Bøger af Oscar Wilde

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"

El joven Lord Arthur Savile, con un porvenir promisorio, ha decidido casarse. No obstante, un inesperado e incómodo obstáculo compromete su proyecto de vida, todo cuando un quiromante le confiesa que ve en su futuro un asesinato. A partir de ese momento, lord Savile decidirá tomar las riendas de su destino para poder casarse cuanto antes y proseguir así con su apacible y ordenada vida de siempre. Pero los esfuerzos del joven por sobrepasar dicho obstáculo, fracasan una y otra vez y su desdichado destino se ve cada vez más oscuro. "El crimen de lord Arthur Savile" se convierte así en un relato divertido y asombroso en el que Oscar Wilde, con su gran capacidad irónica, plasma una interesante comedia y un enérgico llamado contra la superstición o las fuerzas oscuras que el destino nos depara.

El crítico artista es un ensayo de Oscar Wilde que contiene las declaraciones más completas sobre su filosofía estética. Es un diálogo en dos partes, de lejos, el más extenso incluido en su colección de ensayos titulada Intenciones publicada en mayo de 1891. Es una versión ampliamente revisada de artículos que aparecieron por primera vez en los números de julio y septiembre de la revista literaria The Nineteenth Century, titulada originalmente La verdadera función y valor de la crítica. El ensayo es una conversación entre el personaje principal, Gilbert, y Ernest, cuya importancia estriba en sugerir ideas que Gilbert rechace. El ensayo pretende desbaratar la distinción entre arte y crítica tan estimada por artistas y críticos tales como Matthew Arnold o James Abbott McNeill Whistler sólo el espíritu crítico posibilita cualquier creación artística de modo absoluto, mientras que la crítica es independiente del objeto que critica y no está necesariamente sujeta al mismo. El ensayo aboga por la vida contemplativa frente a la vida activa. Según Gilbert, el principio científico sobre la herencia demuestra que nunca somos menos libres ni tenemos más ilusiones que cuando tratamos de actuar con un propósito consciente en mente. La contemplación crítica se guía por el sentido estético consciente, así como por el alma. El alma es más sabia que nosotros, es la experiencia de la raza concentrada, revelada por la imaginación. La crítica está por encima de la razón, la sinceridad y la imparcialidad; es necesariamente subjetiva. Por ello es por lo que, cada vez más, el futuro como tema pertenece a crítica y no a la creación creación y la necesidad de imponer una forma al caos aumenta constantemente. Es la crítica más que la simpatías emocional, la ética abstracta o ventajas comerciales lo que nos hará cosmopolitas y servirá como base de la paz.

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 8; Complete Works Of Oscar Wilde; Oscar Wilde Oscar Wilde The Wyman-Fogg company, 1905

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 Importance of Being Earnest, A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personæ to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, and the resulting satire of Victorian ways. Contemporary reviews all praised the play's humour, though some were cautious about its explicit lack of social messages, while others foresaw the modern consensus that it was the culmination of Wilde's artistic career so far. Its high farce and witty dialogue have helped make The Importance of Being Earnest Wilde's most enduringly popular play.

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 Writings Of Oscar Wilde: What Never Dies; Volume 6 Of The Complete Writings Of Oscar Wilde; Lady Wilde Oscar Wilde, Jules Barbey d'Aurevilly, Lady Wilde, Henry Zick Pearson Pub. Co., 1909 Literary Criticism; European; English, Irish, Scottish, Welsh; Literary Criticism / European / English, Irish, Scottish, Welsh

Cuando míster Hiram B. Otis, el ministro de América, compró Canterville-Chase, todo el mundo le dijo que cometía una gran necedad, porque la finca estaba embrujada.Hasta el mismo lord Canterville, como hombre de la más escrupulosa honradez, se creyó en el deber de participárselo a míster Otis, cuando llegaron a discutir las condiciones.El fantasma existe, me lo temo dijo lord Canterville, sonriendo, aunque quizá se resiste a las ofertas de los intrépidos empresarios de ustedes. Hace más de tres siglos que se le conoce. Data, con precisión, de mil quinientos setenta y cuatro, y no deja de mostrarse nunca cuando está a punto de ocurrir alguna defunción en la familia...

