浅论奥斯卡·王尔德的唯美主义思想的论文
夜莺与玫瑰论文
王尔德童话《夜莺与玫瑰》中的唯美主义Aestheticism in Oscar Wilde’s FairyTale The Nightingale and the Rose摘要本文从形式和内容入手，探讨了王尔德《夜莺与玫瑰》童话中的唯美主义体现，从而揭示了王尔德“为艺术而艺术”，“艺术高于一切”的唯美主义价值观。
在形式上，分别从修辞、意象入手，分析了童话在文字层面上精巧华丽的美以及作者构造奇幻图画的写作技巧。
在内容上，从更深层次的讽刺、象征、人物刻画、死亡与悲剧之美以及二元对立等方面分析，表现了作者强烈的情感，对爱与艺术美的追求，对善的颂扬以及对恶的摈弃，并从中反映了艺术与当时社会现实生活的关系。
关键字：唯美主义，修辞，意象，对立ABSTRACTFrom the aspects of form and content, this thesis will analyze the embodiment of Aestheticism in Oscar Wilde‘s The Nightingale and the Rose, in order to manifest his aesthetic values of ―Art for art‘s sake‖ and ―Art is superior‖. From the aspect of form, the paper argues from rhetoric and image to analyze the writing methods to construct fantastic images and magnificent beauty on the literal level. From the aspect of content, the thesis analyzes from irony, symbol, depiction of characters, beauty of anticlimax and binary antithesis of two specific elements, expressing the authors‘intense emotion, pursuit towards art and beauty, glorification of goodness, and critique towards vice.Keywords: Aestheticism, rhetoric, image, antithesisContents1 Introduction (1)2 Previous Studies (4)3 Embodiment of Aestheticism in form (5)3.1. Beauty of rhetoric (5)3.1.1 Use of repetition (5)3.1.2 Use of antithesis (5)3.1.3 Use of synaesthesia (6)3.1.4 Use of personification (6)3.2 Beauty of image (7)3.2.1 The combination of movement and stillness (7)3.2.2 Converting between concrete and abstract images (8)4 Embod iment o f Aestheticism in co ntent (10)4.1 Beauty of rhetoric (10)4.1.1 Use of sarcasm (10)4.1.2 Use of symbol (11)4.2 Beauty of imagery (12)4.2.1 The nightingale (12)4.2.2 The student (14)4.2.3 Beauty of anticlimax (death and tragedy) (16)4.2.4 Binary antithesis of two specific elements (17)4.2.4.1 The binary antithesis of poem and reality (17)4.2.4.2 The binary antithesis of deep and shallow emotion 185 Conclusion (19)Works cited (20)1IntroductionOscar Wilde (1854—1900) is a famous dramatist, novelist and poet in the 19th century‘s England. He has a great deal of accomplishments in nearly every field of literature. His novel The Portrait of Dorian Gray, comedies Lady Windermere’s Fan, A Woman of No Importance as well as The Importance of Being Earnest all created sensation when they were published. With gifts of language, Wilde was once acclaimed by Y eats: ―I never before heard a man talking with perfect sentences, as if he had written them all overnight with labour and yet all spontaneous.‖（吴伟仁，2006）In the 19th century in England, industry developed rapidly. Following the development of industry, the principle of materialism infiltrated into every status of the society. Wilde thought that in the age he lives ―to be practical is everything‖, in his words: ―Present people‘s life has been entirely affected by business.‖As English female writer V erginia Woolf wrote in her later observation: ―Behavior of human-beings have been changed tremendously.‖（章安祺，2003)In intellectual sphere, people generally feel the shortage of culture and loss of beauty. Thus aesthetic movements developed in the universities and intellectual circles in the last decades of the 19th century. It reflected artists‘ sense of frustration and uncertainty against materialism and restrictive moral code of bourgeoisie. Because of this, artists withdrew from political and social stage, and escaped into aesthetic isolation. Wilde is the main representation of the aesthetic movement. His aesthetic opinion can be summarized as ―Art is superior.‖In detail, Wilde‘s aestheticism can be related in several aspects below: He advocates the pure artistic theory. ―Art for art‘s sake‖–Art has independent life, which is far away from the real world, not related to ethics. All excellent works of art pursue pure art effect. So, ―the only beautiful thing is that irrelevant to us.‖―Artists should neither have any purposes of utilitarianism, nor be restrained by ethics.‖He emphasizes ―the admiration of form‖ He considers that art has one highest principle, the principle of form. As he once said: ―You needn‘t have superb rationalimagination, deep satire towards life, even excited emotion.‖―Form is all you need.‖About the relationship between life and art he thought, ―Life imitates art much more than art imitates life.‖ Art is always ahead of life. It‘s not art reflecting the reality but the reality reflecting art. The real society is ugly and vulgar. Only ―beauty‖has perpetual value. ―Art is superior to life. Life is dull and disorderly. But art can satisfy our emotion need of love and resent, joy and pain.‖He believes art superior to all other things. ―In order to pursue entertainment and beauty, one can disregard and sacrifice anything.‖―Art is life itself. It is ignorant of death, which is absolute truth, ignorant of facts.‖ (Ellmann, 1988) Here art has its broaden meaning, which includes beauty entertainment and joy. Here beauty is some kind of free beauty which is sublime epicurean and irrelevant to utilitarianism; joy is not purely sensory enjoyment, but coming from life, creation and love.The fairy tale The Nightingale and the Rose is chosen from his The Happy Prince and Other Tales,1888. His another book about fairy tale is A House of Pomegranates. They are regarded as works of superior quality among the world‘s creation of fairy tales. The famous Chinese writer ZhouZuoren said that: ―The two books are purely poems…In my opinion their feature is the plentiful words and wit of spirit.‖(王开林，2002)These fairy tales extol love beauty art and kind heart, satirize selfish and cruel behavior and show sympathy to the insulted weak. ―The different elements of narration provide social satire, comedy of manners, moral allegory and a commentary on aestheticism for the cognoscenti.‖ (Varty, 2005) In The Nightingale and the Rose, the theme is also around above topics. A student wept sadly, for the reason that the girl he loved promised to dance with him if he got a red rose. But he can‘t find one in his garden. A nightingale saw and was moved by the student. Regarding him as a true lover, she decided to find a red rose for him. Disregarding some insects‘ query and sneer, she flied over the garden, from white rose-tree to yellow rose-tree, and then finally found a red rose-tree. The tree answered it wouldn‘t have any rose that year, but if she wanted a red rose she must sing all night long with her breast against a thorn. The thorn must pierce her heart and her life-blood must flow into tree. Death is a great price to pay for a red rose.But the nightingale believed love is more precious than life. Thus she did what the red rose-tree told her to do. She died and a rose as red as ruby was produced. The student discovered the red rose in his garden. He was so excited for he had never seen any rose like it. However, when he hopefully brought the rose to the girl, she refused, because she wanted to dance with the Chamberlain‘s nephew who had sent her some real jewels. Angrily the Student threw the rose and a cart-wheel went over it. He thought love silly and went back to read books again.This fairy tale praised the nightingale kind-hearted, selfless, and persevering in the pursuit of love. It also criticized the girl ungrateful superficial. Rodney Shewan claimed this fairy tale to be ―the most concise social critique‖. (Shewan, 1977) Through the whole story, Wilde‘s views of Aestheticism are manifested themselves. In the following paragraphs, I will analyze them from the aspects of form and implied meaning, to reveal how Wilde‘s Aestheticism is embodied in this fairy tale by more specific and detailed analysis on the aspects of rhetoric and imagery. Thus we can have deeper understanding of the writer, his Aestheticism and his works.2 Previous StudiesPredecessors have ever since researched this fairy tale and have already made profound achievements in some aspects.They analyzed and eulogized various kinds of beauty, from superficial level of diction and sentences to deep level of theme and emotion. They wanted to probe the inner spirit of the fairy tale, Wilde‘s individual temperament and style, and connect them to the aesthetic purpose of Wilde‘s creation and the whole social background. Wilde once wrote to a friend that the tales were ―meant partly for children, and partly for those who have kept the childlike faculties of wonder and joy, and who find in simplicity a subtle strangeness.‖(Beckon, 1970) which I think may be his main purpose to write these fairy tales. He wanted to bring people simple joy and made them ponder in the seeming simplicity.Otherwise, they also probe the usage of various writing methods, such as peculiar imagination, humorous irony combined with philosophy, and the changing of characters and readers‘emotion. Wilde‘s friend Alexander Galt Ross (1860—1927) wrote: ―One of the chief functions of the true fairy story is to excite sympathy.‖ (Beckon, 1970)Wilde is the representative of aestheticism and decadent literature. Some people criticized his aesthetic works to be decadent; while others thought him to be writer of real art and beauty. In his works, we realized the antithesis of dream and reality. He took art beauty and love as his ideal, having the sense of justice. On the other hand, he was extremely individualistic.Since a long time ago, Wilde‘s theory of ―Art for art‘s sake‖has been considered disadvantage outweighing advantage, because he overstressed literary beauty, letting the relationship between art and life upside down. Especially in the domestic art sphere, where artists paid more attention to life, their social responsibility was stressed. Aestheticism was condemned having messed people‘s course of recognizing things and induced writers into the concept of ―Form is everything.‖3 Embodiment of Aestheticism in form3.1 Beauty of rhetoricWilde is best adept at visual refined language abounding in color and sound. Rhetoric is one aspect of the beautiful language. Repetition, contrast, metaphor, personification and synaesthesia are often used in this fairy tale. The seemingly simple rhetoric has polished the fairy tale a lot.3.1.1 Use of repetitionThe rhetorical effect of sentence repetition varies with individual cases, but most writers use it to add force and emphasis to their statement.（冯翠华，1995）―Give me a red rose,‖ she cried, ―and I will sing you my sweetest song.