道林道林格雷的画像格雷的画像奥斯卡奥斯卡. .王尔德王尔德 （1856-1900）Oscar Wilde -By WWGH group The Victorian Age(1832-1901) was a period of rapid growth, development, and reform. The NinetiesThe Nineties In the late Victorian Age, there was an over-all change of attitude in literature. The writers of the 1890s are sometimes styled “Late Victorians” and sometimes “the first of the Moderns”. Some of them are anti-Victorians while others are exponents of some modern ideas which are brand-new and provocative in their own days but are commonplace today. In the last decade of the 19th century, the change of attitude became more conspicuous. Victorian standards were breaking down on several fronts. Melancholy, not gaiety, is characteristic of the spirit of the decade. The most important literary movement in this final decade, is the Aestheticism, represented by Oscar Wilde.The AestheticismThe Aestheticism The basic theory of the Aesthetic movement was “art for arts sake”. Aestheticism places art above life, and holds that life should imitate art, not art imitate life. The chief representative of the movement in England was Oscar Wilde, with his The Picture of Dorian GrayThe Picture of Dorian Gray.十九世纪末的英国文坛：唯美主义、讽刺艺术泛滥成灾、新浪漫主义小说十九世纪末的英国文坛：唯美主义、讽刺艺术泛滥成灾、新浪漫主义小说新型的新型的历险小说、外来影响，出现国际间的相互影响，合流趋势。历险小说、外来影响，出现国际间的相互影响，合流趋势。 奥斯卡奥斯卡王尔德王尔德(1854.10.16.-1900.11.30. )Life & WorksOscar WildeOscar Wilde, , a dramatist, poet, novelist and essayist, was born in Dublin, Ireland. His father was an eminent surgeon and his mother was clever woman with intellectual pretentions. He proved a brilliant student at Trinity College, where he became a disciple of Walter Pater. In 1879, he settled in London, and soon won a reputation both as a spokesman for the school of “art for arts sake”. He soon became the leader of the Aesthetic movement. 奥斯卡奥斯卡. .王尔德（王尔德（Oscar WildeOscar Wilde，1856-19001856-1900），英国著），英国著名诗人、作家及戏剧家，英国文学史上唯美主义运动的名诗人、作家及戏剧家，英国文学史上唯美主义运动的创始人和首领之一，创始人和首领之一，主张主张“为艺术而艺术为艺术而艺术”，反对文学带，反对文学带有功利主义色彩，认为文学不应受任何道德标准的支配。有功利主义色彩，认为文学不应受任何道德标准的支配。他也是英国颓废派文学的代表。他也是英国颓废派文学的代表。SexualitySexuality18951895年年, ,王尔德被告同性恋王尔德被告同性恋, ,以有伤风化罪以有伤风化罪而在英国被捕而在英国被捕, ,在瑞丁和本顿维尔监狱服了两年苦役在瑞丁和本顿维尔监狱服了两年苦役. . Wildes sexual orientation has variously been considered bisexual or gay. He had significant sexual relationships with three men and a woman. Wilde also had numerous sexual encounters with young working-class men, who were often male prostitutes.Main worksMain worksNovelsNovels道林道林道林道林 格雷的画像（格雷的画像（格雷的画像（格雷的画像（The