Bøger af Oscar Wilde

Elle a dit qu'elle danserait avec moi si je lui apportais des roses rouges'She said that she would dance with me if I brought her red roses'mais dans tout mon jardin il n'y a pas de rose rouge s'écria le jeune Etudiant.'but in all my garden there is no red rose' cried the young StudentDe son nid dans le chêne vert, le rossignol l'entenditfrom her nest in the holm-oak tree the nightingale heard himet elle regarda à travers les feuilles, et se demandaand she looked out through the leaves, and wondered Pas de rose rouge dans tout mon jardin ! s'écria-t-il'No red rose in all my garden!' he criedet ses beaux yeux remplis de larmesand his beautiful eyes filled with tearsDe quelles petites choses dépend le bonheur !'On what little things does happiness depend!'

"Sie sagte, dass sie mit mir tanzen würde, wenn ich ihr rote Rosen brächte"'She said that she would dance with me if I brought her red roses'"Aber in meinem ganzen Garten gibt es keine rote Rose!" rief der junge Student'but in all my garden there is no red rose' cried the young StudentAus ihrem Nest in der Steineiche hörte ihn die Nachtigallfrom her nest in the holm-oak tree the nightingale heard himund sie schaute durch die Blätter hinaus und wunderte sichand she looked out through the leaves, and wondered "Keine rote Rose in meinem ganzen Garten!" rief er'No red rose in all my garden!' he criedund seine schönen Augen füllten sich mit Tränenand his beautiful eyes filled with tears"Von welchen kleinen Dingen hängt das Glück ab!"'On what little things does happiness depend!'

"Ella dijo que bailaría conmigo si le traía rosas rojas"'She said that she would dance with me if I brought her red roses'"Pero en todo mi jardín no hay rosa roja", gritó el joven estudiante'but in all my garden there is no red rose' cried the young StudentDesde su nido en la encina el ruiseñor lo oyófrom her nest in the holm-oak tree the nightingale heard himy miró a través de las hojas, y se preguntó.and she looked out through the leaves, and wondered "¡No hay rosa roja en todo mi jardín!", gritó.'No red rose in all my garden!' he criedy sus hermosos ojos llenos de lágrimasand his beautiful eyes filled with tears'¡De qué pequeñas cosas depende la felicidad!''On what little things does happiness depend!'

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: ++++ The Complete Writings Of Oscar Wilde: Together With Essays And Stories By Lady Wilde, Volume 7; The Complete Writings Of Oscar Wilde: Together With Essays And Stories By Lady Wilde; Oscar Wilde Oscar Wilde, Lady Wilde Aubrey Beardsley Aldine, 1910

A Florentine Tragedy/ For Love of the King is a compilation of two classic works by the great Irish humorist, Oscar Wilde. The very interesting and richly coloured masque or pantomimic play which is here printed in book form for the first time, was invented sometime in 1894 or possibly a little earlier. It was written, not for publication, but as a personal gift to the author's friend and friend of his family, Mrs. Chan Toon, and was sent to her with the letter that follows and explains its origin.

Il romanzo è ambientato nella Londra vittoriana del XIX secolo, che all'epoca era pervasa da una mentalità tipicamente borghese. Narra di un giovane di bell'aspetto, Dorian Gray, che arriverà a fare della sua bellezza un rito insano. Egli inizia a rendersi conto del privilegio del suo fascino quando Basil Hallward, un pittore suo amico, gli regala un ritratto da lui dipinto, che lo riproduce nel pieno della gioventù. Lord Henry Wotton avrà un ruolo decisivo nella vita di Dorian, che conosce proprio presso lo studio di Hallward: Wotton, con i suoi discorsi estremamente articolati, cattura l'attenzione del ragazzo, rendendolo, a poco a poco, quasi l'incarnazione del suo modo di pensare. Dorian, dopo un lungo discorso con Wotton, comincia a guardare la giovinezza come qualcosa di veramente importante, tanto da provare invidia verso il suo stesso ritratto, che sarà eternamente bello e giovane mentre lui invecchierà. Colpito dal panico, Dorian arriva a stipulare una sorta di "patto col demonio", grazie al quale rimarrà eternamente giovane e bello, mentre il quadro mostrerà i segni della decadenza fisica e della corruzione morale del personaggio.

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.