‖（奥斯卡·王尔德，1996）This sentence appears three times in the fairy tale. It indicates the nightingale‘s eager mood to find the red rose. It was a long process. She failed to find a red one the first and second time, but didn‘t give up. She insisted on her seeking and at last achieved her expect. From the repetition we can see the hardship in finding a red rose. Facing continuous failure, the nightingale maintained a resolute and positive attitude. The repetition transfers to us a shock and more intense emotion.3.1.2 Use of antithesis(contrast)Antithesis is the deliberate arrangement of contrasting words or ideas in balanced structural forms to achieve force and emphasis. The form of the expression is very important for effect, for the force of the emphasis, whether for profundity of judgement, for humor or for satire, depends chiefly on the juxtaposition of direct opposition, of glaring contrasts.（冯翠华，1995）Wilde has used several contrast to manifest a kind of beauty that exist between two opposite things or two opposite aspects in one thing. For example, the death of the nightingale and the blossom of the red rose forms striking contrast. The exhaustion of nightingale leads to the blossom of the rose. Nightingale‘s crimsonblood dyes the rose red. As nightingale pressed closer to the thorn, ―Bitter, bitter was the pain, and wilder and wilder grew her song‖ (奥斯卡·王尔德，1996) The marvelous rose grew from white to pink then to crimson. It was the nightingale who let her life-blood and energy ebbed away from her and transferred to the red rose. The red rose was the fruit of nightingale‘s death, also the bitter price of the nightingale‘s pursuit of love.3.1.3 Use of synaesthesia―the mixing of sensations; the concurrent appeal to more than one sense; the response through several senses to the stimulation of one‖（文军，1991）Wilde is good at describing a scene with various blended senses, and makes the readers as if be present at the scene.Take examples, ―It is pleasant to sit in the green wood, and to watch the Sun in his chariot of gold…Sweet is the scent of the hawthorn.‖ Here from visual sense and sense of smell Wilde described the pleasure and bright of life. The brilliant Sun with chariot of gold and the crystal Moon with chariot of pearl enhance each other‘s beauty in the sky, forming a splendid spectacle. While fragrance of flowers floats far and near, making people refreshed in mind and heart.―…blossomed a marvelous rose, petal following petal, as song followed song.‖―Bitter, bitter was the pain, and wilder and wilder grew her song.‖ (奥斯卡·王尔德，1996) From visual sense, sense of hearing and sense of pain, the heroic scene of nightingale‘s sacrifice reappears before readers.3.1.4 Use of personification―attributes human qualities and abilities to inanimate objects, animals, abstractions, and events.‖(Bander, 1978)Unlike in other stories, personification is widely used in this fairy tale which becomes an outstanding feature of it. Every animal and plant has been personified, from big sun and moon in the sky to little insects on the ground. Their language is lively and vivid. Each character has distinctive personality which makes the story touching. For example, the offish attitude of the Green Lizard the Butterfly and the Daisy reflects the general attitudeof the English in those years.3.2 Beauty of imageBeautiful language is an outstanding feature of this fairy tale which produces many exquisite images that constantly emerge in the fairy tale. ―An image is a literal and concrete representation of a sensory experience or of an object that can be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated.‖(Holman & Harmon, 1986) Light and shadow, color and smell, sound and shape, quality and movement, the multitudinous image interweave with one another, constructing poetic imagery. And in these images, we can find out some special writing methods.3.2.1 The combination of movement and stillness―but passion has made his face like pale ivory, and sorrow has set her seal upon his brow.‖(奥斯卡·王尔德，1996) Sorrow is originally a kind of static state which presents itself on people‘s face. But here it comes into a movement. It climbs up on the boy‘s face. That is more vivid than just stating the fact.―And a delicate flush of pink came into the leaves of the rose‖ (ibid) Here we can feel the process how the color of the rose changes. It changes little by little from delicate to dark.―Echo bore it to her purple cavern in the hills, and woke the sleeping shepherds from their dreams. It floated through the reeds of the river, and they carried its message to the sea.‖ (ibid) Here the author describes the nightingale‘s last song with movement. Like a deliver, it fluctuates and spreads far away, and brings message and blessing to all creatures.3.2.2Converting between concrete and abstract imagesIn this fairy tale, when describing abstract things, the author likes to use some concrete images to deepen their value and impression in readers‘hearts. Otherwise, when describing concrete things, the author sometimes use abstract images to create a romantic and hazy atmosphere.For example, when describing color, the author uses concrete images a lot. They can avoid the monotony of using simple color words. White is drawn as ―pale ivory‖, ―the foam of the sea‖, ―the snow upon the mountain‖, ―pale as the mist that hangs over the river‖, ―pale as the feet of the morning, and silver as the wings of the dawn.‖Y ellow is drawn as ―the hair of the mermaiden who sits upon an amber throne‖, ―the daffodil that blooms in the meadow before the mower comes with his scythe‖ And red is drawn as ―the feet of the dove‖, ―the great fans of coral that wave and wave in the ocean-cavern‖, ―crimson like the rose of the eastern sky‖, ―crimson was the girdle of petals, and crimson as a ruby was the heart.‖ (奥斯卡·王尔德，1996) When describing the value of love, the author wrote like this: ―It is more precious than emeralds, and dearer than fine opals. Pearls and pomegranates cannot buy it, nor is it set forth in the marketplace. It may not be purchased of the merchants, nor can it be weighed out in the balance for gold.‖(ibid) After comparing with concrete precious jewelry, this sentence indicates that love is priceless. It can‘t be substituted by money or material in reality.The nightingale‘s voice is described like ―water bubbling from a silver jar‖(ibid). From the concrete simile, we can feel the sweet of the voice as if we have heard the bump of water in dear silver container.When referring to the image of a true lover, the author wrote like this: ―Flame- coloured are his wings, and coloured like flame is his body. His lips are sweet as honey, and his breath is like frankincense.‖ (ibid) The image of a lover is originally hard to definite, but here the author describes it with concrete elements. Being emphasized on body lips and breath, the lover mingles with flame honey and frankincense, like an angle with wings. With the image, readers can image keen and beautiful passion in love.Moreover, Wilde also used some abstract images to describe concrete things. For instance, ―As the shadow of a rose in a water-pool, so was the rose that blossomed on the topmost spray of the Tree.‖―She swept over the garden like a shadow, and like a shadow she sailed through the grove.‖ (ibid) In these two places, description of a rose turns to its shadow in a water-pool, and description of the flyingnightingale also turns to its abstract shadow. The rose becomes hazy and romantic while the nightingale‘s quick movement and slender figure is revealed thoroughly, as if both of them are living in two artful pictures.4Embodiment of Aestheticism in content Through the contrast of beauty in visual world and frightfulness in real world, Wilde has used beautiful images to embody abstract beauty in his aesthetic opinion. His purpose is definite, that he wanted art not be constrained by materialism and restrictive moral code in the society. He wanted to create a world of art, which should be imitated by the real life. He tried to rectify evils in the world with beautiful art, providing an ideal mode for people‘s life.4.1 Beauty of rhetoric4.1.1 Use of sarcasmThere is much sarcasm used in this fairy tale, from which ingeniously mirrors Wilde‘s hatred towards the money worship and gang of philistine in the English society at that time. He wants to use the ―beauty‖ of art to resist the ―ugly‖ in vulgar reality.For example, ―Why is he weeping?‖asked a little Green Lizard, as he ran past him (the student) with his tail in the air. ―Why, indeed?‖ said a Butterfly, who was fluttering about after a sunbeam. ―Why, indeed?‖ whispered a Daisy to his neighbour, in a soft, low voice. ―He is weeping for a red rose,‖said the Nightingale. ―For a red rose?‖they cried, ―how very ridiculous!‖and the little Lizard, who was something of a cynic, laughed outright. (奥斯卡·王尔德，1996)Above is the conversation between the nightingale and other animals and plants. The Lizard represents some arrogant person. They have no sympathy towards others. Like cynics, they often laugh at others‘misfortune or disadvantage, building their happiness upon others‘ sadness. The butterfly represents one kind of people who like flattering. They don‘t judge things themselves but depend on others. The Daisy represents some coward people who have concern towards others but dare not show this concern directly.Towards the three types of people Wilde showed his sarcasm. These people are the miniature of partial people existed in the society in that era, who were foolishvulgar indifferent and snobbish. When principle of materialism infiltrated into the society, they didn‘t comprehend love and art, but doubted and criticized Wilde‘s aestheticism.The other sarcasm exists in the conversation between the student and the daughter of the Professor at the end of the story. But the girl frowned. ―I am afraid it will not go with my dress,‖she ……went into the house. (ibid) Facing the red rose which was gotten after great hardships, the girl went back on her words. Her attitude was so indifferent and merciless. She‘s a person full of vanity. What she pursuits is money and status. So she looked down upon the student and received the invitation of the Chamberlain‘s nephew who had sent her some real jewels. She‘s the representation of utilitarian people who were the targets Wilde hold displeasure and complaints in that society.4.1.2Use of symbolIn literature, a symbol is a thing that refers or suggests more than its literal meaning. Often symbols we meet in fiction are inanimate objects. In a broad literary sense, a symbol is such a trope that combines a literal and sensuous quality with an abstract or suggestive aspect.