-对《Picture of Dorian Grey (Classic Library)》的笔记(1)

Picture of Dorian Grey (Classic Library)
  • 书名: Picture of Dorian Grey (Classic Library)
  • 作者: Oscar Wilde
  • 出版社: Book Sales
  • 出版年: 2006-02
  • 第1页

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    Preface & Ch1

    To reveal art and conceal the artist is art's aim. (作品和作者的关系和势力在影响着各时期的艺术理论和风格)

    The highest as the lowest form of criticism is a mode of autobiography.

    There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. (去道德)

    The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. (对现实主义和浪漫主义开炮了)

    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.

    the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

    The harmony of soul and body--how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void.

    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. The thoroughly well-informed man--that is the modern ideal. And the mind of the thoroughly well-informed man is a dreadful thing. It is like a bric-a-brac shop, all monsters and dust, with everything priced above its proper value...That accounts for the fact that we all take such pains to over-educate ourselves. In the wild struggle for existence, we want to have something that endures... (人必有一死的焦虑总要在各种行为活动中化解,曾经有人相信囤积癖,然而开仓库却不能解决不安和恐慌)

    Ch2

    The only difference between a caprice and a lifelong passion is that the caprice lasts a little longer.

    "The costume of the nineteenth century is detestable. It is so sombre, so depressing. Sin is the only real colour-element left in modern life." (与维多利亚社会决裂的方式)

    Ch3

    "Why can't these American women stay in their own country? They are always telling us that it is the paradise for women." "It is. That is the reason why, like Eve, they are so excessively anxious to get out of it," said Lord Henry. (开黑美国妞)

    The way of paradoxes is the way of truth. To test reality we must see it on the tight rope. When the verities become acrobats, we can judge them.

    Humanity takes itself too seriously. It is the world's original sin. If the caveman had known how to laugh, history would have been different. (山顶洞人,来,笑一个!)

    Ch4

    There are many things that we would throw away if we were not afraid that others might pick them up.(吝啬鬼往往是这么个来法。)

    The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize. (好诗人与坏诗人,吟好诗的诗人和吟坏诗的诗人)

    There was animalism in the soul, and the body had its moments of spirituality. The senses could refine, and the intellect could degrade. Who could say where the fleshly impulse ceased, or the psychical impulse began? (不如重新思考灵与肉的问题)

    Ch6

    The reason we all like to think so well of others is that we are all afraid for ourselves. The basis of optimism is sheer terror. (所谓良性竞争嘻嘻)

    Ch8

    It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style. (所谓“缺乏艺术”的风格和行为,并非道德上有害,而是它的力量,它的无序,它的不假思索,让“艺术家”抓住了把柄,作为他们得以占据道德制高点的理由)

    The one charm of the past is that it is the past. But women never know when the curtain has fallen. They always want a sixth act, and as soon as the interest of the play is entirely over, they propose to continue it. If they were allowed their own way, every comedy would have a tragic ending, and every tragedy would culminate in a farce. (女性追求续集的习惯可以毁了一切爱情)

    Mourn for Ophelia, if you like. Put ashes on your head because Cordelia was strangled. Cry out against Heaven because the daughter of Brabantio died. But don't waste your tears over Sibyl Vane. She was less real than they are.

    Ch9

    You come down here to console me. That is charming of you. You find me consoled, and you are furious. How like a sympathetic person! You remind me of a story Harry told me about a certain philanthropist who spent twenty years of his life in trying to get some grievance redressed, or some unjust law altered--I forget exactly what it was. Finally he succeeded, and nothing could exceed his disappointment. He had absolutely nothing to do, almost died of ennui, and became a confirmed misanthrope. (多数人助人为乐乐在人不可助)

    C11

    He procured from Paris no less than nine large-paper copies of the first edition, and had them bound in different colours, so that they might suit his various moods and the changing fancies of a nature over which he seemed, at times, to have almost entirely lost control.(版本收藏癖的又一有力辩护)

    We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain. (不过,重装系统不是万全之策)

    For the canons of good society are, or should be, the same as the canons of art. Form is absolutely essential to it. It should have the dignity of a ceremony, as well as its unreality, and should combine the insincere character of a romantic play with the wit and beauty that make such plays delightful to us. Is insincerity such a terrible thing? I think not. It is merely a method by which we can multiply our personalities. . . To him, man was a being with myriad lives and myriad sensations, a complex multiform creature that bore within itself strange legacies of thought and passion, and whose very flesh was tainted with the monstrous maladies of the dead.(形式之下是现代社会的单调和不安)

    sick with that ennui, that terrible taedium vitae, that comes on those to whom life denies nothing

    Ch15

    Nowadays all the married men live like bachelors, and all the bachelors like married men." "Fin de siecle," murmured Lord Henry. "Fin du globe," answered his hostess. "I wish it were fin du globe," said Dorian with a sigh. "Life is a great disappointment." (Henry怼谁都怼得既精彩又让人咬牙切齿)

    Ch16

    Ugliness that had once been hateful to him because it made things real, became dear to him now for that very reason. Ugliness was the one reality. The coarse brawl, the loathsome den, the crude violence of disordered life, the very vileness of thief and outcast, were more vivid, in their intense actuality of impression, than all the gracious shapes of art, the dreamy shadows of song. (如果长期沉迷于带有滤镜的视角,这个社会将永远无法正视自己的不堪。体面应当是被解构的概念。如今矫饰越来越大肆使用自己的道德说辞打压本真。)

    Ch17 (Henry持续怼人的一章 舞台感强)

    "Ugliness is one of the seven deadly virtues, Gladys. You, as a good Tory, must not underrate them. Beer, the Bible, and the seven deadly virtues have made our England what she is." "You don't like your country, then?" she asked. "I live in it." "That you may censure it the better." "Would you have me take the verdict of Europe on it?" he inquired. "What do they say of us?" "That Tartuffe has emigrated to England and opened a shop."

    She shook her head. "I believe in the race," she cried. "It represents the survival of the pushing." "It has development." "Decay fascinates me more." "What of art?" she asked. "It is a malady." "Love?" "An illusion." "Religion?" "The fashionable substitute for belief." "You are a sceptic." "Never! Scepticism is the beginning of faith."

    Every effect that one produces gives one an enemy. To be popular one must be a mediocrity.

    Romance lives by repetition, and repetition converts an appetite into an art. Besides, each time that one loves is the only time one has ever loved. Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible. "Even when one has been wounded by it, Harry?" asked the duchess after a pause. "Especially when one has been wounded by it," answered Lord Henry. (嗯下面就请我们拿出罗曼蒂克来根据这个说法仔细端详一下)

    Ch18

    Shallow sorrows and shallow loves live on. The loves and sorrows that are great are destroyed by their own plenitude. (爱情悲剧总是略胜一筹 多了不只一筹的重量)

    “You would sacrifice anybody, Harry, for the sake of an epigram.” (全书对Harry最精炼有力的批判)

    Ch19

    It is an odd thing, but every one who disappears is said to be seen at San Francisco. It must be a delightful city, and possess all the attractions of the next world. (从头到尾黑美帝,真的不差这一句高级黑了)

    Life is not governed by will or intention. Life is a question of nerves, and fibres, and slowly built-up cells in which thought hides itself and passion has its dreams. You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play--I tell you, Dorian, that it is on things like these that our lives depend. (现象学审美)

    Ch20

    He had told her once that he was wicked, and she had laughed at him and answered that wicked people were always very old and very ugly. (道德,包装,保质期)

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