Bøker av Oscar Wilde

Lord Arthur Savile's Crime is a brief tale by Oscar Wilde. This story was first published in The Court and Society Review, in the late 1887. The primary character, Lord Arthur Savile, is introduced to the readers by Lady Windermere with Mr. Septimus R. Podgers, a chiromantist, who peruses his palm and lets him know that it is his fate to be a killer Master Arthur needs to wed, yet concludes he has no option to do as such until he has carried out the murder. His previously endeavored murder casualty is his older Aunt Clementina, who experiences acid reflux. Imagining it is medication, Lord Arthur gives her a container of a toxic substance, advising her to take it just when she has an assault of indigestion. Perusing a message in Venice sometime later, he observes that she has kicked the bucket and triumphantly returns to London to discover that she has given him some property. Figuring out the legacy, his future spouse, Sybil Merton, tracks down the death wish, immaculate; consequently Lord Arthur's aunt kicked the bucket from normal causes and he ends up needing another casualty. After some consideration, he gets a bomb from a cordial German revolutionary, masked as a carriage clock and sends it secretly to a far-off family member, the Dean of Chichester. At the point when the bomb goes off, in any case, the main harm done appears to be a curiosity stunt, and the Dean's child spends his evenings making little, innocuous blasts with the clock. Hopelessly, Lord Arthur agrees that his marriage plans are ill-fated, just to experience a similar palm-peruser who had told his fortune around dusk on the bank of the River Thames. Understanding the most ideal result, he pushes the man off a railing into the stream where he kicks the bucket. A decision of self-destruction is returned at the investigation and Lord Arthur joyfully proceeds to wed. In a slight wind, the palmister is censured as a fake, surrendering it to the peruser with regards to whether the story is an after math of thorough freedom or destiny. The story was the premise of the second piece of the three-section 1943 film, Flesh and Fantasy.

De Profundis' is a 50,000-word letter composed by Oscar Wilde during his detainment in Reading Gaol, to Lord Alfred Douglas, his sweetheart. Wilde composed the letter between January and March in the year 1897; he was not permitted to send it yet took it with him upon discharge. In it he renounces Lord Alfred for what Wilde, at last, sees as his haughtiness and vanity; he had not forgotten Douglas' comment, when he was sick, "When you are not on your pedestal you are not interesting." He felt reclamation and satisfaction in his difficult times, understanding that his difficulty had filled the spirit with the product of involvement, but unpleasant it tasted at that point.

Intentions Initially published in 1891 when Wilde was at the peak of his writing career, these splendid articles on art, writing, literature, criticism, and society show the confident poseur's well-known mind and wide learning. The main representative of the English Esthetic development, Wilde promoted "art for art's sake" against critics who contended that art should dive into the morals of every human being. On each page of this assortment, the skilled artistic beautician splendidly exhibits not only the attributes of art are "distinction, charm, beauty, and imaginative power," in addition to that, criticism itself can be raised to a fine art having these very characteristics. In the initial article, Wilde regrets the " decay of Lying as an art, a science, and a social pleasure." He berates present-day artistic pragmatists like Henry James and Emile Zola for their " monstrous worship of facts" and smothering of the creative mind. What makes craftsmanship awesome, he says, is that it is "absolutely indifferent to fact, [art] invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment."The following article, "Pen, Pencil, and Poison," is an entrancing artistic enthusiasm for the existence of Thomas Griffiths Wainewright, a gifted painter, art critic, classicist, fellow of Charles Lamb, and - a murderer. The core of the collection is the long two-section article named "The Critic as Artist." In an endless series of important entries, Wilde takes incredible measures to show that the pundit is just as much a craftsman as the craftsman himself, sometimes more so. A skilled critic resembles a virtuoso mediator: "When Rubinstein plays ... he gives us not merely Beethoven, but also himself, and so gives us Beethoven absolutely...made vivid and wonderful to us by a new and intense personality. When a great actor plays Shakespeare we have the same experience" At long last, in "The Truth of Masks," Wilde gets back to the topic of art as artifice and creative deception. This article centers around the utilization of veils, camouflages, and outfits in Shakespeare. For novices to Wilde and the people who know his popular plays and fiction, this brilliant assortment of his analysis offers many pleasures.