（钱坤强 & 袁宪军，2004）Some seemingly simple things or scenes may transfer Wilde‘s profound implication.Such as, ―But the winter has chilled my veins, and the frost has nipped my buds, and the storm has broken my branches, and I shall have no roses at all this year.‖ (奥斯卡·王尔德，1996) Here we can see, the tree of red rose has been broken by the winter, the frost and the storm. The sentence also implies cruelty of reality. It‘s like a person who has encountered adversity and numerous setbacks, depressed and feeble. This is the impediment ahead of the nightingale on her way to get the red rose. It also implies that Wilde‘s way to pursue art is not smooth. There exists much impediment, such as not understanding and critique of the sphere of intellectuals then.However, Wilde decided to insist on his proposition, even if he would sacrifice what he owned. We can see it in the fairy tale from the nightingale‘s attitude. ―Thereis a way,‖ answered the Tree; ―but it is so terrible that I dare not tell it to you.‖―Tell it to me,‖said the Nightingale, ―I am not afraid.‖(ibid) These sentences imply Wilde‘s determination. The solution is hard, while the future is rough. But in order to achieve her target, bravely and firmly, the nightingale is ready to cope with her challenge.At last the nightingale succeeded. The song she sang when she pressed her breast against the thorn symbolizes the process of passion between a couple, from ―birth of love in the heart of a boy and a girl‖ to ―the birth of passion in the soul of a man and a maid‖ to ―flush in the face of the bridegroom when he kisses the lips of the bride‖to ―the Love that is perfected by Death, the Love that dies not in the tomb‖. (ibid) The passion experiences the process from naive to mature, from mild to beautiful and ardent.―Press closer, little Nightingale,‖ cried the Tree, ―or the Day will come before the rose is finished.‖ (ibid) It symbolizes the dark before the dawn. That time may be the most crucial moment, when the leading role will often go through the most difficult trial. And the nightingale was also experiencing her most painful moment before the rose was finished.From the beginning to the end, we can feel a kind of persistent and dauntless spirit of the nightingale, which symbolizes Wilde‘s attitude towards art. That is, regardless of hardship and impediment, be brave enough to pursue.4.2Beauty of imagerySeveral characters have appeared in the fairy tale, the nightingale the student the girl and other animals and plants which are all personified. Each of them symbolized one kind of crowd in the society at that time. From them, we can find some of Wilde‘s aesthetic opinion.4.2.1 The nightingaleThe nightingale is the protagonist of this story. Even though she is feeble in figure and energy, with extreme courage, she has done great thing for strangers that in this aspect she even overpasses those wise and strong people. We can take thenightingale as the symbol of Wilde, for they share similarity in some aspects. Wilde always eulogizes love as the eternal theme in his fairy tale. Love is also the nightingale‘s pursuit all through her life.She‘s a typical idealist. In her mind, love is the most valuable thing in the world. ―Surely Love is a wonderful thing. It is more precious than…nor can it be weighed out in the balance for gold.‖ (奥斯卡·王尔德，1996) She even sacrifices her precious life for seeking of sincere love. Love is powerful supreme and holy. It can neither be influenced by social conventions nor by fame and money in reality. ―Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty.‖(ibid) All these are the reflection of Wilde‘s Aestheticism, for Wilde once said ―In order to pursuit comforts and beauty, one can disregard and sacrifice everything.‖Love here is what he said comforts and beauty. However, in the era when Wilde was living ―practice is every thing‖, what people pursued was money power and status. Selfless love was not welcomed in the reality. So she was destined to have a tragic finale.She‘s warm-hearted and always ready to help others. All of these originate from her universal love to the world. She has ardent love for life, ―Life is very dear to all. It is pleasant to sit in the green wood, and to watch the Sun in his chariot of gold, and the Moon in her chariot of pearl. Sweet is the scent of the hawthorn, and sweet are the bluebells that hide in the valley, and the heather that blows on the hill.‖ (ibid) Life is happy and bright in her mind. She has ardent love for others and sympathy to the student. Though she knew the student not, she was willing to sing of him and tell his story to the stars night after night, and selflessly devoted her life in helping the student to find a red rose. Finally even though her flesh and blood exterminated, the spirit of love she having expressed was imperishable.In fact what she has done and said reflected the inner hope of herself. She wants to fulfill her own wish. For in her values, love is of the first importance. It‘s pure and lofty. It‘s the objective of her living. By helping others to obtain love, herself can also obtain inner-heart‘s satisfaction. ―she sat silent in the oak-tree, and thought about the mystery of Love.‖―Love is better than life.‖―All that I ask of you in returnis that you will be a true lover.‖ (ibid)She longed for and pursued love, regardless of some opposite features in her surrounding. In fact she just lives in the beautiful dream she made for herself. Even though the student didn‘t comprehend her intention; other animals and plants failed to understand or even sneered at the nightingale as an idealist, she never changed her mind. ―In an age of turmoil, in the horrible moment of disputes and despair, only the palace of beauty makes us forget and merry. Where shall we go if we don‘t go there?‖（王尔德，1988）Above reflected Wilde‘s aesthetic philosophy. Love symbolizes comforts and beauty, in other words, art. Her opinion that love is superior to all other things in the nightingale‘s values actually means that art is superior to all other things. It breaks away from the real life to a certain degree. For in reality, not everyone agrees with the values. Many people take material and money as their pursuit, like the daughter of the Professor. The student thought love stupid at the end of the fairy tale. Even more people can‘t comprehend it. So actually the opinion of ―Love is superior to other things‖ (ibid) just lives in the nightingale‘s mind which is her beautiful dream. ―Art has its independent life.‖―It‘s irrelevant to reality, ……‖ (ibid)4.2.2The studentHe is also a performer of Aestheticism. But at the same time he is ignorant and stubborn. He has no difference with other animals and plants. So his pursuit towards Aestheticism is destined to fail.He‘s also an idealist, because he is still dreaming of love and tortured by it. ―But with me she will not dance, for I have no red rose to give her.‖ (奥斯卡·王尔德，1996); and he flung himself down on the grass, and buried his face in his hands, and wept. He was indeed an infatuated young man.Another aspect of the student as a performer of Aestheticism is his complete dependence on books. Even when encountering problem, he expected to find solution from books. ―I have read all that the wise men have written, and all the secrets of philosophy are mine, yet for want of a red rose is my life made wretched.‖。
王尔德唯美主义艺术观评析
十九世纪，“为艺术而艺术”思潮弥漫欧洲。
唯美主义是“为艺术而艺术”思潮的主流。
王尔德是唯美主义的代表人物，他认为美是至高无上的，具有绝对的价值，艺术本身就是目的。
因此，在王尔德看来，艺术是一种“撒慌”的技巧。
是生活摹仿艺术，而不是艺术摹仿生活。
奥斯卡·王尔德（Oscar Wilde，1854年10月16日—1900年11月30日），出生于爱尔兰都柏林，19世纪英国（准确来讲是爱尔兰，但是当时由英国统治）最伟大的作家与艺术家之一，以其剧作、诗歌、童话和小说闻名，唯美主义代表人物，19世纪80年代美学运动的主力和90年代颓废派运动的先驱。
唯美主义的真正代表是奥斯卡·王尔德（1856-1900），他是唯美主义创作的实践者，又是唯美主义理论的倡导者。
就艺术与现实的关系上说，王尔德认为，艺术应该超脱现实，游离人生。
“现实的事件都是艺术之敌。
一切艺术的坏处都是从实感产生。
自然就是明白，明白就不是艺术。
”一切拙劣的艺术都是从复归自然的描写和客观地描述人生而产生的。
因此，认为凡是“回到生活和自然”的艺术都是坏的，艺术越远离现实、超脱现实越妙。
唯一美的事物，就是与我们无关的事物”。
对于艺术对生活的作用，王尔德认为，不是艺术再现生活，而是生活模仿艺术。
艺术不是人类社会生活的镜子，生活仅仅是艺术的学生，艺术是至高无上的。
有人认为，这就从根本上否定了社会存在决定社会意识的历史唯物主义的观点。
也有人认为，王尔德并未全盘否定社会存在决定社会意识，只是社会意识具有相对独立性罢了。
社会意识有可能先于社会存在而变化发展，且艺术作为一种先进的社会意识，对社会存在具有能动的反作用，对社会发展起积极的推动作用。
唯美主义是指主张艺术哲学应独立于所有哲学之外，西方现代文艺思潮之一，流行于19世纪末的欧洲。
否定艺术的社会性和功利性，认为艺术本身就是目的，是所谓“为艺术而艺术”。
唯美主义起源于19世纪后期出现在英国艺术和文学领域中的一场组织松散的运动，十九世纪末在英国形成。
英语本科论文 论道连格雷的画像中的唯美主义
An Analysis of Aestheticism in Oscar Wilde’sThe Picture of Dorian GrayBy。
A thesis presented to the Foreign Languages Department of。
Universityin partial fulfillment of the requirementsfor the degree ofBachelor of ArtsJune 4, 2013Class:Advisor:浅析《道林·格雷的画像》中王尔德的唯美主义摘要：奥斯卡·王尔德作为西方唯美主义的代表人物，他的的很多作品都体现了其唯美主义的主张。
王尔德于1890年创作的《道林·格雷的画像》是他短暂一生中唯一一部发表的小说，也是其唯美主义主张最好的诠释。
该小说不仅呈现了十九世纪九十年代唯美主义运动的精神,而且体现了唯美主义的追求及其唯美主义这一思潮的内在特征。
虽然这本书自出版以来就成为当时社会的众矢之的，但不可否认，王尔德的唯美主义始终贯穿于这部小说的始终。
通过唯美主义视角分析《道林·格雷的画像》，其唯美主义主要体现在“艺术与美超越一切”，“生活模仿艺术却远不及艺术之美”，“艺术是非功利的”，以及“艺术超越道德”等四个方面。
来具体阐述唯美主义在小说中的体现。
通过对小说的研究与分析，读者可以更好地了解小说中的唯美主义艺术，欣赏小说的文学特征。