La Balada de la Cárcel de Reading es un poema escrito por Oscar Wilde durante su exilio en Berneval o Dieppe, Francia. Fue escrito tras su liberación de la prisión de Reading en torno al 19 de mayo de 1897. El poema es una de las baladas más representativas tanto del autor como de la literatura en inglés. El encarcelamiento de Wilde en el penal de Reading tuvo lugar tras ser condenado por actos homosexuales en 1895 y sentenciado a dos años de trabajos forzados. Durante su periodo de encarcelamiento, concretamente el sábado 7 de julio de 1896, tuvo lugar un ahorcamiento. Se trataba de Charles Thomas Wooldridge que había sido un soldado de la Guardia Real de Caballería. Este hombre había sido encarcelado por matar, cortando la garganta a su esposa sólo un año antes en Clewer, localidad cercana a Windsor. Tan solo tenía 30 años cuando fue ejecutado. Esta ejecución impactó de forma especial a Wilde y se tradujo en varias líneas de este poema "Aunque todos los hombres matan lo que aman", por ejemplo.

El hijo del rey estaba en vísperas de casarse. Con este motivo el regocijo era general. Estuvo esperando un año entero a su prometida, y al fin llegó ésta. Era una princesa rusa que había hecho el viaje desde Fin-landia en un trineo tirado por seis renos, que tenía la forma de un gran cisne de oro; la princesita iba acostada entre las alas del cisne. Su largo manto de armiño caía recto sobre sus pies. Llevaba en la cabeza un gorrito de tisú de plata y era pálida como el palacio de nieve en que había vivido siem-pre. Era tan pálida que al pasar por las calles quedábanse admiradas las gentes. -Parece una rosa blanca -decían. Y le echaban flores desde los balcones. A la puerta del castillo estaba el príncipe para recibirla. Tenía unos ojos violeta y soñadores y sus cabellos eran como oro fino. Al verla hincó una rodilla en tierra y besó su mano. -Su retrato era bello -murmuró-, pero usted es más bella que su retrato -y la princesita se ruborizó. -Hace un momento parecía una rosa blanca -dijo un pajecillo a su vecino-, pero ahora parece una rosa roja. Y toda la Corte se quedó extasiada.

Hughie Erskine is in love and wants to marry, but the girl's father will not allow it, since Erskine has no money. Erskine's friend, Alan Trevor is a painter, and he visits him at his studio one day to find him with a pitiable beggar-the model for his painting. Erskine only has one coin, which he depends on for transportation, but he decides he can walk for a couple weeks and gives the beggar the coin. The beggar is in reality an immensely wealthy baron, having a portrait of himself as a beggar done for fun. He is so impressed by Erskine's generosity that he gives him £10,000, enough for the girl's father to consent to his proposal. Quand on n'a pas de fortune, il ne sert à rien d'être un charmant garçon. Le roman est un privilège des riches et non une profession pour ceux qui n'ont pas d'emploi. Il vaut mieux avoir un revenu fixe que d'être un charmeur. Tels sont les grands axiomes de la vie moderne, et Hughie Erskine ne se les est jamais assimilés. Pauvre Hughie ! Au point de vue intellectuel, nous devons reconnaître qu'il n'était point un phénomène. Jamais il ne lui était arrivé en sa vie de lancer un trait brillant, ni même une rosserie. Cela n'empêche qu'il était étonnamment séduisant, avec sa chevelure frisée, son profil nettement dessiné et ses yeux gris. Il était aussi en faveur auprès des hommes qu'auprès des femmes. Il possédait toutes les sortes de talents, excepté celui de gagner de l'argent.

A menudo, la gente reprocha a los escritores y artistas que sólo sean hombres de acción de un modo imperfecto e incompleto. Y sin embargo, es muy normal que así sea. Esa concentración del pensamiento, ese ardor vehemente que caracterizan el temperamento del artista, excluyen a la fuerza las otras cualidades. Para aquellos a quienes viven preocupados por la belleza de la forma no existe ya nada más en el mundo que tenga verdadera importancia.

This book by the Irish writer Oscar Fingal O'Flahertie Wills Wilde includes five short stories: The Selfish Giant The Happy Prince The Nightingale and the Rose The Devoted Friend The Remarkable Rocket

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. 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.

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.

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. Quand on n'a pas de fortune, il ne sert à rien d'être un charmant garçon. Le roman est un privilège des riches et non une profession pour ceux qui n'ont pas d'emploi. Il vaut mieux avoir un revenu fixe que d'être un charmeur. Tels sont les grands axiomes de la vie moderne, et Hughie Erskine ne se les est jamais assimilés. Pauvre Hughie ! Au point de vue intellectuel, nous devons reconnaître qu'il n'était point un phénomène. Jamais il ne lui était arrivé en sa vie de lancer un trait brillant, ni même une rosserie. Cela n'empêche qu'il était étonnamment séduisant, avec sa chevelure frisée, son profil nettement dessiné et ses yeux gris. Il était aussi en faveur auprès des hommes qu'auprès des femmes. Il possédait toutes les sortes de talents, excepté celui de gagner de l'argent.

