" is an 1891 essay by Oscar Wilde in which he expounds a libertarian socialist worldview and a critique of charity. The writing of "The Soul of Man" followed Wilde's conversion to anarchist philosophy, following his reading of the works of Peter Kropotkin. In "The Soul of Man" Wilde argues that, under capitalism, "the majority of people spoil their lives by an unhealthy and exaggerated altruism-are forced, indeed, so to spoil them": instead of realising their true talents, they waste their time solving the social problems caused by capitalism, without taking their common cause away. Thus, caring people "seriously and very sentimentally set themselves to the task of remedying the evils that they see in poverty but their remedies do not cure the disease: they merely prolong it" because, as Wilde puts it, "the proper aim is to try and reconstruct society on such a basis that poverty will be impossible." Wilde did not see kindness or altruism per se as a problem; what worried him was its misapplication in a way which leaves unaddressed the roots of the problem: "the altruistic virtues have really prevented the carrying out of this aim. Just as the worst slave-owners were those who were kind to their slaves, and so prevented the horror of the system being realised by those who suffered from it, and understood by those who contemplated it, so, in the present state of things in England, the people who do most harm are the people who try to do most good" while preserving the system. Wilde's deepest concern was with man's soul; when he analysed poverty and its causes and effects in "The Soul of Man under Socialism" it was not simply the material well-being of the poor that distressed him, but how society does not allow them to reach a form of self-understanding and enlightenment. He adopted Jesus of Nazareth as a symbol of the supreme individualist.[4] Wilde advocated socialism, which, he argued, "will be of value simply because it will lead to individualism" and "substituting cooperation for competition will restore society to its proper condition ... and ensure material well being for each member of the community." Wilde examined the political conditions necessary for full self-development and devotion to art, arguing, "Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks to disturb is monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine."[5] 1895 book edition under the truncated title "The Soul of Man," "privately printed" in 50 copies at Chiswick Press, 30 May 1895, five days after Wilde's conviction for gross indecency. He made a point of delineating "individual" socialism from "authoritarian" (government-centered) socialism, advocating a more libertarian approach, "What is needed is Individualism. If the Socialism is Authoritarian; if there are Governments armed with economic power as they are now with political power; if, in a word, we are to have Industrial Tyrannies, then the last state of man will be worse than the first." In a socialist society, people will have the possibility to realise their talents; "each member of the society will share in the general prosperity and happiness of the society." Wilde added that "upon the other hand, Socialism itself will be of value simply because it will lead to individualism" since individuals will no longer need to fear poverty or starvation. This individualism would, in turn, protect against governments leveraging their power over their citizens. However, Wilde advocated non-capitalist individualism: "of course, it might be said that the Individualism generated under conditions of private property is not always, or even as a rule, of a fine or wonderful type" a critique which is "quite true."

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).

Contiene: El fantasma de Canterville El crimen de Lord Arthur Saville El retrato de Mr. W.H.

""Der Sozialismus und die Seele des Menschen aus dem Zuchthaus zu Reading"" ist ein �����sthetisches Manifest von Oscar Wilde aus dem Jahr 1904. In diesem Werk besch�����ftigt sich der Autor mit dem Verh�����ltnis zwischen Sozialismus und Individualismus sowie der Bedeutung von Kunst und Sch������nheit f�����r die menschliche Seele. Wilde, der selbst eine Zeit im Gef�����ngnis verbrachte, schildert in diesem Manifest seine Erfahrungen und �����berlegungen zu gesellschaftlichen und politischen Fragen. Dabei fordert er eine Verbindung von sozialer Gerechtigkeit und �����sthetischer Freiheit, um eine menschlichere Gesellschaft zu schaffen. Das Werk gilt als wichtiger Beitrag zur Diskussion um die Beziehung von Kunst, Politik und Gesellschaft im fr�����hen 20. Jahrhundert und ist bis heute von gro�����er Bedeutung f�����r die kulturelle und politische Debatte.This Book Is In German.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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 their original work.

