Oscar Wilde Miscellaneous
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OSCAR WILDE MISCELLANEOUS
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Oscar Wilde Miscellaneous
By Oscar Wilde
Get any book for free on: www.Abika.com
OSCAR WILDE MISCELLANEOUS
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Contents:
Preface by Robert Ross
A Florentine Tragedy--A Fragment
La Sainte Courtisane--A Fragment
OSCAR WILDE MISCELLANEOUS
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PREFACE BY ROBERT ROSS
'As to my personal attitude towards criticism, I confess in brief
the following:- "If my works are good and of any importance whatever
for the further development of art, they will maintain their place
in spite of all adverse criticism and in spite of all hateful
suspicions attached to my artistic intentions. If my works are of
no account, the most gratifying success of the moment and the most
enthusiastic approval of as augurs cannot make them endure. The
waste-paper press can devour them as it has devoured many others,
and I will not shed a tear . . . and the world will move on just the
same."'--RICHARD STRAUSS.
The contents of this volume require some explanation of an
historical nature. It is scarcely realised by the present
generation that Wilde's works on their first appearance, with the
exception of De Profundis, were met with almost general condemnation
and ridicule. The plays on their first production were grudgingly
praised because their obvious success could not be ignored; but on
their subsequent publication in book form they were violently
assailed. That nearly all of them have held the stage is still a
source of irritation among certain journalists. Salome however
enjoys a singular career. As every one knows, it was prohibited by
the Censor when in rehearsal by Madame Bernhardt at the Palace
Theatre in 1892. On its publication in 1893 it was greeted with
greater abuse than any other of Wilde's works, and was consigned to
the usual irrevocable oblivion. The accuracy of the French was
freely canvassed, and of course it is obvious that the French is not
that of a Frenchman. The play was passed for press, however, by no
less a writer than Marcel Schwob whose letter to the Paris
publisher, returning the proofs and mentioning two or three slight
alterations, is still in my possession. Marcel Schwob told me some
years afterwards that he thought it would have spoiled the
spontaneity and character of Wilde's style if he had tried to
harmonise it with the diction demanded by the French Academy. It
was never composed with any idea of presentation. Madame Bernhardt
happened to say she wished Wilde would write a play for her; he
replied in jest that he had done so. She insisted on seeing the
manuscript, and decided on its immediate production, ignorant or
forgetful of the English law which prohibits the introduction of
Scriptural characters on the stage. With his keen sense of the
theatre Wilde would never have contrived the long speech of Salome
at the end in a drama intended for the stage, even in the days of
long speeches. His threat to change his nationality shortly after
the Censor's interference called forth a most delightful and good-
natured caricature of him by Mr. Bernard Partridge in Punch.
Wilde was still in prison in 1896 when Salome was produced by Lugne
Poe at the Theatre de L'OEuvre in Paris, but except for an account
in the Daily Telegraph the incident was hardly mentioned in England.
I gather that the performance was only a qualified success, though
Lugne Poe's triumph as Herod was generally acknowledged. In 1901,
within a year of the author's death, it was produced in Berlin; from
that moment it has held the European stage. It has run for a longer
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分类：外语学习
价格：5.9玖币
属性：24 页
大小：53.13KB
格式：PDF
时间：2024-11-24
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