关键词：唯美主义；艺术；道德；功利An Analysis of Aestheticism in Oscar Wilde’sThe Picture of Dorian GrayAbstract： As a representative of aestheticism in the west, Oscar Wilde, makes many of his works reflect aestheticism. The Picture of Dorian Gray completed by Oscar Wilde in 1890 is the only published novel in his short life, which is the best interpretation to his aestheticism. The novel not only presents the spirit of the aestheticism movement in the 1890 s, but also embodies the pursuit of aestheticism and the ideological trend of the inherent characteristics of the aestheticism. Although this book became a lightning rod for criticism of society at the time there is no denying the fact that Oscar Wilde's aestheticism runs through the novel.The Picture of Dorian Gray can be analysed from the following four parts to illustrate the reflection of aestheticism in the novel: “Art and beauty above all else”; “Life imitates art, but not as good as art”; “Art is no utilitarian”; and “Art beyond morals”. Through analysis of the novel, the reader can better understand the aestheticism of art of the novel, and appreciate it‟s literary characteristics.Key words：aestheticism; art; morality; utilitarianTable of Contents1. Introduction (1)2. Aestheticism and Oscar Wilde‟ The Picture of Dorian Gray (2)2.1 The Definition of Aestheticism (2)2.2 The Connection between Aestheticism and The Picture of Dorian Gray (3)3 The Aestheticism Presented in The Picture of Dorian Gray (4)3.1 Art and Beauty Above All Else (4)3.2 Life Imitates Art, But Not as Good as the Beauty of Art (5)3.3 Art is No Utilitarian (7)3.4 Art beyond Moral (9)4. Conclusion (10)Works Cited (12)1. IntroductionOscar Wilde, a greatly disputed person, is one of the most popular writers in the England modern literary history. He is not only a good playwright, but also a great poet and critic. He has been famous for his advocating the slogan of “art for art‟s sake”. Even though in his whole life he has got more scolding than praise, he is remembered for his literary works. And he is signed with sadness at his imprisonment, and his early death.In the 19th century, the European aestheticism and the dispirited principle idea have had the widespread influence in the literature domain. As the main spokesmen for the western aestheticism, Oscar Wilde tried his hand at various literary activities. He developed and practiced his idea of aestheticism in his whole life. As the readers can say, most of his literary works are the best annotation of his aestheticism.Among his countless works, The Picture of Dorian Gray, the only published novel in his short lifetime, is a classic of his aestheticism. Even though this book has got a lot of criticism in that society, Oscar Wilde‟ aestheticism still runs through the story. Through this book, Oscar Wilde presents his excellent personality and aestheticism perfectly and indirectly.Oscar Wilde made a great contribution to the world literature by inheriting and developing aesthetic views in his literary creation. His aesthetic views involve not only the literary theory but also the literary creation. In practice, Oscar Wilde never ceases to work for the beauty of his literary art. He advocates the massive use of symbols and the correspondence among words, colors and music. In theory, Oscar Wilde reconsider s the relation between art and life. Inheriting Gautier‟s‟ view “art for art‟s sake”, he advocates that life is the imitation of art, which can be seen in the preface of his book The Picture of Dorian Gray a s “All art is quite useless”.The Picture of Dorian Gray, where Oscar Wilde‟s aestheticism has got a stage to act out. If people want to understand Wilde‟ aestheticism, they should read the novel The Picture of Dorian Gray first.2. Aestheticism and Oscar Wilde’ The Picture of Dorian Gray2.1 The Definition of AestheticismAestheticism (or the Aesthetic Movement) is an art movement supporting the emphasis of aesthetic values more than socio-political themes for literature, fine art, music and other arts.It appeared in England in the late 19th century and it roughly develops from 1868 to 1901. Aestheticism claims that art should be independent of all philosophy, and art can only be judged by its own standard (Wikipedia 8). It was put forward in the eighteenth century by Immanuel Kant, who spoke for the independence of art: “Art exists for its own sake, for it s own essence or beauty.”(Song 2). Some writers and artists who are keen on aestheticism movement put up the idea“The mission of art is to provide humans with sensory pleasure, rather than passing some kind of moral or emotional information”. Esthetic thou ght that art should not have any preaching factors, but the pursuit of pure beauty. They were fascinated to pursue of the art of "beauty", and they think "beauty" is the essence of art. They also argue that life should imitate art.Aesthetics is a branch of philosophy that studies the principles of beauty especially in art. Aestheticism is the collection of all the fruits of aesthetics. “The word …aesthetic‟ was first found in Aesthetica, appearing as a Latin word, which is the name of two books written by Alexander Baumgartner, 1714---1762.”(Williams 31). Baumgartner believes beauty can be defined as aesthetic, but when it is related to art, the most important part of Baumgartner‟s translation of beauty is that beauty is not abstract but can be felt by people through their senses. This translation is the same as the Greek word “aesthesis”, the original meaning of which is the power of uniting mentally the impressions conveyed by the five physical senses.Aestheticism emphasizes the independence of art: Art exists for its own sake, for its own essence or beauty. Oscar Wilde was a dramatic leader in promoting the movement of aestheticism. He advocates freedom from moral restraint and the limitations of society. He develops and practices the aestheticism in his whole life.2.2 The Connection between Aestheticism and The Picture of Dorian GrayDorian Gray is a literary image created by Wilde in The Picture of Dorian Gray, he is a young man in London's aristocratic. He looks very beautiful and virtuous.As the description in the book: “Yes, he was certainly wonderfully handsome, with his finely curved scarlet lips, his frank blue eyes, and his crisp gold hair. There was something in his face that made one trust him at once. All the candour of youth was there, as well as all youth's passionate purity. One felt that he had kept himself unspotted from the world”(Wilde, 11). Basil Hallward paints a fantastic portrait for Dorian. Influenced by the painter‟s friend Lord Henry Wotton, Dorian Gray makes a frivolous wish that he will be forever young but the portrait will grow aged and bear all the misery and evil.When it comes ture,Dorian Gray‟s picture grows aged and corrupt while he continues to appear young and innocent. After Dorian drives a young actress named Sibyl Vane, the one who he loved,to suicide, he is surprised to find nothing falls on his head but the picture become ugly. Being seduced by Lord Henry, the incarnation of evil, Dorian Gray can‟t resist the temptation and makes his life worse. He does a series of evil things. He kills Bail for keeping his secret. Alan Campbell commits suicides because of his commitment of disposing Basil‟s body. To decrease his sense of guilt, Dorian Gray begins to collect things to anaesthetize him in the pleasure of sense. His eternal beauty is realized at the cost of sacrificing of the beauty of the picture. The decades of sinful life leaves remarks on the picture and ruins the beauty of it. He feels guilty when Sybil‟s brother finds him and swears to kill him. His forever young looking keeps him from being killed by Sybil‟s brother James Vane, but at the end of the story, he can no longer endure his sinful memory. He slays the decaying portrait, the record of his guilt, to erase his sins, but at his slaying, he kills himself and the picture returns to its original beauty. He is dead as a withered old man lying on the floor in front of the shiny picture.At the beginning of the book, we can see Dorian Gray is a pure and charming young man. He is the beauty in reality. The portrait Basil paints for Dorian is fantastic. It represents the eternal art. After Dorian changes soul with the portrait. When he dose evil things, he keeps handsome, but the portrait decays. The beauty still exists. At the end of the story, Dorian throws the knife to the portrait, and then he becomes old andugly at one moment. The portrait reappears beautiful. The aestheticism runs through the story. It is the striking literary characteristic of The Picture of Dorian Gray.3 The Aestheticism Presented in The Picture of Dorian GrayThere are some protagonists related to Wild e‟s aestheticism in the book. Lord Henry, worldly and utilitarian, with a high social status, is a representative of the ugly forces in the capitalist society; Hallward, a just and tendery painter, looking art as his life, represents the intellectuals "art for art's sake"; Dorian Gray, is pure kind at first,but later he can't withstand the temptation of Lord Henry's hedonism philosophy and towards the path of sin. Sibyl, a beautiful girl, who is a symbol of art in the book. Portrait represents people's spirit and soul, and Dorian Gray is a symbol reprents that beauty and evil exist side by side, is also the symbol of aestheticism. The aestheticism which Oscar Wilde devotes a large space in the book can be summarized from four aspects.3.1 Art and Beauty Above All ElseIn The Picture of Dorian Gray, Sibyl is the figure who can reflect Wilde‟s aestheticism views. She is a pretty actress with beautiful voice. She has played many roles. And in each role play, she fully displays her artistic charming. Sible is the embodiment of art. What Dorian worships and loves is the beauty of art, rather than Sible herself. When she fall in love with Dorian in real life, her artistic charm become pale and turn out to be illusory. Finally, Dorian disappointed, and he lambasted Sibyl for destroying the beauty in his heart. When life conflict with art, it is only to fail. Sibyl‟s death represents the failure and the end of life.Sibyl meet Dorian is a turning point. She is a stage actress. When Dorian saw her performance, he falls in love with her. But, in fact, he only loves the figure in Shakespeare‟s masterpiece who Sibyl has played. He falls in love with her and he describes her beauty to Henry with passion. He tries his best to praise for herperformances, which are consistent with his aesthetic dimensions of the ideal pursuit of perfect art. Sibyl also happens to be his pursuit of "beauty" reflects in the reality. Dorian appreciates Sibyl‟s beauty on the stage. When Sibyl returns to reality, her beauty immediately began to fade. Dorian also immediately perceive its fall to changing attitudes and preferences. Her acting becomes "artificial"and"clumsy", Dorian even ruthlessly abandoned her. Sybyl‟s death is the result of her returning from art to reality. As Oscar Wilde believes that: all bad art is regression of life and nature, and they are the result of the will for ideal life and the natural rise. Sibyl, as the embodiment of art, although she is aware of the reality of life, she dose not realize the selfishnesss and ruthless under Dorian‟s attractive appearance. So she deviated from the art, and she will live up to the ideal which let her love burst into the bubble in the real life. When she doesn't have the feature of art, she will disappear naturally from Dorian‟s life. This is Oscar Wilde‟s view: “art is above all else”. Dorian loves Sibyl just for she is a symbol of art and drama, and because her charm on the stage is the beauty of art. Dorian worships and falls in love with Sibyl for artistic beauty, rather than herself. As she says, before she meets Dorian, acting in her life is the only real thing. After know Dorian, she realized that the stage is artificial and tacky. She rebells against art, and regards the art as worthless things. She abandons her artistic embodiment of beauty, and then come to the real life. She never think that she has killed Dorian‟s love to her by herself. Sibyl‟s death is the resaut of boosting life above art and the returning from art to reality. In Wilde‟s aestheticiem, art and beauty is above all else. When life confront art, life can only make room for art.3.2 Life Imitates Art, But Not as Good as the Beauty of ArtDorian gray is a pure and beautiful noble youth. After seeing the portrait which Basil Hallward painted for him, Dorian is attracted by his own youth and beauty. And under the influence of Lord Henry, he wishes to the portrait: ". . . If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! For that--for that--I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that!"