Éranse una vez dos pobres leñadores que regresaban a su casa cruzando un gran pinar. Era invierno y hacía un frío terrible. La nieve caía espesa sobre la tierra y sobre los árboles; el hielo acumulado rompía las ramas más pequeñas y débiles, y cuando los leñadores llegaron al Torrente de la Montaña, vieron que éste colgaba inánime en el aire porque había recibido el beso del Rey de Hielo. Tanto frío hacía, que aun los animales, hasta los mismos pájaros, no sabían qué hacer. -¡Muh! -Gruñó el lobo saltando entre los matorrales con su cola entre las patas-. ¡Hace un tiempo perfectamente horrible! ¿Por qué no trata de reme-diarlo el gobierno? -¡Uit! ¡Uit! ¡Uit! -Gorjeaban los verdes colorines-; la an-ciana Tierra ha muerto, y le han puesto su mortaja blanca. -La Tierra se va a desposar, y éste es su traje de bodas -murmuraban las tórtolas entre sí. Tenían sus piececitos de rosa heridos por el hielo; pero sentían que era un deber el considerar la situación de un modo romántico. -¡Vamos! -Gruñó el lobo-. Les digo que toda la culpa la tiene el gobierno, y a quien no me crea me lo comeré. El lobo poseía un gran sentido práctico, y no le faltaban nunca argumentos sólidos.

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: ++++ Poems By Oscar Wilde: Also, His Lecture On The English Renaissance Oscar Wilde G. Munro, 1882 English literature; Pre-Raphaelitism

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.

Una vieja rata de agua, observó una escena entre unos patitos en un estanque y su madre intentaba enseñarles a meter la cabeza en el agua, pero los patitos no prestaban atención, y la rata exclamó ¡Qué criaturas más desobedientes!, pero la pata madre dijo "nunca es demasiada la paciencia de los padres", y la rata dijo "No soy padre de familia...pero la amistad vale más.... no conozco en el mundo nada más noble o más raro que una fiel amistad". Una avecilla le dijo a la rata ¿Y qué hará usted en cambio?-de la fiel amistad-, y un pardillo contó una historia, la de un honrado mozo llamado Hans, de buen corazón, quien era humilde y trabajaba en su jardín, que lo tenía muy lindo. Hans tenía muchos amigos, pero el más cercano a él era el gran Hugo, el molinero. Los amigos verdaderos lo comparten todo-solía decir el molinero-, y Hans asentía. El molinero se aprovechó de la buena fe del joven, siempre le prometía que le daría una carretilla, y le pedía continuos favores amparándose en la supuesta amistad que les unía. El muchacho siempre de buen corazón, realizaba todo lo que el molinero le pedía hasta el punto de descuidar su trabajo.

A Woman of No Importance premiered at London's Haymarket Theatre on April 19, 1893. As he often did, Oscar Wilde focused on the secrets of the upper class in this play. As always, there is plenty of witty repartee. The play was set to go on tour when Wilde was arrested. The scandal meant they canceled the tour. This Large Print Edition is presented in easy-to-read 16 point type.

Dorian fait la connaissance de Lord Henry, dit Harry, un ami de Basil Hallward, un peintre reconnu. Conscient de la fascination et de la perversion que Lord Henry pourrait avoir pour son idéal de beauté, cette nature simple et belle, Basil demande à Lord Henry de ne pas tenter de le corrompre. Mais Dorian se laisse séduire par les théories sur la jeunesse et le plaisir de ce nouvel ami qui le révèle à lui-même en le flattant: Un nouvel hédonisme [...] Vous pourriez en être le symbole visible. Avec votre personnalité, il n'y a rien que vous ne puissiez faire . Va naître dès lors en lui une profonde jalousie à l'égard de son propre portrait peint par Basil Hallward. Il formule le souhait que le tableau vieillisse à sa place pour pouvoir garder lui-même sa beauté d'adolescent. Si je demeurais toujours jeune et que le portrait vieillisse à ma place ! Je donnerais tout, tout pour qu'il en soit ainsi. Il n'est rien au monde que je ne donnerais. Je donnerais mon âme ! . Par la suite le jeune homme tombe amoureux d'une comédienne dont le jeu le fascine, Sibyl Vane, et lui promet le mariage. Mais son amour pour Dorian empêche Sibyl d'incarner ses personnages comme elle le faisait auparavant et son jeu devient très mauvais, ce que peuvent constater Basil et Lord Henry que Dorian a emmenés avec lui au théâtre. Profondément déçu et humilié, Dorian répudie Sibyl et la quitte brutalement, la laissant effondrée. En rentrant il remarque sur le portrait une expression de cruauté qu'il ne lui connaissait pas. Il commence alors à soupçonner que son souhait insensé pourrait s'être réalisé. Le lendemain, il apprend par Harry le suicide de Sibyl. Étonnamment, il ne ressent qu'une peine superficielle à l'annonce de cette mort: Cependant je dois reconnaître que cet événement ne m'a pas ému autant qu'il l'aurait dû. Il m'apparaît comme le dénouement sublime d'une pièce étonnante. Il a toute l'effrayante beauté d'une tragédie grecque, une tragédie où j'ai joué un grand rôle mais d'où je sors indemne. . C'est un moment charnière du roman, le moment où le retour en arrière n'est plus possible pour Dorian, bien qu'il ne le sache pas encore. Le portrait a commencé à changer: l'âme de Dorian n'est plus celle du jeune homme innocent qui pouvait éprouver de la compassion pour ses semblables. Pour éviter la découverte de son terrible secret, il enferme le tableau dans une ancienne salle d'étude et se plonge dans la lecture d'un mystérieux roman que lui offre Lord Henry (bien que son titre ne soit jamais cité, on peut reconnaître À rebours de Joris-Karl Huysmans). Le style de vie de Dorian change alors radicalement. Montrant toujours une façade policée devant ses pairs, il court les bouges les plus infâmes de Londres, à la recherche de plaisirs de plus en plus raffinés. Il s'entoure d'objets rares et précieux, pierreries, parfums, tapisseries... Le tableau petit à petit s'enlaidit, à cause des signes de l'âge mais surtout des marques physiques du péché. Le jeune homme (qui n'en est plus vraiment un) est de plus en plus obsédé par le tableau, renonçant à ses résidences secondaires, inquiet dès qu'il le quitte. Il vient d'ailleurs souvent vérifier la dégradation physique du portrait, avec une certaine jouissance car il continue à ressembler, lui, au jeune homme innocent qu'il était encore peu auparavant, et cette apparence immarcescible à elle seule lui permet de démentir toutes les folles rumeurs qui courent à son sujet.