In this renowned work and his only novel, Oscar Wilde paints 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 its 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 Victorian Ladies Edition is illustrated with Black and White Sketches from Wilde's own mystical and haunting Victorian Era. Press ADD TO CART now! Press ADD TO CART now! Press ADD TO CART now!

A farcical comedy in which the protagonists maintain a fictitious personae to escape burdensome social obligations. Set in Victorian London, the play's major themes are the triviality with which it treats institutions such as marriage and Victorian ways.

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.

Das Granatapfelhaus ist ein Roman von Oscar Wilde, der erstmals im Jahr 1905 ver������ffentlicht wurde. Die Geschichte spielt im Venedig des 16. Jahrhunderts und handelt von einem jungen Mann namens Giorgio, der in das Haus des reichen Kaufmanns Andrea del Sarto einzieht, um bei ihm als Sekret�����r zu arbeiten.Giorgio ist fasziniert von der Sch������nheit und dem Reichtum des Hauses, aber er entdeckt auch, dass es dunkle Geheimnisse gibt, die hinter den pr�����chtigen Fassaden verborgen sind. Andrea del Sarto f�����hrt ein geheimes Doppelleben und hat eine Aff�����re mit einer jungen Frau namens Bianca, die im Granatapfelhaus lebt.Giorgio verliebt sich in Bianca und versucht, sie aus den F�����ngen von Andrea del Sarto zu befreien. Doch als er versucht, sie zu retten, ger�����t er selbst in Gefahr und muss um sein Leben k�����mpfen.Das Granatapfelhaus ist ein faszinierender Roman �����ber Liebe, Betrug und Verrat, der die Leser in das Venedig der Renaissance entf�����hrt und sie in eine Welt voller Intrigen und Geheimnisse eintauchen l�����sst.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.

A melodramatic tragedy set in Russia, Vera, or the Nihilists is loosely based on the story of Vera Zasulich. It was the first play that Wilde wrote. It features Russian revolutionaries who seek to assassinate a reform-minded Emperor. Though Wilde's fictional Emperor differs from the actual Alexander, contemporary events in Russia - as published in the British press of the time - clearly influenced Wilde.

The Importance of Being Earnest is an important play by Oscar Wilde, and is a comedy of manners that discusses the serious of society. Set in late Victorian England, the story is about the main charachter, John Worthing's, ficticious brother Ernest, which is the main source of the comedy in this work. This is an important play for those are fans of comedy plays and of course the works of Oscar Wilde.

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.

Se dice que la tormenta de nieve de aquella noche era importante, pero no impidió que se llenara la sala donde se representaba por primera vez esta divertidisima comedia de Oscar Wilde. Era el 14 de Febrero de 1895 y Wilde estaba a punto de perder su felicidad. La gente se divertía con la seriedad del mayordomo Neal, con el afán de "bunburizar" de los protagonistas y la absurda seriedad que manifestaba acerca de los más triviales asuntos los personajes femeninos.

The Canterville Ghost is a popular 1887 novella by Oscar Wilde"The Canterville Ghost" is a parody featuring a dramatic spirit named Sir Simon and the United States minister (ambassador) to the Court of St. James's, Hiram B. Otis. Mr. Otis travels to England with his family and moves into a haunted country house. Lord Canterville, the previous owner of the house, warns Mr. Otis that the ghost of Sir Simon de Canterville has haunted it ever since he killed his wife, Eleonore, three centuries before. But Mr. Otis dismisses the ghost story as bunk and disregards Lord Canterville's warnings. When the Otises learn that the house is indeed haunted, they succeed in victimizing the ghost and in disregarding age-old British traditions. What emerges is a satire of American materialism, a lampoon of traditional British values, and an amusing twist on the traditional gothic horror tale.

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 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: ++++ The Complete Works Of Oscar Wilde: Together With Essays And Stories By Lady Wilde, Volume 15; The Complete Works Of Oscar Wilde: Together With Essays And Stories By Lady Wilde; Oscar Wilde Oscar Wilde Aldine, 1910

"Miscellanies", by Oscar Wilde. Oscar Wilde was an irish writer and poet

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.