Picture of The Picture of Dorian GrayDorian Gray，18911891年）年）年）年） Fairy talesFairy tales 快乐王子和其他故事（快乐王子和其他故事（快乐王子和其他故事（快乐王子和其他故事（The Happy The Happy Prince and Other TalesPrince and Other Tales，18881888年）年）年）年） 石榴屋（石榴屋（石榴屋（石榴屋（A House of PomegranatesA House of Pomegranates，18911891年）年）年）年） Poems Poems 诗集（诗集（诗集（诗集（PoemsPoems，18811881年）年）年）年） 斯芬克斯（斯芬克斯（斯芬克斯（斯芬克斯（SphinxSphinx，18941894年）年）年）年） 瑞丁监狱之歌（瑞丁监狱之歌（瑞丁监狱之歌（瑞丁监狱之歌（The Ballad of The Ballad of Reading GaolReading Gaol，18981898年）年）年）年） E Essaysssays The Soul of Man Under Socialism(The Soul of Man Under Socialism(社社社社会主义下人的灵魂会主义下人的灵魂会主义下人的灵魂会主义下人的灵魂) )Letters De Profundis(De Profundis(深渊书简深渊书简深渊书简深渊书简 ) ) DramasDramas薇拉（薇拉（薇拉（薇拉（VeraVera，18801880年）年）年）年） 温夫人的扇子（温夫人的扇子（温夫人的扇子（温夫人的扇子（Lady Windermeres Lady Windermeres FanFan，18921892年。又译温德密尔夫人的扇子年。又译温德密尔夫人的扇子年。又译温德密尔夫人的扇子年。又译温德密尔夫人的扇子、少奶奶的扇子）、少奶奶的扇子）、少奶奶的扇子）、少奶奶的扇子） 帕都瓦公爵夫人（帕都瓦公爵夫人（帕都瓦公爵夫人（帕都瓦公爵夫人（The Duchess of The Duchess of PaduaPadua，18931893年）年）年）年） 莎乐美（莎乐美（莎乐美（莎乐美（SalomSalom，18931893年）（原著用年）（原著用年）（原著用年）（原著用法语写成）法语写成）法语写成）法语写成） 无足轻重的女人（无足轻重的女人（无足轻重的女人（无足轻重的女人（A Woman of No A Woman of No ImportanceImportance，18921892年）（年）（年）（年）（18931893年年年年Theatre Theatre Royal HaymarketRoyal Haymarket首演）首演）首演）首演） 真诚最要紧（真诚最要紧（真诚最要紧（真诚最要紧（The Importance of The Importance of Being EarnestBeing Earnest，18951895年。又译不可儿戏年。又译不可儿戏年。又译不可儿戏年。又译不可儿戏） 理想的丈夫（理想的丈夫（理想的丈夫（理想的丈夫（An Ideal An Ideal HusbandHusband，18951895年。年。年。年。又译好丈夫）又译好丈夫）又译好丈夫）又译好丈夫）The Picture of Dorian GrayThe Picture of Dorian GrayIntroductionMain plot CharactersAnalyze of the three main CharactersCommentIntroduction The only one novel he wrote, The Picture of Dorian Gray(1891), is worth mentioning because it touches upon a typical Victorian subject, the divided self. 道林道林格雷的画像（格雷的画像（The Picture The Picture of Dorian Grayof Dorian Gray），亦作道林），亦作道林格雷格雷的肖像，由爱尔兰作家奥斯卡王尔的肖像，由爱尔兰作家奥斯卡王尔德创作，是极少数唯美主义小说之一。德创作，是极少数唯美主义小说之一。此小说具有很强的唯美倾向，不但文辞此小说具有很强的唯美倾向，不但文辞绚丽，意象新颖，有许多带有王尔德特绚丽，意象新颖，有许多带有王尔德特色的俏皮话和幽默，深深影响当代电影色的俏皮话和幽默，深深影响当代电影及文学风格。及文学风格。Main plotMain plot The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil Is impressed by Dorians beauty and becomes infatuated with him, believing his beauty is responsiblefor a new mode in his art. The painting which made both Dorian Gray and himself very famous. Dorian meets Lord Henry Wotton, a friend of Basils, and becomes enthralled by Lord Henrys world view. This is the beginning of Dorian Grays dissipated life. Under theinstigating of Lord Henry, Dorian