selected prose of oscar wilde-第3章
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peace; but that she can form herself on the very lines and colours
of art; and can reproduce the dignity of Pheidias as well as the
grace of Praxiteles。 Hence came their objection to realism。 They
disliked it on purely social grounds。 They felt that it inevitably
makes people ugly; and they were perfectly right。 We try to improve
the conditions of the race by means of good air; free sunlight;
wholesome water; and hideous bare buildings for the better housing
of the lower orders。 But these things merely produce health; they
do not produce beauty。 For this; Art is required; and the true
disciples of the great artist are not his studio…imitators; but
those who become like his works of art; be they plastic as in Greek
days; or pictorial as in modern times; in a word; Life is Art's
best; Art's only pupil。The Decay of Lying
LIFE THE PLAGIARIST
I once asked a lady; who knew Thackeray intimately; whether he had
had any model for Becky Sharp。 She told me that Becky was an
invention; but that the idea of the character had been partly
suggested by a governess who lived in the neighbourhood of
Kensington Square; and was the companion of a very selfish and rich
old woman。 I inquired what became of the governess; and she replied
that; oddly enough; some years after the appearance of Vanity Fair;
she ran away with the nephew of the lady with whom she was living;
and for a short time made a great splash in society; quite in Mrs。
Rawdon Crawley's style; and entirely by Mrs。 Rawdon Crawley's
methods。 Ultimately she came to grief; disappeared to the
Continent; and used to be occasionally seen at Monte Carlo and other
gambling places。 The noble gentleman from whom the same great
sentimentalist drew Colonel Newcome died; a few months after The
Newcomer had reached a fourth edition; with the word 'Adsum' on his
lips。 Shortly after Mr。 Stevenson published his curious
psychological story of transformation; a friend of mine; called Mr。
Hyde; was in the north of London; and being anxious to get to a
railway station; took what he thought would be a short cut; lost his
way; and found himself in a network of mean; evil…looking streets。
Feeling rather nervous he began to walk extremely fast; when
suddenly out of an archway ran a child right between his legs。 It
fell on the pavement; he tripped over it; and trampled upon it。
Being of course very much frightened and a little hurt; it began to
scream; and in a few seconds the whole street was full of rough
people who came pouring out of the houses like ants。 They
surrounded him; and asked him his name。 He was just about to give
it when he suddenly remembered the opening incident in Mr。
Stevenson's story。 He was so filled with horror at having realised
in his own person that terrible and well…written scene; and at
having done accidentally; though in fact; what the Mr。 Hyde of
fiction had done with deliberate intent; that he ran away as hard as
he could go。 He was; however; very closely followed; and finally he
took refuge in a surgery; the door of which happened to be open;
where he explained to a young assistant; who happened to be there;
exactly what had occurred。 The humanitarian crowd were induced to
go away on his giving them a small sum of money; and as soon as the
coast was clear he left。 As he passed out; the name on the brass
door…plate of the surgery caught his eye。 It was 'Jekyll。' At
least it should have been。The Decay of Lying
THE INDISPENSABLE EAST
What is true about the drama and the novel is no less true about
those arts that we call the decorative arts。 The whole history of
these arts in Europe is the record of the struggle between
Orientalism; with its frank rejection of imitation; its love of
artistic convention; its dislike to the actual representation of any
object in Nature; and our own imitative spirit。 Wherever the former
has been paramount; as in Byzantium; Sicily and Spain; by actual
contact; or in the rest of Europe by the influence of the Crusades;
we have had beautiful and imaginative work in which the visible
things of life are transmuted into artistic conventions; and the
things that Life has not are invented and fashioned for her delight。
But wherever we have returned to Life and Nature; our work has
always become vulgar; common and uninteresting。 Modern tapestry;
with its aerial effects; its elaborate perspective; its broad
expanses of waste sky; its faithful and laborious realism; has no
beauty whatsoever。 The pictorial glass of Germany is absolutely
detestable。 We are beginning to weave possible carpets in England;
but only because we have returned to the method and spirit of the
East。 Our rugs and carpets of twenty years ago; with their solemn
depressing truths; their inane worship of Nature; their sordid
reproductions of visible objects; have become; even to the
Philistine; a source of laughter。 A cultured Mahomedan once
remarked to us; 〃You Christians are so occupied in misinterpreting
the fourth commandment that you have never thought of making an
artistic application of the second。〃 He was perfectly right; and
the whole truth of the matter is this: The proper school to learn
art in is not Life but Art。The Decay of Lying
THE INFLUENCE OF THE IMPRESSIONISTS ON CLIMATE
Where; if not from the Impressionists; do we get those wonderful
brown fogs that come creeping down our streets; blurring the gas…
lamps and changing the houses into monstrous shadows? To whom; if
not to them and their master; do we owe the lovely silver mists that
brood over our river; and turn to faint forms of fading grace curved
bridge and swaying barge? The extraordinary change that has taken
place in the climate of London during the last ten years is entirely
due to a particular school of Art。 You smile。 Consider the matter
from a scientific or a metaphysical point of view; and you will find
that I am right。 For what is Nature? Nature is no great mother who
has borne us。 She is our creation。 It is in our brain that she
quickens to life。 Things are because we see them; and what we see;
and how we see it; depends on the Arts that have influenced us。 To
look at a thing is very different from seeing a thing。 One does not
see anything until one sees its beauty。 Then; and then only; does
it come into existence。 At present; people see fogs; not because
there are fogs; but because poets and painters have taught them the
mysterious loveliness of such effects。 There may have been fogs for
centuries in London。 I dare say there were。 But no one saw them;
and so we do not know anything about them。 They did not exist till
Art had invented them。 Now; it must be admitted; fogs are carried
to excess。 They have become the mere mannerism of a clique; and the
exaggerated realism of their method gives dull people bronchitis。
Where the cultured catch an effect; the uncultured catch cold。 And
so; let us be humane; and invite Art to turn her wonderful eyes
elsewhere。 She has done so already; indeed。 That white quivering
sunlight that one sees now in France; with its strange blotches of
mauve; and its restless violet shadows; is her latest fancy; and; on
the whole; Nature reproduces it quite admirably。 Where she used to
give us Corots and Daubignys; she gives us now exquisite Monets and
entrancing Pissaros。 Indeed there are moments; rare; it is true;
but still to be observed from time to time; when Nature becomes
absolutely modern。 Of course she is not always to be relied upon。
The fact is that she is in this unfortunate position。 Art creates
an incomparable and unique effect; and; having done so; passes on to
other things。 Nature; upon the other hand; forgetting that
imitation can be made the sincerest form of insult; keeps on
repeating this effect until we all become absolutely wearied of it。
Nobody of any real culture; for instance; ever talks nowad