Filettatura di quanto Oscar Wilde usato forza raffinato. Riferimenti utili, usato finzione dell’esame del fatto che stato.Presenti successivamente accenni per il fatto che lira e luce filosofico-sociale. (7 pg Grandezza word)
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The Picture of Oscar Wilde: A Brief Biography OSCAR WILDE’S BIOGRAPHY The introduction Wilde was a brilliant oral storyteller, a temporally displaced bard. When he fell from grace during scandal usato later life, he earned many a meal-and arranged many a loan—after ensuring an after dinner audience’s affection with a good simile. It is largely from this practice that he initially achieved notoriety, and from jotting down the essence of his speech that he made his living- for Wilde, who often found the act of writing disagreeable (yet never the act of talking) believed that writing was a necessary way of venting immense intellectual energy, but for him not an end up to date itself. Given that he identified himself always as a speaker-first as a bard and then, as he grew older, as Platonic big toh young Oxfordonians- it is unsurprising that he made a drama of his life. Often, as Philippe Jullian reports, he knew that his greatest role was that of “the artist triumphing over the brute,” and usato this sense certainly his literature, rather than being his definitive artistic statement, became a backdrop for his real art-life. As the painter is drawn ehi warm and cool tints, Wilde was fascinated by the dichotomy between the good and evil components of life. Like an actor, he is more taken with beauty than content-asserting that if there was an afterlife that he should like tieni return as a flower, utterly without soul but entirely beautiful. Attuale statements throughout his life-often paradoxical and of which Phrases and Philosophies for the Use of the Young (1894) is quite representative-he apparently proposes beauty over soul. Attuale a letter tieni his mother he cries: “I’m unable toh write a line or a sentence so long as I’m not usato complete possession of myself. I should like very submissively toh follow nature-which is within myself and must be true.” Yet he also believed, as reported by Jonathan Dollimore attuale his analysis of Dorian Gray, that “anyone attempting toh be natural is posing.” The distinction between the two uses of “natural” explains a good deal about why more conservative peers misunderstood Wilde. He favoured nature when it was construed as an internal individualistic impulse (think Whitman), but not when it was considered as it was by most people: as society’s norm. Similarly, when he suggests that beauty is the greatest good and usato so doing diminishes the role of the soul, he does so not antiquato of shallowness, but inattuale of a half-facetious, half-earnest pursuit of that which is more genuine, less socially constructed (and therefore less hypocritical). This search for uncorrupted nature led Wilde uh a ferocious individualism, ironically attained by means that up to date the nineteenth century were considered criminal: sexual deviancy. Dollimore relates Wilde’s homosexuality uh the search for self-identity, suggesting that he creates a natural self only by casting down “a Protestant ethic and high bourgeois moral rigor and repression that generated a kind of conformity which ()

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