Gray deserted his girl who was deeply in love with him. Then the girl ended her life after that. The second day, Dorian Gray found there was something different on his picture that he can see the smile on his face became a little pejorative. Then he knew the truth that the changing picture can hide his ages and guilty. Then he became villainous and lived a dual personalitya pure young man on appearance and a dirty old monster inside heart. His soul changed and changed, and so did the picture. For hiding the truth, he had to keep the picture from being seen by others. But Basil insisted he see the picture. To prevent exploring the secret, Dorian Gray chose to kill his friend.Eighteen years later, Dorian Gray looked exactly as young as before. The brother of his first girl came for revenge and was killed mysteriously. In the end, Dorian Gray wanted to ruin the picture forever when the man in the picture had become ugly and dirty. He tried to kill the picture with a knife, unexpectedly, the knife inserted in his own heart. Dorian Gray died and the man in picture became young and handsome again.Main CharactersMain Characters Dorian Gray A handsome and narcissistic young man who becomes enthralled with Lord Henrys idea of a new hedonism. He begins to indulge in every kind of pleasure, moral and immoral. Lord Henry An imperious and decadent dandy and the person who lead Dorian down a path of corruption and evil . Extremely witty, he is seen as a critique of Victorian culture at the end of the century, espousing a view of indulgent hedonism. Basil Hallward The artist who painted the picture of Dorian. A devout Christian with conservative values, he is later murdered by GrayThe pictures of the three main CharactersDorian GrayBasil HallwardLord Henry 亨利巴兹尔道林格雷诱惑告诫情感堕落困惑理性良知清醒从弗洛伊德的人格理论学说出发分析作品中的三个主要人物纵观整部作品,亨利爵士、道林和巴兹尔是贯穿全文的主要人物,这三个人物之间的冲突和联系不仅暗合了弗氏的人格三结构理论,同时也揭示了他们与王尔德的内心联系。根据弗洛伊德的人格理论,完整的人格结构有三大系统组成,即本我、自我与超我。一个正常人这三个系统是和谐统一的,而人格不完善的人这三大系统难以协调,处于失常状态。所谓本我,就是本能的我。本我无视价值、善恶与道德的存在,他追求的唯一目的就是满足和快乐。本我是潜意识的,他不受约束,是人的生物本能,是人的一切行为动力的源泉。自我,就是面对现实的我。他是本我与外界环境之间的媒介,他要实现本我的意图和目的。但自我不完全遵守本我的快乐原则,他还奉行现实原则,根据现实克制本我的欲望,寻找一种有节制的快乐。而超我则是道德的卫士,他从自我中分化出来,遵循社会上一切道德规范,提倡人格的升华。超我压抑本我的冲动,是道德化了的自我。弗洛伊德认为，人的个体人格之间是相互联系,相互作用的。本我与超我都想通过自我达成自身的需要和目的,因此自我既要满足本我的需求,又要考虑超我的限制,三者只有达到平衡,人格才能趋于正常。在小说道林格雷的画像中,亨利爵士玩世不恭,追求快乐,言语之间处处透露出他对正统社会价值的嘲讽和蔑视,显然,他是本我的象征。画家作为单纯善良,循规蹈矩,希望运用道德观念来影响道林,他无疑是超我的化身。而作为自我象征的道林,不仅是本我和超我争夺的焦点,同时他也在两者之间做着艰难的选择。自我的道林逐渐被本我支配,本我激发了本能的冲动和欲望,他驱动自我不顾一切去实现快乐原则,去享乐。