(Wilde 17 ). Dorian obtained the eternal beauty like an art. The portrait will take all of his age and evil, and it willrecord the ugly and ferocious aspects of the real life. The portrait is to Dorian is what art is to reslity. In the end of the novel, Dorian daggers to the portrait. The picture of Dorian hang on the wall looks so young and handsome as it was finished at the first time. It means that all the ugly and evil things will disappear while the beautiful and elegant things will be left in the life. He illustrates that art is over life, and the real beauty of life is the moment when art is eternal.Dorian, the role Wilde wanted to be, is the most important one to annotate Wilde‟s aestheticism. It includs the relationship between art and life, art and morality, art and time. It aspires to beauty. It is mainly showed in the relationship between Dorian and the portrait. Hallward reappears of Dorian‟s youth and beauty in the portrait which is filled with his noble feeling about art and beauty. However,after Dorian is aware of his beauty and under the guidance of Lord Herry,he becomes evil. With the growing of his evil and desires,the portrait becomes more and more old and ugly. The portrait is a reflection of Dorian which implied that art is a reflection of life. When the portrait changes with Dorian‟s change,it illustrates the damage an d distortion which life made to art. Just as the portrait is more and more ugly because of Dorian‟s misdeeds, the change of the portrait is a symbol of Wilde‟s ideal burst. It reflects art is irreconcilable with morality. Because Dorian sells his soul for the eternal beauty. The picture is just the symbol of conscience. At last Dorian want kill the conscious, on the country, he killed himself. This is another contradiction or the author‟s thought about moral and beauty.Dorian Gray, as a typical character of the aesthetic works, is attractive but dangerous. He is a half devil and half angel. In fact, he is a symbol of the combination of art and life. At the beginning of the story, he is an innocent and beautiful young man, knowing nothing about the evil life. He loves beauty and pursues beauty. He wants to stay young and loves a girl who is the symbol of art. During this stage, he symbolizes art, whose nature is beauty. “I turned half-way round and saw Dorian Gray for the first time. When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. I did not want any external influence in my life”. (Oscar Wilde 4). It is Basil‟s impression when he comes across with Dorian firstly. Dorian is born as an art, his beauty and purity attracts the painterto get close to him. When the beautiful creation of art is reduced to ugliness, he represents the evil life dominated by irresponsible morality. He imitates the evil life, which ruins his original beauty of art. He is no longer a symbol of art, which is beautiful and unstained, but a symbol of life, which is ugly and evil. “When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was”. (Oscar Wilde 134). Dorian kills himself when he slays the ugly picture of him. After his death, the picture resumes its beauty. When art imitates life, it is doomed to death for the decaying life ruins the beauty of art. The image of Dorian Gray shows that if art imitates life, it will ruin its beauty and end up in death, which proves the validity of Oscar W ilde‟s aestheticism that life should imitate art. Obviously, the fact that Oscar Wilde finally will be upside down turn back to express his aestheticism view: “life imitates the art, far and art imitates life.”(Wilde 122).3.3 Art is No UtilitarianOscar Wilde is firmly opposed to any utilitarian purpose of artistic creation. He emphasizes the independence of art. He said: “The tenet of art is art itself.”[Wilde, 28] The artist is the creator of beautiful works. And he put forward that art is pure and it is amoral in the relation between art and morality. Beauty is amoral. And art has its own pursuit, that is beauty. So art is amoral, and it has nothing to do with morality. In The Picture of Dorian Gray, the painter is a typical aesthetes. He enjoys all beautiful things. When he first see Dorian, he is shocked by the beauty of Dorian. He feel that the entire soul and the art itself will be he devoured by Dotian‟s beauty. He thr ows himself into the creation and records the beauty in his works. This is the refraction of Wilde‟s aestheticism. Oscar Wilde believes that art is a utilitarian. It dose not mean that art does not make sense, with no value. But it means that art should not be used. So Hallward does‟t want the picture to be displayed, and he does not want to exchange it for fame and wealth. He gives it to Dorian as a gift. He pays attention tothe form of beauty, and devoid of moral relation. The portrait is a reappearance of Dorian‟s beauty. Dorian sell s his soul in pursuit of the eternal beauty, which means that beauty opposites morality. Hallward is the only a positive figure in the story, he always maintain the ethical and moral values. He is the embodiment of moral. Due to the excessive pursuit of beauty, and he can't resist the temptation of beauty, although he knows the depravity of Dorian, he still lives in a world of fantasy where the moral strength can save Dorian. He was eventually killed by Dorian, and becomes the victim of beauty. He cann't finish moralizing, and saves Dorian 's soul. His death suggests that moral was defeated by the beauty. The portrait always remind Dorian erosion life of soul. Eventually Dorian can‟t endure the ugly picture,so he take s a sword and stab to the portrait.Oscar Wilde advocated that aesthetic is no relate to gains and losses. So he puted forward the beauty is not related to the beauty. Beauty is amoral, beyond utilitarian. It refers to another point of view of Wilde's aestheticism, it is the relationship between artistic and moral: art is not moral. He once said that the artists are the creator of beautiful things, they only seek the beauty. If a book written well, and it can arouse the aesthetic feeling of people, that's a good book. What he means is that the art does not depend on moral, and it not only for the moral service. It has its own aspire of art, that is beauty.Hallward, as the god of art or the creator of art, is the Trinity. He can also be considered as Jesus Christ who is a teacher and prophet aiming to save the world of art at the cost of sacrificing his life or a martyr who chooses to suffer death rather than renounce the principle of art creation. He paints the portrait of Dorian Gray, the perfect painting in his life, but he gives it to Dorian Gray for free and refuses to sell it for a fortune. It is a symbol of his insistence that utility should be banned the world of art. His whole life is devoted to the art --painting. His efforts to pursue the purity of art at the cost of sacrificing his life show the determination of Oscar Wilde to enhance aestheticism, which elevates the whole novel.Hallward does not want to put the portrait on display because he think that art is utilitarian. He doesn't want to use art in return for money and fame, and give it to Dorian as a gift. So Hallward only pays attention to the "form" or moments of beauty, and it has nothing to do with utility.3.4 Art beyond Moral19th century in Britain society is the transition to capitalism. The Victorian filled with moral hypocrisy, pan, and utilitarianism. Wilde stands in line on all this critical position,and practice the aestheticism. He thought that "in this era of turmoil and chaos, in this dispute and terrible moments of despair, only worry-free paradise and beauty can make people forget, and make people happy. Why don't we go to the beautiful paradise?"(Wilde,198) The temple of beauty and aestheticism is another ideal kingdom. He often wore a collar of loose, with black velvet doublet, and filament socks and velveteen knickerbockers. And in the society, he won the attention of the crowd by his wise and humorous language. We can see that Oscar Wilde is rebel against the society in his unusual way. Oscar Wilde is a real “Lord Henry”, and he is also against the bourgeois in the same way.Lord Herry is an important figure in the novel. Though the story we can get a general picture of Lord Herry. What he impress us mostly is his fancy language and the cynical attitude to life. In relationship between beautiful young Dorian and Herry, he plays a role of waking up"evil". His humorous paradox and counterarguments are imbued with a theme - the pleasure principle. When he first see the portrait, although he thinks it is beautiful, he hold the view that the portrait is just a beautiful creature without thinking. He thinks the portrait is not full of vigour, because it hasn‟t soul. That is to say, the portrait only reflects the shape and appearance of models, but do not reflect the essence. So Henry begin to guide Dorian. He said that the purpose of life is self-development and full performance of a person's nature. And it is the purpose that we living in this world. Herry also thinks that if everyone can live at ease, show their feelings, say anything they want to say, achieve any dream they have dreamed, the world will be full of vigour. He thinks the most important thing in life is to be happy, and the purpose of life is to fully meet their nature requires impulse and desire. Herry once said:" Nothing can treat the soul wounds,except senses; similarly, sensory hunger can only be relieve by the soul."