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The Importance of Being Earnest, a Trivial Comedy for Serious People is a play by Oscar Wilde, the last of his four drawing-room plays, following Lady Windermere's Fan (1892), A Woman of No Importance (1893) and An Ideal Husband (1895).
The dandy creates his own unity by aesthetic means. But it is an aesthetic of negation. To live and die before a mirror: that, according to Baudelaire, was the dandy's slogan. It is indeed a coherent slogan. The dandy is, by occupation, always in opposition [to society]. He can only exist by defiance …
Oscar Fingal O'Fflahertie Wills Wilde [a] (16 October 1854 – 30 November 1900) was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of the most popular and influential playwrights in London in the early 1890s. [3]
The love that dare not speak its name is a phrase from the last line of the poem "Two Loves" by Lord Alfred Douglas, written in September 1892 and published in the Oxford magazine The Chameleon in December 1894.
A House of Pomegranates is a collection of fairy tales written by Oscar Wilde, published in 1891. It is Wilde's second fairy tale collection, following The Happy Prince and Other Tales (1888). He said of the book that it was "intended neither for the British child nor the British public".
The Artist. In this prose poem, an artist is filled with the desire to create an image of "The Pleasure that abideth for a Moment". Able to fashion this image out of bronze only, he searches the world for the metal but all he can find is the bronze of one of his earlier pieces, "The Sorrow that endureth for Ever".
Pages 683–780. (This is an expanded version of the 1962 book The Letters of Oscar Wilde edited by Rupert Hart-Davis; both versions contain the text of the British Museum manuscript). Ian Small (editor): The Complete Works of Oscar Wilde. Volume II: De Profundis; Epistola: In Carcere et Vinculis (2005). Oxford University Press, Oxford.
The soul is wiser than we are, writes Wilde, it is the concentrated racial experience revealed by the imagination. Criticism is above reason, sincerity and fairness; it is necessarily subjective. It is increasingly more to criticism than to creation that future belongs as its subject matter and the need to impose form on chaos constantly increases.