弗洛伊德的精神分析法人的心理本我超我自我快乐原则道德原则现实原则 在道林在道林.格雷的画像中格雷的画像中,亨利亨利,道林和道林和巴兹尔分别代表本我、自我和超我之间的冲巴兹尔分别代表本我、自我和超我之间的冲突与斗争。作为本我代表的亨利遵循快乐原突与斗争。作为本我代表的亨利遵循快乐原则则,无视传统的道德与礼教的约束无视传统的道德与礼教的约束,他与象征超他与象征超我的巴兹尔共同争夺对自我的控制权我的巴兹尔共同争夺对自我的控制权,而代表而代表自我的道林在二者之间痛苦的选择自我的道林在二者之间痛苦的选择,投向了本投向了本我的怀抱。最终我的怀抱。最终,随着超我的毁灭随着超我的毁灭,自我也完全自我也完全丧失了平衡丧失了平衡,从而走向灭亡。这不仅恰恰印证从而走向灭亡。这不仅恰恰印证了弗洛伊德的人格结构理论了弗洛伊德的人格结构理论,同时也是作者王同时也是作者王尔德传奇一生的内心写照。尔德传奇一生的内心写照。 Comment Influence is a recurring theme throughout the book. Influence is largely depicted by the author as immoral, as it eventually may turn people toward decisions that are not true to themselves, as best exemplified by Dorian Gray. However, all people are influenced and act as influences, and ironically, the book itself may influence its reader, though the preface paradoxically states that no artist, in their work, desires to prove anything or has ethical sympathies.AestheticismAestheticism Aestheticism (or the Aesthetic Movement) was a 19th century European art movement that emphasized aesthetic values more than socio-political themes for literature, fine art, the decorative arts, and interior design. Generally, it represents the same tendencies that symbolism or decadence represented in France, or decadentismo represented in Italy, and may be considered the British version of the same style. It was part of the anti-19th century reaction and had post-Romantic origins, and as such anticipates modernism. It was a feature of the late 19th century from about 1868 to about 1900.AestheticismThis attitude was revolutionary in Victorian England, where popular belief held that art was not only a function of morality but also a means of enforcing it.In the preface to The Picture of Dorian Gray, Wilde also cautioned readers against finding meanings “beneath the surface” of art.“All art is quite useless.”“Diversity of opinion about a work of art shows that the work is new, complex, and vital.”Aestheticism The novel The Picture of Dorian Gray succinctly sets forth the tenets of Wildes philosophy of art. Devoted to a school of thought and a mode of sensibility known as aestheticism, Wilde believed that art possesses an intrinsic valuethat it is beautiful and therefore has worth and does not need to serve any other purpose, be it moral or political.The purpose of art was to guide life, and to do this it must concern itself only with the pursuit of beauty. 道林格雷的画像是19世纪末唯美主义代表作，堪称“为艺术而艺术”思潮在戏剧小说及绘画方面的三绝。这部作品中美丽的词藻和绚然烂的意象附丽于变态人物和荒诞的情节，因此长期遭到误解，其实书中另有真意。