Un après-midi, j'étais assis à la terrasse du café de la Paix, contemplant la splendeur et les dessous de la vie parisienne. Tout en prenant mon vermouth, j'étudiais avec curiosité l'étrange panorama où l'orgueil et la pauvreté défilaient devant moi, quand je m'entendis appeler par mon nom. Je fis demi-tour et je me vis en face de lord Murchison. Nous ne nous étions pas revus depuis que nous avions été au collège ensemble, il y avait dix ans de cela. Aussi fus-je charmé de cette rencontre. Nous échangeâmes une chaude poignée de main. À Oxford, nous avions été grands amis. Je l'aimais énormé-ment. Il était si bon, si plein d'entrain, si plein d'honneur. Nous disions souvent de lui qu'il serait le meilleur garçon du monde sans son penchant à dire toujours la vérité, mais je crois que réellement nous ne l'en admirions que davantage pour sa franchise. Je le trouvai bien un peu changé.

Antes que El retrato de Dorian Gray, Wilde escribió los cuentos que componen El Príncipe Feliz y otros cuentos y los completó con los de La casa de las granadas. Sorprende cómo un autor que prescindía de la moral en beneficio del arte pudo escribir estos cuentos sentimentales y con moraleja. En otras manos habría sido un material peligroso; en las suyas, los cuentos sentimentales se hacen conmovedores, y las fábulas morales se convierten en poemas líricos de insospechada belleza.

Sebastian Melmoth is a collection of essays and letters written by Oscar Wilde during his exile in France under the pseudonym Sebastian Melmoth. The book is divided into two parts, with the first part consisting of essays on various topics such as art, literature, and society, while the second part contains letters written by Wilde to his friends and family. The essays in the first part are written in Wilde's signature style, which is characterized by his wit, humor, and paradoxical statements. The letters in the second part provide a glimpse into Wilde's personal life and his thoughts on his own situation. Overall, Sebastian Melmoth is a fascinating read for fans of Oscar Wilde's writing, as it showcases his unique perspective on a wide range of topics.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.

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: Reviews; Volume 4 Of Complete Writings Of Oscar Wilde; Oscar Wilde Oscar Wilde Nottingham Society, 1909

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.

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).

High above the city, on a tall column, stood the statue of the Happy Prince. He was gilded all over with thin leaves of fine gold, for eyes he had two bright sapphires, and a large red ruby glowed on his sword-hilt. He was very much admired indeed. "He is as beautiful as a weathercock," remarked one of the Town Councillors who wished to gain a reputation for having artistic tastes; "only not quite so useful," he added, fearing lest people should think him unpractical, which he really was not. "Why can't you be like the Happy Prince?" asked a sensible mother of her little boy who was crying for the moon. "The Happy Prince never dreams of crying for anything." "I am glad there is some one in the world who is quite happy," muttered a disappointed man as he gazed at the wonderful statue. "He looks just like an angel," said the Charity Children as they came out of the cathedral in their bright scarlet cloaks and their clean white pinafores. "How do you know?" said the Mathematical Master, "you have never seen one.

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: ++++ A House Of Pomegranates: A Happy Prince And Other Tales; Works; Oscar Wilde Oscar Wilde C. C. Brainard, 1909

Publicada por primera vez en 1888, esta colección de cuentos permite observar la grandeza literaria de la que era capaz Wilde, y de su profundo entendimiento del ser humano. Amor, odio, vanidad, egoísmo, amistad, desinterés, humildad, son algunos de los sentimientos que encontraremos en estas páginas, lo que nos llevará a la reflexión y al goce literario. Un clásico de la literatura universal que todos debemos leer.

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. n many of the somewhat violent attacks that have recently been made on that splendour of mounting which now characterises our Shakespearian revivals in England, it seems to have been tacitly assumed by the critics that Shakespeare himself was more or less indifferent to the costumes of his actors, and that, could he see Mrs. Langtry's production of Antony and Cleopatra, he would probably say that the play, and the play only, is the thing, and that everything else is leather and prunella. While, as regards any historical accuracy in dress, Lord Lytton, in an article in the Nineteenth Century, has laid it down as a dogma of art that archaeology is entirely out of place in the presentation of any of Shakespeare's plays, and the attempt to introduce it one of the stupidest pedantries of an age of prigs. Lord Lytton's position I shall examine later on; but, as regards the theory that Shakespeare did not busy himself much about the costume-wardrobe of his theatre, anybody who cares to study Shakespeare's method will see that there is absolutely no dramatist of the French, English, or Athenian stage who relies so much for his illusionist effects on the dress of his actors as Shakespeare does himself. Knowing how the artistic temperament is always fascinated by beauty of costume, he constantly introduces into his plays masques and dances, purely for the sake of the pleasure which they give the eye.