(Wilde 202) So he showed an purely anti-traditional attitude in the society. And it makes a lot of traditional and conservative people feel fresh and unusual. The rationality in their minds is a result of the era‟s nobiditied p ursuit and false ideas.When he sees Dorian is so pure and without impurity, he spares no effort to get him as his new hedonism subjects. He tried his best to mobilize Dorian‟s instinctive desire, to inspire his emotional desires, and to make him into a maze, and finally become a victim of conflict between spirit and human body. Herry makes Dorian‟s body finally died and the spirit was also suffering in self-examination. Only the portrait on behalf of the art in the secular elutriation bully unchanged, and this is another manifestation on Oscar Wilde‟s aestheticism of art contend against times.Therefore, art has nothing to do with morality. Wilde also claims simplified to a famous saying: All art is immoral. "Immoral" here is a moral, specifically, that is not designed for moral service.Lord Henry, is Oscar Wilde in other people‟s eyes. Henry and Wilde were often used for comparison by people. There is no doubt that Lord Henry is an aesthete. At the end of the story, only the portrait does not change. It just confirms that Wilde's aestheticism view: Art is amoral4. ConclusionOscar Wilde, the representative of the aestheticism, does not lead the aestheticism to another way, which is as evil as the critics recognized. On the contrary, he keeps the road the former aesthetes advocates and improves it to a wild scope. Being misunderstood by so many people, Wilde tries so hard to practice his opinion of understanding of aestheticism. The picture of Dorian Gray, was not only a novel, but also a work of explaining personal nature. In fact, there is another Oscar Wilde in the novel that we can hardly see by our eyes but by our heart. The novel is a proof of his passion to his aestheticism, just as his preference to Gray. So we see, what in his aestheticism must be dangerous, but it is not harmful. His aestheticism is something his heart demands, just like Dorian Gray, who tried to gain it, for art‟s sake.To sum up, through analysis of the three major male characters and a female character, we can see the outline and the connotation of Wilde's aestheticism. He doesn't think art imitates life, and it can overcome the ugliness in life; Art is no connection with moral, it beyond morality; Art contend against era, and art does notmanifest age, but only manifest itself, and art is the opposite to the spirit of the time; Finally, art is in pursuit of "form" as its goal.We can see that the four characters are all with shadow of aestheticism. They are only different on the emphasis. Through the interwoven of relationship, it construct the theory of aestheticism.Works CitedBristow, Joseph. A Complex Multiform Creature: Wilde's Sexual Identities.Cambridge: CUP, 1997: 198.Denial, Margaret. "Wilde the Writer." Palgrave Advances in Oscar Wilde Studies //Frederick S. Roden. New York: Palgrave Macmillan, 2004.Denney, Colleen. At the Temple of Art: the Grosvenor Gallery, 1877-1890. Farleigh Dickinson University Press, 2000 .Ellmann, Richard. Oscar Wilde. New York: Alfred A. Knopf, Inc., 1988.Fargis, Paul. The New York Public Library Desk Reference .Macmillan General Reference: 261.Harris, Frank. Oscar Wilde: His Life and Confessions. New York: Covici Friede Inc., 1950: 105.Kaplan, Morris B. Sodom on the Thames: Sex, Love, and Scandal in Wilde Times.New York: Comell University Press, 2005: 228.Pearson, Hesketh. The Life of Oscar Wilde.New York: Penguin Books, 1985. Renier, G. J. Oscar Wilde. New York: D. Apple Century Inc., 1933: 95.Rosanna Elkland. The evil in Dorian Gray: a psychoanalytic study of the protagonist in the picture of Dorian Gray. 2007.Webster‟s third new international dictionary, 1993.Wilde, Oscar. The Picture of Dorian Gray. London: Penguin Books Ltd, 1994. Wikipedia. Aestheticism. /wiki/Aestheticism.Wikipedia. Oscar Wilde. /wiki/OscarWilde.Wikipedia.The_Picture_of_Dorian_Gray./wiki/The Picture of Dorian G-ray.刘茂生，“王尔德享乐主义道德与唯美主义艺术的契合--以小说《道连·葛雷的画像》为例” 《外国文学研究》，第6期，2005。
奥斯卡·王尔德《快乐王子》中的唯美主义与现实批判主义
摘要: 奥斯卡·王尔德的童话故事《快乐王子》从形象、情节、语言三方面, 反映出王尔德唯美主义文艺观的丰富内涵。
王尔德的文学创作并非都是/ 为艺术而艺术0, 《快乐王子》既是唯美主义又具有现实批评主义性质, 是两者的巧妙融合。
关键词: 王尔德; 快乐王子; 唯美主义; 现实批评主义王尔德一生中出版了两部童话集, 即1888年的5快乐王子及其他故事6 (The Happy Prince and Other Tales) 和1891年的5石榴之家6 (The House of Pomegranates)。
共收集童话9篇。
正是这两部故事集的出现, 使得王尔德真正步人文坛, 人们才将其归入具有影响力的作家之列。
亨特生在5人生与现代精神的解释者6中说: / 九篇都是空想的童话, 中间贯穿着敏感而美的社会的哀怜, 恰如几幅锦绣镶嵌的织物, 用一条深红的线坚固地缀成一帖。
0王尔德对英国唯美主义思潮及创作的作用是重大的, 比尔伯姆就诙谐地说: / 美存在于1880年以前, 但王尔德使它问世了。
作家的作品是其文艺思想的载体, 王尔德也不例外。
不过与他那些相对来说是/ 纯艺术0或/ 纯社会批评0作品略有不同的是, 《快乐王子》既是唯美主义的, 也体现对现实社会的批评, 它所反映出的对现实社会批评的成分不容忽视。
一《快乐王子》中唯美主义的体现王尔德首先是个唯美主义者, 唯美主义的文艺观在《快乐王子》中得以充分体现。
( 一) 《快乐王子》中唯美的形象由于唯美主义强调灵肉合一, 只有心灵美才是真正的美。
心灵因为至爱而至美。
《快乐王子》中的王子和燕子, 因为至爱至善而变得至美的形象, 体现了王尔德追求理想艺术的初衷, 无愧为这位/ 为艺术而艺术0之始祖的佳作。
像这样一尊美丽的雕像, 所有的人都投以赞许的目光,先是市议员对他的欣赏, 而后有聪明的母亲以快乐王子为榜样教育自己的孩子; 失意的人渴望像快乐王子一样快乐;孤儿院的孩子把它想象成天使。
简析王尔德的唯美主义思想
简析王尔德的唯美主义思想莫姮【摘要】Oscar Wilde is the incarnation of the aestheticism,a literary movement in the 19th century of England,which exerts a profound influence on the European literature of the 21st century,even on the literature of the whole world.This paper interprets Wilde＇s tragic aestheticism from five aspects： independence of art,initiative ofart,eternity of art,transcendence of art,and art＇s expressiveness and introspectiveness.%奥斯卡·王尔德是十九世纪英国唯美主义的杰出代表,对二十一世纪欧洲文学乃至世界文学影响深远。
文章从艺术的独立性、艺术的主动性、艺术的永恒性、艺术的超越性、艺术形式的绝对性和艺术的内省性六个方面来解读王尔德的悲情唯美主义思想。
【期刊名称】《无锡商业职业技术学院学报》【年(卷),期】2012(012)001【总页数】3页(P98-100)【关键词】王尔德;艺术;悲情唯美主义【作者】莫姮【作者单位】无锡旅游商贸高等职业技术学校,江苏无锡214045【正文语种】中文【中图分类】I106奥斯卡·王尔德（1894—1900年）是英国著名的作家、诗人、戏剧家、艺术家，是英国唯美主义思潮中最杰出的代表。
他博采众长，形成了自己独特的唯美主义艺术观，可以说他的一生都是与“为艺术而艺术”紧紧相连的。
以追求艺术的纯美来映照现实生活的丑陋和凡庸，是这位要么一飞冲天、要么一落千丈的天才至死都不曾放弃的理想与信念。
浅谈王尔德的唯美主义的主要内涵并举例
论王尔德的唯美主义内涵唯美主义思想产生于英国维多利亚时代,是当时流行于英国的资产阶级文艺思潮。
所谓唯美主义就是以艺术的技巧美、形式美作为绝对美的一种艺术主张。
唯美主义者认为艺术不应具有任何说教的因素, 追求单纯的美感, 认为美才是艺术的本质, 才是艺术的真谛。
这种思想主张为艺术而艺术, 强调超然于生活的所谓纯粹的美, 颠倒艺术和社会生活的关系, 一味追求艺术的技巧和形式美, 反对艺术上的功利主义。
王尔德深受罗斯金的美术观点及佩特唯美主义的影响, 最终成为英国美学运动的领袖人物，他对美的主张不论何时都是奉行不悖。
他的唯美主义思想主要包括以下几个方面。
第一、生活模仿艺术。
现实主义者通常认为, 艺术来源于生活, 艺术是生活的反映。
但王尔德认为,不是艺术反映生活,而是生活模仿艺术。
这是王尔德最具独创性和悖论性的思想之一。
他说生活模仿艺术的程度,远远超过了艺术模仿生活的程度。
在他看来,生活往往要借助艺术才能更完美地表现自己, 或者说人们往往是通过艺术才能更好地认识生活。
例如，自然界中的花的存在对我们来说没有任何意义，我们并不认为它很美，但是当它被艺术描绘或渲染后，人们在头脑中就有了花原来是这样美的印象，人们才懂得了花是有实实在在的意义的也就是它很美。
通过这种艺术加工的方式培养了人们的审美感受，从而使人们能够感受到花的美丽，体现了生活对艺术的模仿。
第二、艺术应该脱离人生，艺术不应该模仿人生。
王尔德对英国社会的市侩哲学和虚伪道德深恶痛绝, 他认为人生是不完美的、丑陋的，因此他要用艺术的“美”来同鄙俗现实中的“丑”相对抗。
但是他并不是完全否决人生和生活，他认为在某种情况下，艺术是可以把生活作为一部分原料的，但是必须经过重新加工再创造。
例如，莫里哀最著名的代表作《伪君子》中有塑造了各种各样的人物，既有像答尔丢夫那样的虚伪无耻的教徒，也有像奥尔恭那样的愚蠢可笑的资产阶级，更有像桃丽娜那样机智灵敏的仆人。
《伪君子》中的人物有很大部分是对现实人物的映射，达到了对现实社会批判的效果。
论《莎乐美》的唯美性
是叛逆的唯美主义者。王尔德将他的自我展现在《莎乐美》中，也就是将他叛逆
唯美的自我融入了《莎乐美》。叛逆的王尔德旨在反抗，唯美主义者王尔德追求
的是美——艺术的至高无上的美。本文将从解读《莎乐美》的作者王尔德开始， 深入探讨《莎乐美》的唯美性如何在艺术之美和思想之美方面得到体现。
了。
《莎乐美》的唯美性是解读这个剧本的关键。《莎乐美》在艺术之美方面实 践了王尔德的唯美主义理论，戏剧题材呈现出创新之美，戏剧情境、戏剧动作等 传达出形式之美，戏剧意象映现出想象之美，戏剧结局凸显出瞬间之美。 但艺术之美并不是其唯美性的全部，因为由莎乐美的形象体现出的爱欲之 美，希律宫廷角色潜藏的讽刺之美，性别意识中展现的真实之美，死亡意识中蕴 含的神秘之美等因素构成的思想之美，也是《莎乐美》唯美性中不容忽视的重要 组成部分。艺术之美与思想之美完美融合才有了流传百年的《莎乐美》。
品。 独幕悲剧《莎乐美》，创作于１８９１年，原定于１８９２年的伦敦首演计划因为 英国当局的审查规定被迫搁置，１８９３年法文版《莎乐美》在巴黎出书，１８９４年 英文版印行，１８９５年其作者王尔德因同性恋丑闻被捕入狱，１８９６年其首演之夜 在巴黎举行，１９００年作者逝世，１９０５年和１９０８年，由德国作曲家理查・施特劳 斯和法国作曲家安东・马里奥特改编谱曲的同名歌剧先后问世。一部其作者生前 没有机会亲眼看到其演出的悲剧，却是使作者能够穿越百年的冰封再度成为学界 关注的热点人物的代表作，也是于十九世纪末盛行一时的唯美主义的代表作。
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王尔德美学思想的哲学探索
王尔德美学思想的哲学探索摘要：王尔德作为英国唯美主义运动的代表，其艺术思想由于其鲜明的反抗性以及维护艺术独立性和纯洁性一度为世瞩目，而在这一独特的美学思想背后，又有其深刻的文化、哲学背景。
本文试图通过哲学上的追源和探索，更好地理解其唯美思想的实质及它的影响。
关键词：唯美主义王尔德美学哲学奥斯卡•王尔德（1856-1900），19世纪后期英国唯美主义代表作家，名噪欧美的诗人，剧作家，小说家，文艺批评家，英国唯美主义运动代表人物。
诞生于爱尔兰北部都柏林，王尔德从小好学深思，显示出与众不同的性格，青年时代就读于都柏林三一学院，之后进入牛津大学，深受在此讲学的著名批评家佩特和罗斯金的影响，开始文学活动，后来便于伦敦专业写作学的。
王尔德有一套唯心主义思想体系。
他承认资本主义社会不合理，认为改造社会的唯一出路是加强人们的审美修养。
这一观点使他逐渐形成、提出并阐述了超越道德的所谓为艺术而艺术的唯美主义主张：真正的艺术和现存的社会制度根本抵触；生活已失去希望，人类已毫无出路，唯有艺术最真实，唯有艺术最真实，唯有这道永恒的光才能给人希冀，且断言艺术的发展一般不依赖生活，尤其不受道德约束，艺术不带有任何功利主义目的。
他说：书没有道德不道德的，书却有写得好的和写得糟的，仅此而已。
他反对艺术中的现实主义，认为不是艺术反映生活，而是生活追随艺术; 并强调创作要绝对自由，艺术家的个性不应受到任何压抑。
尽管王尔德的唯美主义主张是在特殊的历史背景下，在19世纪末维多利亚时代陈腐风尚及工业艺术虚伪道德对人们理想精神和创造才能造成压抑而提出的思想，反抗讥讽上层社会的虚伪和陈腐。
在这动荡和纷乱的时代，在这纷争和绝望的可怕时刻，只有美的无忧的殿堂可以使人忘却，使人欢乐。
我们不去往美的殿堂还能去往何方呢？只能到一部古代意大利异教经典所说的gitta divina（圣城）的地方去，在那里一个人至少可以暂时摆脱尘世的纷扰和恐怖，逃避世俗的选择。
“唯美”与“颓废”——对王尔德的文艺美学思想的重新考量
[内容提要]英国19 世纪唯美思潮是西方美学和文艺学中不可忽视的话题,尤其是运动的主将王尔德更是一位富有争议性的人物。
本文主要论述了王尔德的文艺美学思想,分析其“唯美”概念的内涵,以及被人们指称为“颓废”的原因,提出对西方历史上的唯美思潮以及王尔德的文艺思想应作重新的考量。
[关键词]唯美主义;为艺术而艺术;形式至上;颓废运动曾经有人如此妙评19 世纪英国牛津大学的教授、著名的文艺理论家佩特如此热忱培育的“唯美之花”:它显得过于娇嫩了,即使对艺术的内行来说也是如此,娇嫩得叫人碰不得(威廉·莫里斯语) 。
其实他的弟子王尔德之于美的态度更是有过之而无不及。
如果说瓦尔特·佩特仅仅满足于在牛津大学的讲堂上宣讲他的美的圣经,那么,其弟子王尔德则无论如何不会甘于寂寞。
他四面出击,制造声势,把英国的唯美主义运动搅得风生水起,他本人也成为一时间闻名遐迩的人物,连当时的威尔士王子也感叹道:不认识王尔德先生就是不为人所知!很难说奥斯卡·王尔德(Oscar Wilde ,1854～1900) 是天使,还是恶魔。
对我们这个主张文化多元化的世纪来说,他那点“嗜痂之癖”算不了什么,但在他那个年代这点嗜好会让人蒙受牢狱之灾,声名扫地。
为此,王尔德后半生的寂寞与潦倒只能说明他生错了时代。
不过笔者认为真正导致王尔德不幸的是他骄傲的性格和对美的钟爱。
对王尔德来说,生活中最微小的细节,都深富美学的意味。
有人说王尔德是“颓废”的,笔者不以为然,他是有特别兴味的人,象一位高明的调酒师。
他出身于地位高贵、条件优越的家庭,风平浪静地成长着,与波德莱尔的成长环境相比,要顺风顺水得多。
波德莱尔对美与丑有着入木三分地认识,而王尔德文艺观念的形成则多少是受了时尚的影响。
不过,王尔德的确有特殊的才能,他也是一个天生的乐天派,一个快活地享乐主义者,如果命运继续让他体面而优雅地渡过他的后半生,那么,他应当是一位温和的保守派,一朵无刺的玫瑰。
浅论奥斯卡·王尔德的唯美主义思想的论文
浅论奥斯卡·王尔德的唯美主义思想的论文浅论奥斯卡·王尔德的唯美主义思想的论文本文从网络收集而来，上传到平台为了帮到更多的人，如果您需要使用本文档，请点击下载按钮下载本文档（有偿下载），另外祝您生活愉快，工作顺利，万事如意！论文摘要：奥斯卡·王尔德是英国最著名的唯美主义代表作家。
他博取名家之说,融会贯通前人思考的成果,逐步形成并确立其独特的唯美主义思想。
他的“以什么为美”的主要思想及其文学作品对现代产生了深远的影响。
论文关键词：王尔德唯美主义《道连·葛雷的画像》奥斯卡·王尔德(1854—1900)是出生于爱尔兰的英国著名的文学家,同时也是英国唯美主义运动的代表人物。
他的写作涉及到戏剧、诗歌、小说、童话、散文、论说文等,几乎每一种体裁都给世人留下了佳作,堪称唯美的经典,体现了其对于纯粹美的执着追求和把握艺术美的非凡能力。
本文尝试探讨王尔德的唯美理论和实践及其影响。
19世纪的欧洲,各种文学思潮迭起,流派纷呈。
而唯美主义以其鲜明强烈的艺术个性、一反常规的美学主张和特立独行的生活姿态引起了一阵不小的轰动。
唯美主义把美作为最高理想,崇尚“为艺术而艺术”。
《道连·葛雷的画像》的自序包含着王尔德对美根本看法的议论,他认为“艺术除了它自身之外,不表现任何东西。
它和思想一样,有独立的生命,而且纯粹按自己的路线发展。
”生活和自然具有不完美性,必须经过艺术的加工。
一切坏的艺术都是返归生活和自然造成的,并且是将生活和自然上升为理想的结果。
生活和自然有时候可以用作艺的部分素材,但是在它们对艺术有任何真正用处之前,它们必须被转换为艺术的常规。
艺术一旦放弃它的想象媒介。
也就放弃了一切。
作为一种方法,现实主义是一个完全的失败。
每一个艺术家应该避免的两件事是形式的现代性和题材的现代性……生活比现实主义跑得快,但是浪漫主义却总是在生活的前头。
(杨东霞,杨烈,译356-357)通过对其作品的分析,张介明(p43)筛选出四点王尔德的“以什么为美”的主要思想:第一,是“以感性为美”。
分析王尔德作品中的唯美主义倾向
分析王尔德作品中的唯美主义倾向作者：雷唯蔚来源：《校园英语·上旬》2015年第08期【摘要】奥斯卡·王尔德是英国极具争议的唯美主义代表人物，受到家庭环境的熏陶，其所创作的文学作品包括戏剧、小说、诗歌和童话等等，通过阅读王尔德的作品，可以体会到其内心深处的浪漫和现代主义意识。
但是在王尔德的文学创作生涯中，唯美主义贯穿于其中。
本论文针对王尔德作品中的唯美主义倾向进行研究。
【关键词】王尔德作品唯美主义艺术审美唯美主义注重于感性美的追求，更多地倾向于意向之美而不满于现实，这种审美态度源自于社会，同时表达了对社会玩世不恭的态度。
这种情绪化的审美所强调的是瞬间的享受，抬高艺术审美层次，虽然不存在功利性，但是却几近偏执。
王尔德的作品在唯美主义的滋养下，开启了后现代注意的先河，创作了诸多不朽的诗篇，对于文学创作领域中唯美主义的传承与发展发挥着重要的作用。