The Happy Prince and Other Tales (sometimes called The Happy Prince and Other Stories) is a collection of stories for children by Oscar Wilde first published in May 1888. It contains five stories: "The Happy Prince", "The Nightingale and the Rose", "The Selfish Giant", "The Devoted Friend", and "The Remarkable Rocket".

An Ideal Husband is an 1895 comedic stage play by Oscar Wilde which revolves around blackmail and political corruption, and touches on the themes of public and private honour. The action is set in London, in "the present", and takes place over the course of twenty-four hours. "Sooner or later," Wilde notes, "we shall all have to pay for what we do." But he adds that, "No one should be entirely judged by their past." Together with The Importance of Being Earnest, it is often considered Wilde's dramatic masterpiece. After Earnest, it is his most popularly produced play.In the summer of 1893, Oscar Wilde began writing An Ideal Husband, and he completed it later that winter. His work began at Goring-on-Thames, after which he named the character Lord Goring, and concluded at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern. The play gave the Haymarket the success it desperately needed. After opening on 3 January 1895, it continued for 124 performances. In April of that year, Wilde was arrested for "gross indecency" and his name was publicly taken off the play. On 6 April, soon after Wilde's arrest, the play moved to the Criterion Theatre where it ran from 13-27 April. The play was published in 1899, although Wilde was not listed as the author. This published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.

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.

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.

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.

A Woman of No Importance is a classic satirical play by Oscar Wilde. The play opens with a party on a terrace in Lady Hunstanton's estate. The upper class guests spend the better part of Act I exchanging social gossip and small talk. Lady Caroline Pontrefact patronizes an American visitor, Hester Worsley, and proceeds to give her own opinion on everyone in the room (and her surrounding life). Lady Caroline also denounces Hester's enthusiasm for Gerald Arbuthnot until Gerald himself enters to proclaim that Lord Illingworth, a powerful, flirtatious male political figure intends to take him under his wing as secretary.

In this renowned work and his only novel, Oscar Wilde paints the disturbing portrait of the effects of evil and depravity on a young dandy in late-19th-century England. Merging elements of Gothic horror and decadent French fiction, the novel centers on an arresting premise: As Dorian Gray delves deeper into a life of crime and unrefined sensuality, his body retains a flawless youth and vitality, while the recently painted portrait of himself becomes more and more a hideous evidence of evil, which he manages to keep hidden from the world. For over a hundred years this spellbinding tale of suspense and horror has enjoyed massive popularity. It is surely one of Wilde's most important writings and among the classic literary achievements of its time. This Fantasy Illustrated version is complete with over 20 Black and White Sketches from Wilde's own mystical and haunting Victorian Era. Press ADD TO CART now!

The Happy Prince and Other Tales (sometimes called The Happy Prince and Other Stories) is a collection of stories for children by Oscar Wilde first published in May 1888. It contains five stories, "The Happy Prince", "The Nightingale and the Rose", "The Selfish Giant", "The Devoted Friend", and "The Remarkable Rocket". It is most famous for its title story, "The Happy Prince".

The classic book, The Canterville Ghost by Oscar Wilde! There's a reason why The Canterville Ghost is one of the best books of all time. If you haven't read this classic, then you'd better pick up a copy of The Canterville Ghost by Oscar Wilde today!