A House of Pomegranates' is an ensemble of fairy tales written by Oscar Wilde. It was published in 1891 as a second collection for 'The Happy Prince' and 'Other Tales' (1888). Wilde once said that this collection was "intended neither for the British child nor the British public." The tales that are mentioned in this book are: The Young King The Birthday of the Infanta The Fisherman and his Soul The Star-Child

The Duchess of Padua' is a play by Oscar Wilde. It is a five-act sensational tragedy set in Padua and written in a blank verse. It was composed for the female actor Mary Anderson in mid-1883 while in Paris. After she turned it down, it was deserted until its first-ever performance at the Broadway Theater in New York under the title 'Guido Ferranti' on 26 January 1891, where it ran for a long time. It has been seldom performed or studied. The Duchess of Padua elucidates the tale of a young fellow named Guido who was left in the charge of a man he calls his uncle as a child. Guido gets a notice to meet a man in Padua concerning something concerning his parentage. When he shows up in Padua he is persuaded by a man named, Moranzone, to forsake his only friend, Ascanio, to destine himself to vindicate his father's murder committed by Simone Gesso, the Duke of Padua. Over the play, Guido observes he has become hopelessly enamored with Beatrice, the title character, and trusts his affection for her, an adoration which she returns. At this point, Guido has had a shift in perspective and chooses not to kill the Duke of Padua, and on second thought expects to stab his father's knife at the Duke's bedside to tell the Duke that his life might have been taken if Guido had needed to kill him. While heading to the bed-chamber, Guido comes across Beatrice, who herself killed the Duke so she may accompany Guido. Guido is dismayed at the transgression committed for his sake and leaves Beatrice, assuring that their affection has been spoilt. She runs away and when she comes across certain gatekeepers, she asserts that Guido killed the Duke. Wilde himself depicted the play to Anderson: "I have no hesitation in saying that it is the masterpiece of all my literary work, the chef-d'oeuvre of my youth." Mary Anderson, in any case, was less energetic: "The play in its present form, I fear, would no more please the public of today than would 'Venus Preserved' or 'Lucretia Borgia'. Neither of us can afford failure now, and your Duchess in my hands would not succeed, as the part does not fit me. My admiration of your ability is as great as ever."William Winter reviewed the first production in The New York Tribune on 27 January 1891: "The new play is deftly developed in five short demonstrations and is written in a type of blank verse that is generally resonant, frequently persuasive, and at times freighted with whimsical figures of uncommon magnificence. It is less a tragedy but a melodrama...the radical deformity of the work is untrustworthiness. Nobody in it is natural." The Duchess of Padua is not regarded as one of Wilde's major works, and has rarely been performed or discussed. Leonée Ormond suggests several reasons for this: it is "quite unlike the plays for which Wilde is most famous, and biographers and critics have been inclined to say that it is unstageable, that it draws too heavily upon Shakespeare, Jacobean tragedy and Shelley's The Cenci ." Robert Shore remarked on the actual play while surveying an intriguing contemporary production:"......his tale of Renaissance realpolitik, revenge, and big love is about as far removed from the sophisticated social ironies of The Importance of Being Earnest as you can get. The dramatist affects the high Jacobean manner but the results are more cold pastiche than hot homage. Shakespearean archetypes stand behind the action - especially Lady Macbeth and Romeo and Juliet - but the smoothness of the verse means Wilde's characters never burn with the knotty tormented passion of their dramatic forebears. It's Victorian melodrama." However, Joseph Pearce is more responsive to Wilde's Shakespearian impact: "Unfortunately, the derivativeness of The Duchess of Padua has devalued it in the eyes of the critics...Yet if The Duchess of Padua is an imitation of Shakespeare, it is a very good imitation."

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In this celebrated work Wilde forged a devastating portrait of the effects of evil and debauchery on a young aesthete in late-19th-century England.Combining elements of the Gothic horror novel and decadent French fiction, the book centers on a striking premise: As Dorian Gray sinks into a life of crime and gross sensuality, his body retains perfect youth and vigor while his recently painted portrait grows day by day into a hideous record of evil, which he must keep hidden from the world.For over a century, this mesmerizing tale of horror and suspense has enjoyed wide popularity. It ranks as one of Wilde's most important creations and among the classic achievements of its kind.