一、王尔德文学作品中唯美主义倾向王尔德文学作品之美已经达到了偏执的程度，但是这种唯美通过艺术形式体现出来，却能够给人以深刻的感知，并透过心灵深处，给人以愉悦之感。
王尔德的唯美是感性的，通过艺术形式表达出来，使这种唯美理想化，近乎完美无瑕。
对于王尔德而言，美虽然是抽象的，但却可以作为艺术的载体，通过这种超越现实的美的存在，达到艺术追求的目标。
所以，在王尔德的作品中，多为真实环境的描绘，却运用富于形象化的艺术手法表达出来。
使得艺术发掘于现实，却又超越了现实。
王尔德对于美的界定，凸显出艺术形式、艺术语言表达以及艺术形象之美。
艺术形式之美，表现为王尔德从不同的角度展示对象，无论是直接表达，还是隐晦的描述，都能够将内心的情感呈现出来，以获得内容丰富且不失现实性的艺术效果。
王尔德被称为是语言大师，且对于语言文字驾驭之娴熟，已经构成了独特的艺术风景。
王尔德在文学创作中，善于发挥语言的装饰效果。
他喜欢选择华丽的辞藻，喜欢悦耳动听的词汇。
在王尔德看来，语言就由于音乐的音符，随着文字如音符般跳动，那么，整个的文学作品就是一幅优美的乐章。
论王尔德的唯美主义观
文艺研究论王尔德的唯美主义观易春新疆师范大学中国语言文学学院摘要：王尔德是唯美主义的代表作家，主张艺术是高于一切的美，是纯粹的。
在他看来，生活模仿艺术远甚于艺术模仿生活，主张生活艺术化。
他推崇“撒谎的艺术”，渴望用自己的艺术理想去对抗丑陋的现实，追求一个独立、纯净的艺术世界。
关键词：王尔德；唯美主义观；撒谎的艺术；生活模仿艺术；艺术至上当时的欧洲社会，正在处于一个飞速发展的状态。
经济迅速发展的同时，对文学产生了一定的负面影响，它使得文学和艺术极具功利性，带有很强的物质色彩。
王尔德期许创造一个独立纯美的艺术世界，用超脱的思想去维护艺术的独立性。
一、推崇撒谎的艺术王尔德是唯美主义的集大成者，他推崇艺术的独立性，不赞同通过艺术去反映生活。
除此之外，王尔德提出了不同于其他唯美主义者的一个概念，那就是“撒谎的艺术”。
在王尔德眼中，大多数的英国文学创作作家通过说真话的习惯来进行描写，却没有达到很高的可信度。
于是，王尔德产生了“撒谎”的艺术倾向，这种倾向断开与经验世界的联系，形成一种不同于纯粹依赖事实的艺术想象和艺术虚构。
“唯一真实的人，是那些从未存在过的人”“谎言只不过是自己能证明自己的东西”①从王尔德的这些话语中，我们可以看出创作没有必要过分依赖事实。
在王尔德看来，虚构的艺术更加独立和更具有生命力。
完全与事实相对照，纯粹是一种书呆子式的行为，添加以恰当的艺术想象和艺术虚构，可以使艺术更加真实和完美。
“如果不想办法制止或至少改变我们这种对事实的荒唐的崇拜，艺术就会变得毫无生气，美将从大地上消失。
”②王尔德由此提出“撒谎”的概念，为了振兴他眼中撒谎的艺术。
王尔德眼中的“撒谎”，是一种与经验真实有偏离的艺术虚构，通过讲述美而不真实的故事完成艺术中的撒谎。
这些故事所展示的“撒谎”艺术，给了读者极大的视觉刺激和心理冲击。
“艺术起源于抽象装饰，起始于那种纯然虚构的，令人欢悦的作品，他们只与不真实和不存在的食物打交道。
读唯美之作 品语言之美——浅析奥斯卡·王尔德《道林·格雷的画像》的语言特色
读唯美之作品语言之美——浅析奥斯卡·王尔德《道林·格雷的画像》的语言特色-大学语文论文读唯美之作品语言之美——浅析奥斯卡·王尔德《道林·格雷的画像》的语言特色○张素梅摘要：文学是语言的艺术，语言是决定文学作品优劣的一个重要标准，也是反映一个作家及其作品风格的重要因素。
唯美主义大师奥斯卡·王尔德认为美高于一切，文学作品的语言应坚持对艺术美的追求。
王尔德唯一的长篇小说《道林·格雷的画像》就是一部文字美学宝典。
其语言的生动性、哲理性、讽刺性具有独特的表现魅力。
关键词：王尔德唯美语言生动性哲理性讽刺性前言十九世纪的西方文艺界百花齐放，百家争鸣，思潮迭起，流派纷呈。
唯美主义以其理论上的标新立异而成为这股浪潮中最瑰丽的奇芭。
在众多唯美主义理论家与作家中，王尔德被公认为最杰出的代表人物。
读王尔德的作品，能体会到其构思之独特，语言之机智，文字之隽永。
他的长篇小说——《道林·格雷的画像》就用独特的语言文字给读者呈现了一场集视觉、听觉、触觉于一身的艺术盛宴，其生动形象、富有哲理、极具讽刺性的语言尤令人叹服。
一、语言的生动性在《道林·格雷的画像》中，我们能感受到俯拾即是的优美语言，能体会到王尔德的睿智，更能看到闪烁在十九世纪诸流派中将“艺术的形式美”作为绝对美的艺术主张。
小说中，作者一是大胆组合多种直击读者感官的意象，使得语言绚丽多彩。
小说开篇，作者就用一段描写为读者呈现了一幅唯美的画卷：画室里弥漫着浓浓的玫瑰花香，夏日的轻风拂过园中的树木，开着的门便送来了馥郁的紫丁香味，或是满枝粉红色花的荆棘的清香。
“玫瑰花香”“紫丁香味”和“荆棘的清香”是从人的嗅觉渲染景色，使人既体会到了作品“馨香的语言”，也感受到满园的生机勃勃。
而“蜜蜂沉闷地嗡嗡叫着，穿行在没有刈过、长得很高的青草之间，或是单调地一味围着满地忍冬那金黄色、灰蒙蒙的花蕊打转，似乎使这沉寂愈发压抑了。
奥斯卡王尔德唯美主义中的悲剧色彩 (1)
摘要: 王尔德对现实不满, 想摆脱生活对作品的束缚, 追求唯美主义, 但是他又始终无法摆脱社会现实的影响, 所以他作品中的唯美主义都带有一种悲剧色彩。
笔者以王尔德童话《快乐王子》、《夜莺与玫瑰》和长篇小说《道林·格雷的画像》为文本对象, 分析了王尔德唯美主义作品中的悲剧色彩及成因。
关键词: 奥斯卡# 王尔德; 唯美主义; 悲剧奥斯卡# 王尔德(Oscar Wilde) 以追求唯美主义而出名, 但是他的不少作品却带有浓厚的悲剧色彩,体现出他的颓废主义倾向及对当时社会的失望。
笔者拟对王尔德作品中的悲剧色彩进行探讨。
悲剧是以表现剧中主人公与现实之间不可调和的矛盾冲突及主人公的悲惨结局为基本内容的作品。
悲剧的主人公大都是人们理想的化身, 悲剧以主人公悲惨的结局来揭示生活中的罪恶, 把人生有价值的东西毁灭给人看, 从而使读者产生悲壮的心理感受, 达到陶冶思想情操的目的。
同所有作家一样, 王尔德作品中悲剧色彩的产生与其所生活的时代有着密切的关系。
一、特定的历史背景因素19 世纪正是资本主义工业文明快速发展时期。
一方面, 整个英国社会崇尚物质财富的积累, 不断向海外扩张, 远征探险, 人们疯狂追求金钱、名誉、权力和地位; 另一方面, 工业化和城市化使人格解体, 科学新发现使人们对传统宗教信仰产生怀疑, 劳动道德观念丧失, 人们的内心失去平衡。
在这样的社会现实中, 王尔德等人对现实和艺术都有着一种深重的危机感, 但又苦于找不到拯救的办法。
于是, 在沃尔特#佩特及约翰#拉斯金的审美观念影响之下, 王尔德将可怜的希望寄托在/ 唯美0的主张上, 幻想以艺术的美来抵消社会的丑, 在颓废的享乐中消极地对抗社会, 因此他也成为唯美主义的代表人物。
王尔德主张, 所谓美或艺术, 其目的在于它自身, 与社会性毫不相干, 而生活总是以其现实性破坏艺术。
人们从事艺术工作是为了培养美感, 艺术绝非教化的手段, 与道德无关。
艺术创造生活, 生活模仿艺术。
英美文化论文：漫谈唯美主义世界童话的代表------奥斯卡·王尔德
漫谈唯美主义世界童话的代表------奥斯卡·王尔德奥斯卡·王尔德是英国著名的剧作家、散文家和诗人。
但是，他创作的童话比他其他的作品流传更广，传播到了世界上每一个有孩子的地方。
王尔德生于都柏林的贵族之家，毕业于牛津大学，从小就受到浓郁的文学熏陶。
在都柏林三圣大学读书期间，他阅读了大量的古典文学作品，再加上本身才华出众，很快就在文学上获得了巨大成功。
王尔德身材高大，仪表堂堂，稍带点女人气。
他衣着奇特，经常从历史书画中得到灵感来装饰自己，像个别出心裁的花花公子。
王尔德富有一种诗人气质，大学时曾得到圣三一诗歌大奖，但后来他并没有走上写诗的道路，而是选择了写评论小说和剧本。
虽然他主要以成人作家而著称，但他的早期作品中有两本童话集：《快乐王子故事集》和《石榴之家》已载入英国儿童文学史册。
王尔德在巴黎与伦敦遇到一些当时的印象主义画家作家评论家，他从各种观点中汲取养料。
他从一个传统美学的拥护者转化为唯美主义的创导者，成为唯美主义的先驱。
1884年，王尔德结了婚，生活富裕，心宽体胖。
1885—1886年，王尔德的两个儿子先后出生，当了父亲的王尔德在和儿子们在耳鬓厮磨之中获得许多灵感。
他与儿子们在乡间度过的这段时间是他创作的黄金时代，写下了优美动人的童话。
他的儿子后来回忆说：“(父亲)有时会趴在育婴室的地上，轮番装成狮子、狼、马，平时的斯文形象一扫而空……玩累了时，他会让我们静静听他讲童话故事，讲冒险传说，他肚子里有讲不完的故事……”王尔德的这种童心正是他童话的源泉。
王尔德在伦敦警局的一次扫黄行动中被发现有狎亵行为，还被证实是个同性恋者。
他爱上俊美不羁的年轻爵士道格拉斯而遭到爵士父亲的控告。
当时的英国法律不允许同性恋。
于是，他被诉讼，公众对他厌恶不堪，落井下石，他的书被查封，戏剧停演，房子里的名画与青花瓷器都被贱卖，最后被判入狱。
王尔德1897年经过两年监禁后出狱，化名隐居巴黎，1900年死于一家廉价的小旅馆，终年46岁，身边没有亲人。
浅谈王尔德唯美主义艺术观评析
浅谈王尔德唯美主义艺术观评析论文关键词：艺术观王尔德唯美主义者论文摘要:唯美主义是“为艺术而艺术〞思潮的主流。
王尔德是唯美主义的代表人物，他认为美是至高无上的，具育绝对的价值，艺术本身就是目、的。
因此，在王尔德看来，艺术是一种“撒慌〞的技巧。
是生活摹仿艺术，而不是艺术摹仿生活。
十九世纪，“为艺术而艺术〞思潮弥漫欧洲。
“为艺术而艺术〞是一系列美学思想的总名称，是一系列文艺流派的总纲领，其主导思想在于:美是一种至高无上的、绝对的价值，艺术自身就是目的。
唯美主义的中心在英国，其领袖为王尔德(1856—1900).1.作为至高无上的价值的美与当时社会崇拜金钱或功利相反，唯美主义者激起了对美的热烈的崇拜。
王尔德说:“在这动乱和纷乱的时代，在这纷争和绝望的可怕时刻，只有美的无优的殿堂，可以使人忘却，使人欢乐。
我们不去往美的殿堂还能去往何方呢?〞①“只有美是时间无法伤害的，各种哲学像沙子一样垮掉了，各种宗教教条接二连三地像秋天的树叶般凋零，唯独美的东西是四季皆宜的乐趣，永久的财富。
〞②“人有多少种情绪，美就有多少种意义。
美是多种象征的象征;它提醒一切，因为它什么也不表现。
当美向我们显示它自己的时候，也就显示了整个五彩缤纷的世界。
〞③上述情绪化的观点在理论上几乎没有什么独到之处。
美的价值被毫无节制地拔高了，在上活态度或方式上表现为:生活应该是美的，而生活的其它一切价值—真、善、公正和智慧，不是包含在审美的完成之中，就是服于这种完成(唯美主义的任何一位作家，都没有充分地开展这一观念，或成功地把这一观念表达在自己的创作生活中)。
王尔德在服装仪态方面的显著标志是:孔雀羽毛、向日葵、百合、蓝陶器、长发和棉织的天鹅绒马裤。
这种“审美生活〞流于浮华、造作的形式，不仅不能防止苦难，反而可能招致灾祸。
实际情况是，在唯美主义者当中，王尔德堪称病态、颓废的生活典型。
事实证明，仅仅由“美〞来指导的生活根本行不通。
在美的间题上，唯美主义者是理想主义的，在生活问题上，他打大多是享乐主义的。
美与爱的颂歌_浅析王尔德童话的唯美意识
读书与评论ｏｄｅｒｎ ｃｈｉｎｅｓｅ２００８．０２利用谐音，以事物影射人物，显得十分贴切而自然，使人捉不到把柄，斗争艺术也是十分高明。
四、既歌颂农民起义军也污蔑农民起义军如“李岩使小儿歌”：朝求升，暮求合，近来贫汉难存活。
早早开门拜闯王，管教大小都欢悦。
——《明季北略》崇祯二年，李自成揭竿起义。
后来，在李岩等知识分子的帮助下，调整政策，采取“托仁义，收民心”等各种措施，使老百姓感激不尽。
这首童谣首先描写了穷苦老百姓的艰难处境，然后一转，指出“早早开门拜闯王，管教大小都欢悦。
”犹如在黑夜中指出一条光明的道路，鼓动贫苦百姓参加起义军就能过上“欢悦”的日子，煽动力很强。
再如“正德己巳川蜀童谣”：强贼放火，官军抢火；贼来梳我，军来篦我。
——《二申野录》明武宗正德初年，四川一带出现了以“顺天王”蓝廷瑞、“刮地王”鄢本恕、“扫地王”廖惠为首的一支农民起义军，人数达十多万，力量扩大到陕西、湖广一带。
这使明朝统治者十分惶恐，先后多次派兵镇压，残酷屠杀起义军。
这首童谣把农民起义军称为“强贼”，污蔑起义军杀人放火，如木梳残害百姓。
这首童谣虽然也表达了官军给老百姓造成的损害更严重，但对农民起义军的看法极不正确，甚至是污蔑攻击了农民起义军。
五、既反映人民的反战思想也反映人民正义的反抗斗争如“桓帝初天下童谣”：小麦青青大麦枯，谁当获者？——妇与姑。
丈夫何在？——西击胡。
吏买马，君具车，请为诸君鼓咙胡。
——《后汉书・五行志》这是一首控诉战争带给人民沉重灾难的著名的反战童谣。
汉桓帝时与边境的少数民族不断发生冲突和战争，政府军腐败无能，每战必败，给人民带来了巨大的灾难，也加重了人民的负担。
男人们都被征调到西边与胡人作战去了，不是战死就是羁留边防，命运悲惨。
这首童谣表达了人民痛苦而又愤懑的心情。
再如“琅总督”：琅总督，新狠毒；不要民，只图名。
你官大，我山大；你下马，我要坐。
你兵多，我树多；大军炮，奈我何！石鼓合，旄头落；石鼓开，索星来。
悲剧之美——论王尔德童话中的唯美主义
82悲剧之美——论王尔德童话中的唯美主义文/黄晔奥斯卡•王尔德(Oscar Wilde 1854—1900)是英国19世纪末唯美主义运动的代表人物。
1出生于爱尔兰都柏林，一个医生家庭，家境优越但他却格外进取。
他是最伟大的作家与艺术家之一，剧作、诗歌、童话和小说领域中都有他的杰作。
他是唯美主义代表人物，19世纪80年代美学运动的主力和90年代颓废派运动的先驱。
作为童话作品，王尔德的童话中蕴含着许多深刻的感情，他所用的语言词藻对情爱的修饰近乎一种浮华的美，但这种美对于世俗之爱的爱情最终的幻灭与消逝无济于事，能够达成完满的唯有博爱的基督和至上的艺术。
正如王尔德自己所言“艺术的目的不是简单的真实，而是复杂的美。
”2他以独特的叙事方式展示唯美主义风格的悲剧故事，打造了一种难以言喻的美。
一、唯美主义在王尔德童话作品题材上的体现童话是写给孩子们看的，里面描述的都是美好的事物，比如邪恶的巫婆被打败，王子与公主永远幸福快乐地生活。
在一般的童话里，善良的人一定会得到幸福，仿佛一切都那么顺理成章。
而王尔德的童话记叙的是生命里的美丽与哀愁—平凡生活里的爱，精神世界中的美，以及这两者的毁灭给人的心灵带来的巨大痛苦，突出了基督神性的救赎与归宿。
3他不再重复王子与公主幸福地生活一百年的陈词滥调，也不表达善有善报恶有恶报的美好愿望，只用一种淡然超脱的口吻来讲述悲剧，演绎出“将美好的事物破坏给人看”的故事。
虽说艺术源于生活而高于生活，但童话很少直接从现实生活中直接取材，因为幻想是美好的而现实是残酷的。
王尔德把一些古老的民间传说和民间故事作为他的童话故事蓝本，按照他的唯美主义的哲学观念，进行再创造，让这些神话故事、民间传说以及宗教故事以另一种风格呈现在人们眼前。
令人耳目一新的同时又体会到故事都在情理之中。
人间社会与幻想世界的对立，形成一种丑和美、恶与善的比照。
这在王尔德童话中是一种普遍的存在，这两者的并存是不可分割的。
现实主义的评论家们，往往只站在政治与功利角度，看到王尔德童话辛辣讽刺并批判人间社会丑恶的一面，而忽视或割裂了他的童话哀而不伤的幻想故事中创造美和颂扬美的一面。
奥斯卡·王尔德《莎乐美》的唯美主义分析
became the strong weapon against the idea of“art for ethics’sake”.All his effort was to get rid of decadence at that time,and let the audience accept the idea of “aestheticism-decadence”.But China lacked the environment for the growth of pure “aestheticism-decadence”.Salome has a great influence on the new literary movement. The majority of Chinese scholars at that time mainly focused on the study of Salome’S rebellious spifit,and they wanted to encourage the young people to pursue freedom in love and marriage boldly.As scholar Zhou Xiaoyi once commented,Salome,as the image of“anti—modernity'’,undertakes the task of“anti—feudalism”,which is an open rebellion against Confucian thoughts(Zhou70).In China’S Cultural Revolution,the study of Salome suspended.However,the revival of Salome came in the1980’S with Wildeananniversaries.The Salome criticism mostly dwelled on the language form of
论王尔德的唯美主义思想（论文）
2015年11月第32卷第6期上海大学学报(社会科学版)Journal of Shanghai University (Social Sciences)Nov.2015Vol.32No.6doi:10.3969/j.issn.1007-6522.2015.06.005收稿日期:2015-05-10作者简介:乔国强(1957-㊀),男,山东青岛人㊂上海外国语大学英语学院教授㊁博士生导师,教育部 长江学者 特聘教授,英国诺丁汉大学哲学博士,主要从事英美文学㊁西方文论㊁叙述学的教学与研究工作㊂①1818年,法国哲学家库辛首次提出唯美主义这一术语,但其概念内涵是由法国诗人戈蒂耶确定的㊂论王尔德的唯美主义思想乔㊀国㊀强(上海外国语大学㊀英语学院,上海200083)㊀㊀摘要:王尔德的唯美主义是一个常新的话题㊂近年来,随着文学商品化风潮的来临,不少研究者对王尔德的唯美主义艺术的 纯度 提出了质疑,认为其导向的主要是以个体需求为主的现世享乐和功利主义㊂王尔德的唯美主义在表象上具有享乐㊁功利和游戏的特征,这种特征具体到生活中,就是以奢华的穿着打扮和风流洒脱㊁纨绔子弟的形象示人;表现在文学艺术上就是排斥主题,倡导对形式的精雕细琢,绝对以技巧为上㊂其实,王尔德的唯美主义并非如此简单㊂其审美内核直指西方的文化传统,其根须一直延伸到了柏拉图的 理念 中㊂这种精神上的一脉相承,决定了王尔德的唯美主义不能用世俗和功利来概括㊂相反,它具有超越世俗和功利,走向永恒的精神需求㊂㊀㊀关键词:王尔德;唯美主义;美;柏拉图㊀㊀中图分类号:I109.9㊀㊀文献标志码:A㊀㊀文章编号:1007-6522(2015)06-0052-10㊀㊀不知从何时起,王尔德在众多研究者那里演变成了唯美主义的符号㊂因此,提起王尔德,常常会让人联想到唯美主义(Aestheti-cism)㊂①唯美主义作为西方19世纪后半叶一种影响深远的文艺思潮,不同时期㊁不同国度的不同作家对其有着并不完全相同的理解,并呈现出不同的价值取向㊂王尔德的唯美主义充满着复杂性,它既有法国唯美主义所倡导的精神,也有对本国前辈诗人济慈等人艺术观念的弘扬,还在一定程度上蕴含了古希腊特别是柏拉图的美学思想㊂国内学界围绕王尔德的唯美主义话题,已发表了一系列文章㊂从总体上看,这些文章大致可以分成两类:一类从纯艺术的角度出发,认为王尔德的唯美主义强调的就是艺术至上,即用艺术来反抗现实生活㊂这是一种主流看法,绝大多数的文章都可归结到这一类中㊂另一类研究从商品文化和市场运作的角度切入,认为王尔德的唯美主义并非像人们想象的那么纯洁,在 纯艺术和纯形式的背后也往往有经济目的与世俗动机㊂王尔德试图把自己的形象广告化就是极好的说明 ㊂[1]在以上两类研究中,前一类研究的优点是,把王尔德的艺术观点基本概括了出来,并印证了唯美主义所广为流传的那个著名的为 艺术而艺术 的口号㊂然而,这一研究也存在不足㊂比如肯定了王尔德的纯艺术精神,可对构成唯美主义的一些重要术语,诸如美㊁自我个性㊁艺术以及与之相关的文学流派如浪漫主义等不是没有涉及,就是没有进行深刻地阐释,使王德尔的唯美主义长期以来像无根之木㊂后一类研究的长处是,扩展和深化了唯美主义运动以及这一概念的复杂性,对全方位理解王尔德具有一定帮助作用;其不足是过于强调王尔德外表和生活上的唯美,而对唯美主义理论自身探讨不足,似乎有用外在生活来替代内在文学的嫌疑㊂直到如今,王尔德依旧是世界文学史上一个不可忽略的符号㊂之所以如此,应该说所凭借的还是他的那些文学作品和理论主张,而单凭穿着打扮㊁举止言谈上的 唯美 是难以长久维持其形象和地位的㊂从这个角度说,对王尔德的唯美主义研究还是应该以其理论文本和作品为依据㊂为了更好地讨论王尔德唯美主义的价值所指,本文就从鉴别概念术语入手㊂①他只说过 英国的唯美主义运动 ㊂另他在引用惠特曼的话时,出现过唯美主义这一词㊂分别见王尔德:‘英国的文艺复兴“‘沃尔特㊃惠特曼德福音“,杨东霞㊁杨烈译‘王尔德全集㊃评论随笔卷“,中国文学出版社2000年版,第30页㊁第157页㊂一㊁与唯美主义相关的概念:美㊁艺术与自我个性㊀㊀毋庸讳言,对王尔德的唯美主义展开讨论存在一定困难㊂王尔德身为英国19世纪后半期唯美主义艺术流派的主将,其批评思想的确也是英国唯美主义思潮的重要构成部分,但是他本人却从未直接阐释过何谓唯美主义,甚至不曾直接使用过唯美主义这个术语㊂①基于这一现状,对其概念的梳理和研究就不能单纯拘泥于术语自身,而应从廓清其所使用的特定术语开始㊂纵览王尔德的相关文章,能发现他有一个特点:喜欢用 美 这个词来代表或象征其唯美主张㊂1882年,初涉文坛的王尔德在其‘英国的文艺复兴“中,曾旗帜鲜明地表达了对 美 的崇拜: 为艺术而热爱艺术,你就有了所需要的一切㊂献身于美并创造美的事物是一切伟大的文明民族的特征㊂ [2]25在这里,他把 艺术 美 和 伟大的文明民族 联系在一起,即认为凡是一个伟大的民族,没有不热爱艺术的;热爱艺术的也就是美的㊂显然, 美 在王尔德的唯美主义框架中,就是艺术的代名词,即艺术就是美㊂所以他说: 艺术完成了美的条件,也就完成了一切条件㊂ [2]21艺术是由诸多条件构成的,这诸多条件又都在美上得到了统一㊂美,在王尔德的艺术殿堂中有着至高无上的位置㊂它是一部文学作品的最高要求,也是最低要求,甚至是文学作品存在的唯一条件㊂正是从该审美标准出发,他把最高的文学礼赞献给了济慈,说 本世纪的艺术精神 ,直到在他的身上才 最后找到了完美的体现 ㊂[2]10-11讴歌美,把艺术完全与美等同起来,即由于艺术展示出了美,所以艺术才具有第6期乔国强:论王尔德的唯美主义思想了存在的价值,这是王尔德唯美主义的一个基本观点,也是他一生都没有改变的观点㊂他在晚期发表的长篇小说‘道连㊃格雷的画像“序言中依旧宣称: 艺术家是美的事物的创造者㊂ [3]3无论是艺术还是艺术家,王尔德在赋予其意义时,始终都是围绕 美 来展开的㊂因此,王尔德的唯美主义倘若用最简单的术语概括的话,那就是一个字 美 ㊂王尔德的这个 美 到底具有哪些内涵?