Free site book and epub digitized and proofread by Project Gutenberg. Ebook The Picture of Dorian Gray. Portret Doriana Graya w wersji do nauki angielskiego, Oscar Wilde, Marta Fihel, Dariusz Jemielniak. EPUB, MOBI. Wypróbuj. Explore. Show me Free eBooks! download to unglue Thank for Site Favorites · Latest Favorites · Find Portret Doriana Graya at Google Books.
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Now these are lines that stick out still to me. Or were newly underlined on the second pass through. New Wildisms to mold me.
When I like people immensely I never tell their names to any one. It is like surrendering a part of them. I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvelous to us.
The commonest thing is delightful if one only hides it. When I leave town now I never tell my people where I am going. If I did, I would lose all my pleasure. It is a silly habit, I dare say, but somehow it seems to bring a great deal of romance into one's life. I suppose you think me awfully foolish about it?
You have lived since then. I thought you dandies never got up till two, and were not visible till five. That I follow very seriously. Most American women do. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art.
From the point of view of form, the type of all the arts is the art of the musician. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.
From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.
The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive.
The dim roar of London was like the bourdon note of a distant organ. In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement and gave rise to so many strange conjectures. As the painter looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there.
But he suddenly started up, and closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake. The Academy is too large and too vulgar.
Whenever I have gone there, there have been either so many people that I have not been able to see the pictures, which was dreadful, or so many pictures that I have not been able to see the people, which was worse.
The Grosvenor is really the only place. My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion.
I have put too much of myself into it. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression and all that. But beauty, real beauty, ends where an intellectual expression begins.
Intellect is in itself a mode of exaggeration, and destroys the harmony of any face.
The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions.
How perfectly hideous they are! Except, of course, in the Church. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence.
I know that perfectly well. Indeed, I should be sorry to look like him. You shrug your shoulders? I am telling you the truth. There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. The ugly and the stupid have the best of it in this world.
They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat.
They live as we all should live—undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands. Is that his name? When I like people immensely, I never tell their names to any one. It is like surrendering a part of them.
I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvellous to us. The commonest thing is delightful if one only hides it. When I leave town now I never tell my people where I am going.
If I did, I would lose all my pleasure.
I suppose you think me awfully foolish about it? You seem to forget that I am married, and the one charm of marriage is that it makes a life of deception absolutely necessary for both parties.
I never know where my wife is, and my wife never knows what I am doing. My wife is very good at it—much better, in fact, than I am. She never gets confused over her dates, and I always do. But when she does find me out, she makes no row at all. I sometimes wish she would; but she merely laughs at me.
You are an extraordinary fellow.
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You never say a moral thing, and you never do a wrong thing. Your cynicism is simply a pose. The sunlight slipped over the polished leaves. In the grass, white daisies were tremulous. After a pause, Lord Henry pulled out his watch.
I want the real reason. You said it was because there was too much of yourself in it.
Now, that is childish. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul. Perhaps you will hardly believe it. A grasshopper began to chirrup by the wall, and like a blue thread a long thin dragon-fly floated past on its brown gauze wings.
You know we poor artists have to show ourselves in society from time to time, just to remind the public that we are not savages. With an evening coat and a white tie, as you told me once, anybody, even a stock-broker, can gain a reputation for being civilized. Well, after I had been in the room about ten minutes, talking to huge overdressed dowagers and tedious academicians, I suddenly became conscious that some one was looking at me.
I turned half-way round and saw Dorian Gray for the first time. When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. I did not want any external influence in my life. You know yourself, Harry, how independent I am by nature. I have always been my own master; had at least always been so, till I met Dorian Gray.
Something seemed to tell me that I was on the verge of a terrible crisis in my life. I had a strange feeling that fate had in store for me exquisite joys and exquisite sorrows. I grew afraid and turned to quit the room. It was not conscience that made me do so: it was a sort of cowardice.
I take no credit to myself for trying to escape. Conscience is the trade-name of the firm. However, whatever was my motive—and it may have been pride, for I used to be very proud—I certainly struggled to the door. There, of course, I stumbled against Lady Brandon. You know her curiously shrill voice? She brought me up to royalties, and people with stars and garters, and elderly ladies with gigantic tiaras and parrot noses. She spoke of me as her dearest friend. I had only met her once before, but she took it into her head to lionize me.
I believe some picture of mine had made a great success at the time, at least had been chattered about in the penny newspapers, which is the nineteenth-century standard of immortality. Suddenly I found myself face to face with the young man whose personality had so strangely stirred me.
We were quite close, almost touching. Our eyes met again. It was reckless of me, but I asked Lady Brandon to introduce me to him. Perhaps it was not so reckless, after all. It was simply inevitable. We would have spoken to each other without any introduction. I am sure of that. Dorian told me so afterwards.
He, too, felt that we were destined to know each other. I remember her bringing me up to a truculent and red-faced old gentleman covered all over with orders and ribbons, and hissing into my ear, in a tragic whisper which must have been perfectly audible to everybody in the room, the most astounding details. I simply fled. In the wild struggle for existence, we want to have something that endures, and so we fill our minds with rubbish and facts, in the silly hope of keeping our place.
Why had I highlighted these lines? Do they still mean the same thing to me, as they did when I first took note of them, enough to highlight them? I still love all of those lines.
But no longer feel so strongly for them. Now these are lines that stick out still to me.
Or were newly underlined on the second pass through. New Wildisms to mold me. When I like people immensely I never tell their names to any one.
It is like surrendering a part of them. I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvelous to us. The commonest thing is delightful if one only hides it.
When I leave town now I never tell my people where I am going. If I did, I would lose all my pleasure.
It is a silly habit, I dare say, but somehow it seems to bring a great deal of romance into one's life.A curious sensation of terror came over me. The commonest thing is delightful if one only hides it. A grasshopper began to chirrup by the wall, and like a blue thread a long thin dragon-fly floated past on its brown gauze wings.
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Lines like: "It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion--these are the two things that govern us. But their own souls starve, and are naked. He was not a schoolboy or a girl. After some time he came back.
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