这是一个关于自身与镜像、肉体与灵魂、欲望与道德的寓言故事。这是一个关于自身与镜像、肉体与灵魂、欲望与道德的寓言故事。 道林格雷的画像在内容上既反抗传统束缚,沉醉于生命本能的冲动和非理性的醉境,又不能完全冲破理性的藩篱;在形式上既融合了传统传奇小说的不合情理和哥特式小说的恐怖气氛,又掺杂了荒诞派戏剧的荒诞不经和黑色幽默小说的冷嘲热讽。小说的内在矛盾性和复杂性正体现了唯美主义文艺思潮处于传统与现代交界处的过渡性质。道林格雷的画像表现出的唯美主义特点 王尔德不遗余力地通过人物形象的刻画，借助人物的语言来鼓吹唯美主义理论。道林这一人物形象的矛盾复杂，集中体现了王尔德关于内容与形式，善于恶，灵与肉的思考。一开始，道林是个单纯善良的青年，就像未经雕琢的璞玉。他“完全不知道自己真正是什么样的人，或者真正会变成什么样的人。”他拥有令所有见过他的人为之倾倒的美貌，却不自知。在画家的艺术之笔下，他发现了自己的美，同时在亨利享乐主义的启发下，他的美由于有了内容而生气勃勃。然而，对这种永恒的青春之美的渴望，却成为他灵魂腐败的源头。他在灵魂腐败后，利用美貌做尽了伤风败德的勾当，许多人都被他所诱惑而落得身败名裂的下场。他利用美行丑恶之事，从善良变成邪恶，想悔改却欲罢不能，是一个集美丑于一身，容善恶于一体的形象。同时又是个享乐主义的实践者。“新享乐主义的目的就是体验本身”，亨利的诱惑调动了他的感情欲念，唤醒了他最原始的本能，使他陷入“血红色的欲念的迷宫”，开始身体力行遍尝各种享乐之毒，最终成为灵肉冲突的牺牲品。道林放弃灵魂选择肉体之美，尝试各种享乐却永感幻灭，集美丑于一身，最终经由堕落走向灭亡的形象，是唯美主义的典型。同时他身上的矛盾以及不断的彷徨挣扎，也折射出王尔德自己对美和艺术的迷惘。魔画所记录的不仅仅是道林一个人的灵魂堕落史，也折射了整个上流社会的道德沦丧，贵族们在金钱和权势的掩盖下的斑斑劣迹，累累罪行。从道林的形象可以看到作者王尔德是一位与众不同的唯美主义者。他坚持自己的文艺主张，即一切艺术都与道德无关，一切艺术都是毫无用处的；但是，另一方面，他的作品并没有完全脱离现实，相反，它们都对现实采取了批判和否定的态度。 象征在作品中的体现第一，画像变得丑陋的过程就是道林灵魂堕落的轨迹。在无情地抛弃初恋情人导致其自杀身亡之后，画像上出现冷酷的笑容。当他杀害画家之后，画像的一只手上出现了斑斑血迹。从画像上道林日渐狰狞的面目就可以清楚地看到道林灵魂的一步步堕落。 第二，画像是良心的象征。因为这幅画是“良心的可辩识的标志”，所以每次想起这幅画，道林就会想起自己出卖了灵魂，而感到惊惧不安，并曾经试图通过行善恢复画像昔日的光彩。然而罪恶是无法弥补的，良心一旦被玷污就很难再清洗干净。最终，为了摆脱良心上的不安，彻底杀死良知，道林选择了销毁画像。第三，这幅画像象征着公正的永不停步的时间。时间无法摧残道林的青春与美貌，不能在他的肉体上留下任何时间的流逝的痕迹，却在画像上留下深深的印记。画像上每一条皱纹的出现，每一根头发的脱落，都使时间的脚步变得清晰可见。而画像的最终恢复原貌，正是时间无法伤害美和艺术，艺术和美永恒不朽思想的完美诠释。 Oscar Wilde made great contribution to the world literature by inheriting and developing aesthetic views in his literary creation. Among his works, his aesthetic views spark like the diamonds scattering on the grass.His aesthetic views involve not only the literary theory but also the literary creation. For example, 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 between words, colors and music.Wildes contributionIn theory, Oscar Wilde reconsiders the relation between art and life. Inheriting Gautiers view “art for arts 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 as “All art is quite useless”. His imprisonment indicates the end of the Aesthetic Movement.王尔德一生充满矛盾，作为一个唯美主义者，王尔德一生充满矛盾，作为一个唯美主义者，在现实中其实并不能很好的执行他自己的理论，在现实中其实并不能很好的执行他自己的理论，一直宣扬艺术高于生活，却一再在作品里流露一直宣扬艺术高于生活，却一再在作品里流露出他对现实生活的关注。提倡为艺术而艺术，出他对现实生活的关注。提倡为艺术而艺术，抛弃艺术的道德义务，却在作品中充满对道德抛弃艺术的道德义务，却在作品中充满对道德的关怀，一生处于本我、自我和超我的交战过的关怀，一生处于本我、自我和超我的交战过程中。他的本我指导着他喊出艺术与道德无关程中。他的本我指导着他喊出艺术与道德无关的口号，超我却又流露出对人文道德的关怀。的口号，超我却又流露出对人文道德的关怀。小说结尾处安排画像的不死和道林的死亡，体小说结尾处安排画像的不死和道林的死亡，体现了他对超我战胜本我的一种希望。他在现实现了他对超我战胜本我的一种希望。他在现实中的种种无奈，想在作品中给予解决，获得圆中的种种无奈，想在作品中给予解决，获得圆满的结果。满的结果。