从美来理解美有些抽象,也缺乏释说的空间,必须从另一个角度,迂回地接近他所说的这个 美 ㊂在王尔德的唯美主义思想中,除了强调美之外,他还格外强调艺术作品的个性,并借法国一位批评家的话说: 个性是我们的救星㊂ [2]12由此看, 个性 在王尔德的唯美主义中也占据着重要地位㊂这似乎还并非是随意一说㊂七年之后,他在‘谎言的衰朽“一文中旧话重提: 艺术除了表现自己以外从不表现任何东西㊂ [4]351在该处,他用 表现自己 替代了 个性 ㊂不过,在王尔德那里,这两个词语的意思是相同的㊂因为,所谓的 表现自己 ,除了表现自己的 个性 外,似乎也没有更多可表现的㊂这样一来,就会出现一个问题:在王尔德的言说语境中,艺术从来都是表现美的,即艺术就是美㊂王尔德又把艺术等同于个性,那么 美 自然也就可以与 个性 画等号了㊂经过这样的一个相互转化,便可说 美 就是指 表现自己 的 唯美艺术 ,即王尔德的唯美主义思想就是一种以张扬自我个性为己任的文学理论㊂不过,这样说来,也有可能出现一种误解,即认为王尔德的 唯美主义 与张扬自我个性的浪漫主义有关联㊂王尔德在‘英国的文艺复兴“中也曾把以他为代表的英国唯美风潮称为 我们这场浪漫运动 ,[2]13这就更容易诱使人们把 唯美 与 浪漫 联系到一起,认为唯美主义与浪漫主义有着一定的渊源关系或至少可以借浪漫主义的视角来理解唯美主义㊂如果这样理解两者的关系,也就误解了王尔德的唯美主义,也就是其审美观念中对 美 的要求㊂浪漫主义诗歌中所崇尚的那种自我个性解放之美与唯美主义所追求的那种 表现自己 的 个性 之美是不可重合到一起的,它们是两种根本不同性质的美:浪漫主义诗歌中的个性,主要是指自我天性的解放,即这种个性的主体是源于 我 自身;而王尔德唯美主义中的 个性 与 自我 却没有什么必然关联㊂正如他所说的,艺术品 应该有鲜明的个性特征,这种个性远离普通人的个性,仅靠着作品中的某种新意和惊人之处,通过一些奇怪的渠道,它才接近我们,而这些渠道之奇怪却使我们更为情愿地欢迎它们 ㊂[2]12显然,在王尔德的审美框架中,作品的个性与作家的个性并无天然的一致性,它仅仅是指 作品中的某种新意和惊人之处 ㊂换句话说,这种所谓的 个性 是来自于作品自身,与创作者的 个性 并无因果关系㊂他所倡导的是作品本身的神奇魅力,即个性魅力的存在,才吸引人们去关注它㊂撇开创作者的 个性 来谈论艺术作品的 个性 ,这是王尔德唯美主义与浪漫主义的一个分界线㊂或许有人会质疑:尽管王尔德彰显的是艺术作品自身的 个性 ,不强调作者的个性,但不意味着创作者的自我个性在作品中一定就得不到展现㊂确实,作者的自我个性不管强调与否,或多或少都会在其作品中得到体现㊂王尔德即使不把作品的个性与作家的个性联系起来,他的作品中依旧会有作家上海大学学报(社会科学版)2015年的个性㊂这样一来,是否可以说王尔德的唯美主义与浪漫主义又暗合到一起了?王尔德的唯美主义中含有作家的个性不错,但是,他理论中的个性与浪漫主义理论中的个性是南辕北辙的㊂首先,两者各自彰显个性的舞台完全不同㊂对浪漫主义诗人而言, 大自然 是神秘而神圣的,是诗人灵魂高蹈㊁皈依之地;王尔德对其却始终抱有厌恶与仇视之情㊂在他看来,大自然从来都是粗野丑陋的,草地 又湿又硬,还凹凸不平,满是可怕的黑虫子 ㊂[4]322与此相一致,他认为本来意义上的人类尊严 ,即 自我中心论 者完全是 室内生活的结果 ㊂因此,处于这一价值体系中的人,都是些 宁要房子而不要露天 的人㊂[4]322其次,他们对自我 个性 价值的认定也截然相反㊂浪漫主义诗人是心系 低层的和乡村的生活 ,认为惟有 在这样的生活中,人类心灵最根本的情感才能找到让自己变得成熟的更好一些的土壤 ㊂[5]他们的 个性 是与最自然质朴的生活㊁情感联系在一起的,即只有在无拘无束的田野和人群中才能得以抒发㊂而王尔德唯美主义中的 自我 一旦置身于这样的场景中,不但 变得抽象和不具人格 , 绝对丧失了个性 ,[4]322而且还会同那些 在坡上吃草的牲畜㊁在沟中开放的牛蒡花没什么两样 ㊂[4]322无疑,这是两种完全不同性质的人㊂如果说浪漫主义是自然之子,那么,王尔德唯美主义中的人则是在其 纽扣洞里 总是带着一朵 凋谢的玫瑰花 的 萎靡的享乐主义者 ㊂[4]324从这个角度说,一些研究者把王尔德的唯美主义与世俗享乐主义联系到一起,似乎也有些道理㊂不过,事实并非如此简单㊂从表面看,这个戴着凋谢玫瑰花的享乐主义者好像就是在暗喻王尔德本人㊂生活中的他就是如此,格外喜欢奢华美丽的东西,又好打扮得花枝招展,四处招摇,但如果对王尔德有更深一些的了解会发现,喜欢外在饰物之美的王尔德始终都是把艺术置于首位的㊂换句话说,他喜欢那些华丽而精美的装饰品,可他更喜欢艺术㊂他认为 没有艺术,工业就是野蛮愚蠢的 ;那些没有艺术修养的 商人 ,就是些 浅薄而沾沾自喜 的人㊂[2]29王尔德 享乐 是真,热爱艺术也是真㊂然而,当 享乐 与艺术发生矛盾时,他还是以艺术为上的㊂或者干脆说,对王尔德而言,艺术本身就是一种 享乐 ㊂这种 享乐 的过程就是追求美的过程㊂这种与众不同的 美 就是王尔德唯美主义艺术的个性,至于这种 个性 在唯美主义理论中是如何展现的,将在下文中讨论㊂二㊁ 美 的两种形态:形式技巧之美与理念式的美㊀㊀王尔德对 美 的要求很高,他欣赏的美是一种繁复㊁多义和模糊的美㊂这从他对一位女性之美的描写中可以看出: 她有着非常少见的异国之美 她身上最使我感兴趣的不是她的美,而是她的性格,是她性格上的完完全全的模糊性㊂她似乎根本没有个性,有的只不过是许多类型的可能性㊂ [4]346无疑,令王尔德沉醉于其中的美不是那种一目了然,毫无悬念的美㊂对此他毫不否认: 艺术的目的不是简单的真实,而是复杂的美㊂ [4]336具体地说,在王尔德那里,美大致可划分成两种形态:一种是表象㊁外在的装饰之美㊂在生活中,这种美主要表现为讲究个人的服饰㊁装扮;注重房屋中的装饰以及各式工艺品第6期乔国强:论王尔德的唯美主义思想的摆设,譬如 挂锦的编织,玻璃的着色,陶制品,金属品,木制品的漂亮制作 [2]26等都是这种美的化身㊂甚至连他对自然界中花朵的取舍,也是根据其图案的形状来定夺的㊂王尔德平素酷爱百合花与向日葵,原因是这两种花 在英国是两种最完美的图案模型 ㊂[2]30另一种是文学艺术中的美,这种美表现为纯形式与纯技巧㊂对王尔德而言,纯粹的美几乎成为了纯形式的代名词㊂为了捍卫这种美,王尔德把艺术作品中的主题都从 美 中给彻底删除了㊂他以油画和诗歌为例,说明纯技巧㊁纯形式给观众㊁读者所带来的审美愉悦: 不要在油画中寻找主题,而只要求它有绘画的魅力㊁色彩的美妙和构图的完满㊂ 他还以悬挂在画廊中的鲁本斯的杰作为例,说明瞬间技巧给人带来的灵魂震慑: 那深红旗帜迎风飘扬,甲胄和羽饰的光彩在空中闪耀,那飞驰的骏马载着骑士,呈现出一幅令人赞叹的壮观画面㊂画家抓住了它最优美㊁最猛烈的一刹那㊂嗨,这才是艺术的愉悦㊂ [2]18他对诗歌之美的理解也相类似: 诗的真正特质,诗歌的快感,绝不是来自主题,而是来自对韵文的独创性运用㊂ [2]19无疑,在王尔德的唯美主义框架中,精神上的 愉悦 与心灵上的 快感 是欣赏艺术作品的目的,而所谓快感㊁愉悦又只与 色彩 构图 光彩 以及 韵文的独创性 等有关,而与主题完全无关㊂用他的话说: 毫无瑕疵的美和它表达的完整形式,这才是真正的社会意识,是艺术快感的意义㊂ [2]18坚持纯粹的形式美,反对在艺术作品中表达 主题 ,这是王尔德唯美主义中的另一重要思想㊂他在‘谎言的衰朽“中,评判作家艺术价值高低的标准,便是以作者是表达观点还是展示风格为依据的㊂比如说,他认为亨利㊃詹姆斯写小说好像是在完成一项痛苦的义务, 在卑贱的主题和微妙的 观点 上浪费了他简练的文学风格 ;而霍尔㊃凯恩则是 声嘶力竭地写作㊂他如此喧噪,以致无人能听到他所说的话 ㊂[4]327相比之下,都德先生好一些㊂他有才智,有明快的格调和娱人的风格 ㊂[4]329也就是说,在王尔德看来,亨利㊃詹姆斯与霍尔㊃凯恩在写作时,由于把注意力投放到了 主题 观点 或 宏大壮观的东西 上,所以影响了他们风格的发挥,从而导致了其艺术品位的降低㊂同样,王尔德从 格调 风格 的角度肯定了都德的创作㊂照理说,主题与风格㊁形式并不是不能兼容的对立物㊂相反,一部真正伟大的艺术作品必须是两者兼而有之㊂那么,王尔德为何要将两者分离,褒一个贬一个,甚至还认为, 书没有道德和不道德之分㊂书只有写得好坏之分 [3]3呢?归根结底,还是与他所秉持的唯美主义价值取向有关㊂因为在其看来,一切的 主题 或 观点 都是与道德㊁善恶联系在一起的㊂作者一旦把精力投放到了这些方面,必将会与道德伦理等纠缠在一起㊂而这将会大大影响其作品的纯粹性,也就是美㊂正如他坦言的: 艺术表现任何道德因素,或者隐约提到善恶标准,常常是某种程度的想象力不完美的特征,标志着艺术创作中和谐之错乱㊂一切好的艺术作品都追求纯粹的艺术效果㊂ [2]24在他的审美框架中,道德因素等与 追求纯粹的艺术效果 是不兼容的㊂毫无疑问,王尔德的唯美主义理论就是一种与内容㊁主题等无关的纯粹形式㊁技巧之美㊂问题在于,如果王尔德的唯美主义仅仅是从形式到形式,也就是从单纯的外在之美上海大学学报(社会科学版)2015年到外在之美,这种美无疑是缺乏张力㊁内涵与长久生命力的美,而且也与王尔德平素所欣赏的那种 模糊 之美相去甚远㊂这表明王尔德的唯美主义绝非是纯粹外在之美的代名词㊂除此之外,它还应另有价值所指:对王尔德作品熟知的人都知道,其创作实际上也并非总是在外在技巧上兜圈子,即其作品除了有表面上的形式技巧之美外,他的唯美主义还具有超越形式技巧的深层之美㊂这种超越形式㊁深入骨髓之 美 既与某种哲学思想或境界相关,也与西方文学中的宗教色彩与神秘主义传统有关㊂王尔德曾说: 没有一个伟大的艺术家看到的事物是其真正的模样㊂如果他看到了,那么他就不再成其为艺术家㊂ [4]353这表明王尔德关心的并非是眼睛所看到的事物表象,令他更为倾心的是眼睛所看不到的那一面㊂济慈是矗立在王尔德心目中的一座丰碑,他不但在文章中借用其话说: 我对大众毫无敬意,对现存的事物也是如此,我只尊敬永恒的存在,只关心对伟人的追思和美的原则 ,来表达自己的心声,且还追加上一句: 我认为这是指导我们英国文艺复兴的原则㊂ [2]21忽视 大众 和 现存的事物 ,肯定永恒的存在 ,认为艺术 涉及的是非现实的和不存在的事物 ,[4]336这是王尔德唯美主义思想中一条值得留心的线索㊂沿着这条线索来阅读王尔德的批评文章,会发现他强调㊁推崇美不错,但他在强调和推崇中,又总是小心翼翼地把 美 从 现存的事物 中抽离出来㊂他的 抽离 带有推演的特征,即从三个层面上来进行推演㊂首先,他断定美是一个具有无限可能性的类似容器一样的东西: 美的形式的一个特点就是:人们可以随意地加入自己希望的任何东西,看到自己想看的任何内容㊂ [6]416其次,他又提出不管是 容器 ,还是从 容器 中所找到的东西,都不是现实中的存在之物,而是超越于现实的某种精神㊂用其话说是 唯一美的事物,是与我们无关的事物 ㊂[4]357至此,所谓 美 导向的就不是现实和实际,而是走了一条与之相反的路㊂在这两个层面的基础上,王尔德提出了自己的观点,把批评家在批评过程中 如实地看清对象 ,视为是一个极为 严重的错误 ㊂[6]413最后,他的结论出来了:最高层次的批评是评论 美本身 ,是 看出对象本身以外的事物 ,而不是去观照那些 个别的艺术作品 ㊂[6]415从上面的这一总结中可以看出,在王尔德的唯美主义话语体系中, 美本身 与 个别的艺术作品 是两个不可互相勾连的概念㊂它不是通过 个别的艺术作品 展示出来的,而是一个脱离具体艺术作品而独立存在的 美 ;它指向和探究的是超越 对象本身 ,也就是 个别的艺术作品 以外的那些事物㊂王尔德虽从未直言过 美 的内涵,但他曾用 美的土地 ,就是 远离现实世界的土地 [2]17来暗喻 美 的这种超越性㊂显然,王尔德唯美主义中的 美 并非是通常意义上的美,其深层含义指向的是一种理念式的美㊂这种美与古希腊哲学有着极为密切的关系㊂有关这一点在下文中论述㊂三㊁改造性继承:唯美主义与柏拉图的美学思想㊀㊀西方的文学理论看似更新换代得异常快,彼此间的观点又常常针锋相对,很容易给人造成西方的文学理论是以断裂的态势存在的印象㊂事实上,这只是表象,每一种理论流派都是极其重视其内在的思想承传性的㊂这第6期乔国强:论王尔德的唯美主义思想不难理解,任何一种理论的诞生都不是凭空的,其内涵与外延都需要其文化传统的支撑㊂在这样一个前提下,似可进一步追问:王尔德的唯美主义是继承了哪位理论大家的衣钵?英美等国的 百科全书 在对唯美主义追本溯源时,均提及康德在18世纪所提出的艺术 无目的的合目的性 观点给该艺术流派所带来的影响㊂[7]这一指认有道理㊂王尔德的唯美主义中的确有康德某些学说的影子,如游戏说㊁创造性和想象力等㊂然而,只把王尔德的唯美主义追溯到康德学说是远远不够的㊂因为与康德相比,柏拉图给王尔德唯美主义思想形成所带来的影响更为明显,甚或可以说王尔德唯美主义中的基本理念框架就是从柏拉图那里继承㊁演化和发展而来的㊂王尔德在相关论述中把 生活的现实 与 艺术的现实 划分成两个截然不同的范畴,就是对柏拉图所谓的 感觉世界 与 理念世界 的借鉴㊂为了说明两者之间的关系,需要从柏拉图的哲学观念说起㊂诚如我们所知,世界在柏拉图那里是一分为二的,是 现象 界和 理念 界的统一㊂他认为,艺术家对照着各式各样的 生物和器具㊁植物 等东西,制造出来的只是 一个现象 ,[8]455而并非是真实的㊂从认知框架上来看,王尔德几乎全盘接受了柏拉图对世界这一理论的划分,而且还把这一认识框架引入到了他的唯美主义理论中,即他也认为世界应划分为理念世界和现象世界㊂而且,与现象世界相比,理念世界才是一个更高意义的世界㊂只是在引入的过程中他在局部做了 为我所用 的修改:在柏拉图那里,艺术是不可能真实地反映真实或真理的,因为真实和真理是掌握在 神 的手中的㊂按照这个逻辑,艺术和艺术家就没有存在的必要㊂事实也是如此,柏拉图一直都是把艺术家置于工匠之下的㊂王尔德在继承了其理念世界是高等世界这一理论的前提下,大大提高了艺术家的能动地位,把艺术家视为可以揭示真理的人㊂换句话说,王尔德在承认现象世界,也就是现实生活是不真实的前提下,改变了柏拉图所说的理念世界是不可认识的观点㊂他的改变策略是,把艺术本身先验地视为真理或真实的化身,即艺术就等同于柏拉图所说的那个理念世界㊂这样一来,艺术家从事艺术实践的过程也就是向真理㊁真实靠近的过程㊂随着这个创作理念的形成㊁建立,生活与艺术的关系也随之发生了改变,由原来的艺术模仿生活,变成了生活模仿艺术㊂这不难理解,生活是虚假的,艺术是真实的,当然是后者反映前者了㊂明白了这一逻辑关系的转换,也就相应明白了王尔德唯美主义中的一些晦涩说法,诸如: 生活模仿艺术 ;[4]343生活,它是破坏艺术的溶化剂,是蹂躏其家园的敌人 ;[4]335 唯一真实的人,是那些从未存在过的人 ;[4]330只有穿越了 生活 这道屏障,那个真实的世界和 真实的人 才能现身㊂事实上,王尔德对此表达得非常清楚: 艺术家也接受生活的现实,但他们将其转化成美丽的形式,使其成为同情或敬畏的载体,显示其色彩㊁神奇和真正的伦理意义,从而塑造了一个比现实本身更加真实的世界,一个更具高贵意义的世界㊂ [9]显然, 生活的现实 与 真正的伦理意义 的世界是两个根本不同的世界,艺术家的任务就是通过艺术创作来抵达这个 比现实本身更加真实的世界 ㊂至此,可能觉得王尔德与柏拉图又决裂了㊂柏拉图认为文学艺术与真理是不可同日上海大学学报(社会科学版)2015年。
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浅论奥斯卡·王尔德的唯美主义思想的论文本文从网络收集而来，上传到平台为了帮到更多的人，如果您需要使用本文档，请点击下载按钮下载本文档（有偿下载），另外祝您生活愉快，工作顺利，万事如意！论文摘要：奥斯卡·王尔德是英国最著名的唯美主义代表作家。
他博取名家之说,融会贯通前人思考的成果,逐步形成并确立其独特的唯美主义思想。
他的“以什么为美”的主要思想及其文学作品对现代产生了深远的影响。
论文关键词：王尔德唯美主义《道连·葛雷的画像》奥斯卡·王尔德(1854—1900)是出生于爱尔兰的英国著名的文学家,同时也是英国唯美主义运动的代表人物。
他的写作涉及到戏剧、诗歌、小说、童话、散文、论说文等,几乎每一种体裁都给世人留下了佳作,堪称唯美的经典,体现了其对于纯粹美的执着追求和把握艺术美的非凡能力。
本文尝试探讨王尔德的唯美理论和实践及其影响。
19世纪的欧洲,各种文学思潮迭起,流派纷呈。
而唯美主义以其鲜明强烈的艺术个性、一反常规的美学主张和特立独行的生活姿态引起了一阵不小的轰动。
唯美主义把美作为最高理想,崇尚“为艺术而艺术”。
《道连·葛雷的画像》的自序包含着王尔德对美根本看法的议论,他认为“艺术除了它自身之外,不表现任何东西。
它和思想一样,有独立的生命,而且纯粹按自己的路线发展。
”生活和自然具有不完美性,必须经过艺术的加工。
一切坏的艺术都是返归生活和自然造成的,并且是将生活和自然上升为理想的结果。
生活和自然有时候可以用作艺的部分素材,但是在它们对艺术有任何真正用处之前,它们必须被转换为艺术的常规。
艺术一旦放弃它的想象媒介。
也就放弃了一切。
作为一种方法,现实主义是一个完全的失败。
每一个艺术家应该避免的两件事是形式的现代性和题材的现代性……生活比现实主义跑得快,但是浪漫主义却总是在生活的前头。
(杨东霞,杨烈,译356-357)通过对其作品的分析,张介明(p43)筛选出四点王尔德的“以什么为美”的主要思想:第一,是“以感性为美”。
王尔德认为艺术是面反映“照镜者,而不是生活”的镜子。
强调艺术的自主性。
第二,是“以趣味为美”。
王尔德在序言中表述只有“在美的作品中发现美的含义的人是有教养的。
这种人有希望。
”“有教养”就能发现美的“趣味”、理解美的“趣味”。
第三,是“以想象为美”。
如果说“以感性为美”是着眼于艺术家赋予作品的形态而言,那么,“以想象为美”则是着眼于艺术家运思创造的过程而言。
在《道连·葛雷先生的画像》中他说:“一切艺术都是一种行为方式,它试图在某些想象的平面上实现自我人格”(赵武平p191)第四,是“以形式创新为美”。
王尔德认为“in every sphere of life is the beginning of things”(形式都是万物的开端)“form is everything.”(形式就是一切)。
在他看来,内容只是材料,“艺术家总是从风格之美和描述之美的角度不定期看待艺术品”(赵武平p462)故形式创新势所难免。
在《道连·葛雷先生的画像》中,道林·格雷是一个单纯、善良、俊美的贵族青年,在看到画家贝泽尔·霍尔渥德为他画的肖像后,他被画中自己的俊美深深吸引,他许下了一个荒唐的诺言:“要是永远年青的是我,而变老的是画像多好!为了这个目的——为了这个目的——我什么都愿意给!是的,我愿意献出世上的一切。
我愿意拿我的灵魂交换”(赵武平15)。
不料一语言中,画像不但承载了他相貌的丑陋,同时还记录下他道德堕落的痕迹。
在文本的结尾,艺术与现实的最后冲突出现了,道林对自己的灵魂进行反思,终于认识到“他的美貌不过是一张面具,青春则成了笑柄。
青春究竟是什么呢?是一段幼稚不成熟的时期,充满了浅薄的见解和不健康的思想。
他何苦老是穿着这身号衣?青春把他惯坏了”(赵武平)。
所以,外貌依然青春俊美的道连,在对画像的极度厌恶与恐惧中,用一把匕首刺向画像,但倒地中刀的却是他自己,“他一脸的憔悴、面目可憎,皮肤皱缩”。
而“墙上挂着他们主人的一幅栩栩如生的画像。
同他们最后一次见到时一样。
奇迹似的显得那么年轻,那么英俊”(赵武平p194)。
由于画像是艺术和美的象征,显然在文本的最后,王尔德揭示了作品的唯美主义主题:艺术战胜了生活,艺术和美,是永恒至上的。
虽然生活中的道连是美丽的,画像中的他却在慢慢变丑变老。
可见画像正是他灵魂堕落的写照。
他的外表虽然很美,但他的思想却很丑陋,邪恶,而承担着这一切的画像正是他丑恶的内心的外化。
他对艺术本身的损害和扭曲又表明,艺术越是反映现实生活,它就越远离美,而与此同时,艺术也在无情地反映现实。
可见画像被赋予了一种超然的完美人格,并对道连镜像式地进行反映。
作品似乎表现出了现实主义特点,而现实主义正是王尔德所排斥与贬低的。
所以,画像恢复了本来的状态,即美战胜了丑,从而表达了他的唯美主义观点。
这恰恰体现了王尔德关于艺术与生活的观点,即“生活模仿了艺术,远甚于艺术模仿生活”。
“以感性为美”。
王尔德对美有着天生的敏感性和非凡的领悟力,真正具有一双能发现美的慧眼。
他曾经说过,人都是戴着一张张的面具,随时可以变换,只要具有美感,真实与否没有任何关系。
把人生看作舞台的他总是极其信赖外观的美。
“唯有表面的特征能够长存”。
(赵武平p488)反映在王尔德的作品中,美的内涵也是丰富复杂的,求美的小径上,既可以有夜莺的歌声,天使的光环,又可以有女妖的艳舞,放纵的享乐。
纵观王尔德的创作,可以发现,其中既有对各种外观美的精细刻画,又有对精神美的热情讴歌,还有对感官享受之美的细腻描写。
在他的戏剧《莎乐美》中,剧中暗含的希律王对其嫂希罗底美色的贪婪,再到莎乐美对先知约翰的身体的渴望,甚至希律王对莎乐美的那种过分的喜爱,无一不是追求感官刺激的具体体现。
莎乐美不惜出卖自己的色相而换取爱人的头颅源自她对美的热爱,对美的追求,以及为了美而不惜付出生命的炽热感情。
在他惊世骇俗的小说《道连·格雷的画像》中,唯美主义对感官美的明显的偏爱,对感官享受毫不掩饰的追求,“通过感官治疗灵魂的创痛,通过灵魂解除感官的饥渴,那是人生的一大秘密”(赵武平1:25)。
唯美主义是极其崇拜形式和外观的美的,其艺术品关心的是形式之美而非内容。
视文学为艺术之首的王尔德当然极其重视他作品的形式之完美。
他的文学创作呈现给读者的唯美世界是多姿多彩的。
王尔德认为艺术就是撒谎,就是讲述美而不真的故事。
无论是题材、人物,或是场景,都力图激发读者的想象力,唤起读者对于理想美的向往。
王尔德在其作品中都尽力实践他“唯美”的信念语言的音乐性和它所引起的视觉效果上美的品质唤醒,使之进入人们的意识里。
例如,在《认真的重要》中,王尔德运用了抑扬格五音步节奏(iambic pentameter)。
爱尔杰龙在谈到寡妇哈伯雷(harbury)过着骄奢淫逸的生活时说道:i hear her hair has turned quite gold from grief.这种艺术的头韵之美(押h韵)以及五音步节奏表明爱尔杰龙的话,一如寡妇的感伤至真至诚。
王尔德对语言美的追求向来是不遗余力的。
他重视语言的韵律之美、意象和象征之美等。
例如,诗歌《在金色的房间:一种和谐》(in the gold room: a harmony),王尔德在诗中所描写的孔雀房间是3种颜色的和谐:象牙白(ivory)、金黄(gold)和深红(ruby),3种颜色分别由3个诗节和3种背景烘托又分别与“她”的3个部位联想。
3个诗节结构相同,分别代表美女的3个部位:象牙般的手指(ivory hand)、金黄色的头发(gold hair)和红宝石一样的双唇(ruby lips),衬托美女的3个部位的3种背景的颜色与之相辅相成,分别为象牙般的琴键(ivory keys)、金黄色的墙壁(wall of gold)和我的朱唇(lips of mine),而且,美女的3个部位在相应的3种背景下的动作(“她象牙的手指落在象牙的琴键”、“她金色的头发洒在金色的壁墙”、“她的甜蜜的红唇拂在我的唇上”),以及描写动作时所用的一系列的比喻(例如,手指的运动“好像杨树白茫茫的树叶在私语”,金发的飘洒“好像交织在一起薄薄的纱”,双唇的拂动“像燃烧着红宝石一样的火”),同时衬托着这幅完美的“和谐”场景。
(袁宪军)王尔德也相当注重作品的情节性。
情节的丰富、引人入胜,构思的奇巧、出人意料,都显示了他对情节之美不遗余力的追求。
他在作品中把他巧纵急智的语言天赋发挥到了极致。
“词语在歌唱”(karl bec kson,250)。
“他的语言是其最精彩的成就”(richard ellmann)。
那些让人眼花缭乱的奇谈怪论,幽默讽刺,夸张的对比,都让人惊喜不断。
美的生活方式也是王尔德所追求的。
在《道连·格雷的画像》中,道连和亨利勋爵所信奉的“新享乐主义”,其实就是典型的唯美主义生活方式。
出于对庸俗现实的排斥,更出于对生命易逝的认识,要把生活变成艺术,把自己也变成一件艺术品,在生活的任何一个方面都讲究美感。
结语王尔德是英国传统文学向现代派文学过渡时期的转折性人物,作为唯美主义艺术的主将,他的唯美思想和创作已初露现代意识的端倪。
李广平(p39)认为王尔德的影响表现在如下几方面:1、美学思想上,王尔德把恶与撒谎引入美和艺术表现的范围。
王尔德提出“艺术的宗旨是展示艺术本身”,“艺术应远离现实和超越现实”,这些观点在许多现代派作品中得到了实证。
现代派作家吸收了其反自然、反说教的主张,强调对艺术美的追求。
2、创作主题上,王尔德的作品强调艺术真实的主观性,这对现代派文学亦产生重大影响。
意识流小说家认为,真实性存在于个人的感觉、印象以及意识活动过程之中。
超现实主义热衷于表现潜意识、梦幻和疯狂的主题。
表现主义则强调文艺创作对心灵世界的表现。
3、创作形式上,王尔德的形式至上论思想在现代派中影响深远。
未来主义、达达主义、超现实主义等现代派也把美和形式看成可以互换的术语,通过对艺术形式的变异来表现内在心灵的扭曲,使形式处于至高无上的位置。
王尔德还把文艺归结为一种语言的声音因素,认为语言的批评是文学批评的最高形式。
所有这一切,都产生了深远影响。
王尔德只活了46岁,在他的短暂的一生中,创作时间仅有十五、六年,但他创作的作品至今不曾湮灭,人们对他的研究兴趣也持续不衰。
他的唯美主义思想及其文学作品对现代产生了深远的影响。
参考文献:[1] 赵武平主编:《王尔德全集》(第四卷),本文从网络收集而来，上传到平台为了帮到更多的人，如果您需要使用本文档，请点击下载按钮下载本文档（有偿下载），另外祝您生活愉快，工作顺利，万事如意！。