En lo alto de una columna se alzaba la estatua de oro del Príncipe Feliz. Una golondrina solitaria decidió cobijarse entre los pies del Príncipe. Así nació entre ellos una amistad pura y generosa, capaz de cambiar la vida de los demás.

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

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: ++++ Salomé A Florentine Tragedy; Vera; Volume 2 Of Works; Oscar Wilde Oscar Wilde Methuen, 1907 Vellum printed books

Salomé est une tragédie d'Oscar Wilde dont la version originale de 1891 est en français. Une traduction en anglais a suivi trois ans plus tard. La pièce, en un acte, repose sur l'épisode biblique de Salomé1, belle-fille du tétrarque de Galilée Hérode Antipas, qui, à la consternation de son beau-père, mais au grand plaisir de sa mère Hérodiade, demande qu'on lui apporte la tête de Iokanaan (Jean le Baptiste) sur un plateau d'argent comme récompense pour avoir exécuté la danse des sept voiles.

This Is A New Release Of The Original 1922 Edition.

En su única novela, el divino Oscar Wilde puso al día el mito de Fausto. En este caso, la víctima es Dorian Gray, un bello y joven presuntuoso a quien un amigo hace un retrato al óleo. Cuando Dorian trabe amistad con lord Henry Wotton, un cínico filósofo, éste le convencerá de que sus más valiosas posesiones son su belleza y su juventud. Y a partir de ahí, su deseo de que su retrato envejezca mientras él permanezca joven se hace realidad. Estamos, simple y llanamente, ante uno de los libros más bellos e ingeniosos de todos los tiempos. 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.

The Picture of Dorian Gray is a philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott's Monthly Magazine. The magazine's editor feared the story was indecent, and without Wilde's knowledge, deleted roughly five hundred words before publication. Despite that censorship, The Picture of Dorian Gray offended the moral sensibilities of British book reviewers, some of whom said that Oscar Wilde merited prosecution for violating the laws guarding the public morality. In response, Wilde aggressively defended his novel and art in correspondence with the British press, although he personally made excisions of some of the most controversial material when revising and lengthening the story for book publication the following year. The longer and revised version of The Picture of Dorian Gray published in book form in 1891 featured an aphoristic preface-a defence of the artist's rights and of art for art's sake-based in part on his press defences of the novel the previous year. The content, style, and presentation of the preface made it famous in its own right, as a literary and artistic manifesto. In April 1891, the publishing firm of Ward, Lock and Company, who had distributed the shorter, more inflammatory, magazine version in England the previous year, published the revised version of The Picture of Dorian Gray. The only novel written by Wilde, The Picture of Dorian Gray exists in several versions: the 1890 magazine edition (in 13 Chapters), with important material deleted before publication by the magazine's editor, J. M. Stoddart; the "uncensored" version submitted to Lippincott's Monthly Magazine for publication (also in 13 chapters), with all of Wilde's original material intact, first published in 2011 by Harvard University Press; and the 1891 book edition (in 20 Chapters). As literature of the 19th century, The Picture of Dorian Gray is an example of Gothic fiction with strong themes interpreted from Faust The Picture of Dorian Gray begins on a beautiful summer day in Victorian era England, where Lord Henry Wotton, an opinionated man, is observing the sensitive artist Basil Hallward painting the portrait of Dorian Gray, a handsome young man who is Basil's ultimate muse. While sitting for the painting, Dorian listens to Lord Henry espousing his hedonistic world view, and begins to think that beauty is the only aspect of life worth pursuing. This prompts Dorian to wish that the painted image of himself would age in his stead. Under the hedonist influence of Lord Henry, Dorian fully explores his sensuality. He discovers the actress Sibyl Vane, who performs Shakespeare plays in a dingy, working-class theatre. Dorian approaches and courts her, and soon proposes marriage. The enamoured Sibyl calls him "Prince Charming", and swoons with the happiness of being loved, but her protective brother, James, a sailor, warns that if "Prince Charming" harms her, he will kill Dorian Gray. Dorian invites Basil and Lord Henry to see Sibyl perform in Romeo and Juliet. Sibyl, whose only knowledge of love was love of the theatre, forgoes her acting career for the experience of true love with Dorian Gray. Disheartened at her quitting the stage, Dorian rejects Sibyl, telling her that acting was her beauty; without that, she no longer interests him. On returning home, Dorian notices that the portrait has changed; his wish has come true, and the man in the portrait bears a subtle sneer of cruelty.