Stry of higher and secondary specialized education of the republic of uzbekistan state university of world languages

Contents

Chapter 1. Oscar Wilde’s role in English literature 1.1. Oscar Wilde’s biography 6

1.2 Oscar Wilde’s literary style 12

Chapter 2. Oscar Wilde as a founder of a “ The picture of Dorian Grey ” genre in British literature 18

2.1. Main features and peculiarity of the novel 18

INTRODUCTION

The development of science and linguistic science in general is associated not only with the solution of current scientific problems, but also with the characteristics of domestic and foreign policy of the state, ensuring state educational standards that apply to producers. development that provides a social, economic society. It forms a society that can adapt quickly to the modern world. The conditions for reforming the entire education system, especially the issue of the world's help in improving the quality of scientific and theoretical aspects of the educational process.

The topic of this course is: Oscar Wilde’s Childhood Problems and “A Picture of Dorian Gray”.

The relevance of the course work is that it is important to provide information about Oscar Wilde’s literary works and his contribution to the genre of “Photo of Dorian Gray”.

The aim of the work is to describe the period of critical realism in the history of English literature and the place and literary works of Oscar Wilde in English literature.

This study guide outlines the following tasks:

-Oscar Wilde and his literacy;

An analysis of Oscar Wilde's "Portrait of Dorian Gray."

The theoretical value of the paper is that it provides theoretical information about the life of Oscar Wilde and his works, English literature.

The practical significance of the work is that it is used as material in the history of English literature and in reading lectures at home.

The content of the course work consists of an introduction, two chapters, a conclusion and a list of references. The first chapter is entitled "Oscar Wilde's Place in English Literature." The first paragraph is a biography of Oscar Wilde. The second paragraph is about "Oscar Wilde's Literacy" in English literature. The second chapter is entitled "The Problem of Children in O. Wilde's Portrait of Dorian Gray." The first paragraph of the second chapter is about the novel “Photo of Dorian Gray” and the protagonist Dorian Gray. The second paragraph is about the problem of the protagonists in the novel.

Chapter 1. Oscar Wilde’s role in English literature

1.1. Oscar Wilde’s biography
Oscar Wilde was a playwright, writer, poet, and critic of the English and Irish peoples. He left an indelible mark on the history of English literature as one of the greatest playwrights of the Victorian era. During his lifetime, he wrote nine plays, one novel, and many poems, stories, and essays. Wilde was a proponent of an aesthetic movement that emphasized aesthetic values more than moral or social themes. His teachings are expressed in the clearest words in the phrase “art for art’s sake”. In addition to his literary achievements, he was also famous or perhaps famous for his intelligence, wit, and work with men.

Oscar Wilde was born on October 16, 1854, in Dublin. Oscar’s mother, Mrs. Jane Francesca Wilde, has a reputation as a successful poet and journalist. He wrote patriotic Irish poems under the pseudonym Speranza. Oscar’s father, Sir William Wilde, was a leading ear and eye surgeon, a well-known philanthropist and a talented writer, who wrote books on archeology and folklore. Oscar's older brother Willie and sister Isola Francheska died when he was 10 years old.

He was educated at Portora Royal School (1864-71), Trinity College, Dublin (1871-74), and Magdalen College, Oxford (1874-78). While at Oxford, he became involved in the aesthetic movement and became an advocate for 'Art for Art's Sake' (L'art pour l'art). Whilst at Magdalen, he won the 1878 Newdigate Prize for his poem Ravenna.[ Karl Beckson Oscar Wilde: The Critical Heritage.]

After graduating from the University of New York in 1879, Oscar Wilde moved to Chelsea, London, to begin his literary career. In 1881, he published his first collection of poems - poems that were critically acclaimed by critics. He worked as an art commentator, lectured in the United States and Canada, and lived in Paris. He has also gained recognition by giving lectures in Britain and Ireland.

On May 29, 1884, Oscar married Constance Lloyd (died 1898), daughter of wealthy Queen's Counsel Horace Lloyd. They had two sons, Cyril (1885) and Vyvyan (1886). To support his family, Oscar accepted a job as the editor of Woman's World magazine, where he worked from 1887-1889.

In 1888, he published The Happy Prince and Other Tales, fairy-stories written for his two sons. His first and only novel, The Picture of Dorian Gray, was published in 1891 and received quite a negative response. This had much to do with the novel's homoerotic overtones, which caused something of a sensation amongst Victorian critics. In 1891, Wilde began an affair with Lord Alfred Douglas, nicknamed 'Bosie', who became both the love of his life and his downfall. Wilde's marriage ended in 1893. [O.W. “The Happy Prince and Other Stories”]

The character of Oscar Wilde in the Dublin Wild sculpture, Dublin Wilde’s greatest talent was in his skill in writing plays. Her first successful game, Lady Windermer, opened in February 1892. She created a series of very important comedies: For example, "The Important Woman" (1893), "The Ideal Husband" (1895), and "The Importance of Starting" (1895). All of these performances were highly regarded by high audiences and raised the Oscars to the highest level as a playwright.

In April 1895, Oscar sued Bosie's father for libel as the Marquis of Queensberry had accused him of homosexuality. Oscar's case was unsuccessful and he was himself arrested and tried for gross indecency. He was sentenced to two years of hard labor for the crime of sodomy. During his time in prison he wrote De Profundis, a dramatic monologue and autobiography, which was addressed to Bosie.[ The real trial of O.W 1895]

Upon his release in 1897, he wrote The Ballad of Reading Gaol, revealing his concern for inhumane prison conditions. He spent the rest of his life wandering Europe, staying with friends and living in cheap hotels. He died of cerebral meningitis on November 30, 1900, penniless, in a cheap Paris hotel.[ McKenna, Neil. 2003. The secret life of O.W]

During this time, Wilde developed a variety of interests that differed from each other. For a time he also thought of converting Catholicism from Anglicanism. He was in contact with Freemasonry in Oxford, and later in more contact with aesthetic and decadent movements. Wilde insulted “masculine” sports and deliberately created an image of himself as an esthetician. However, he was not helpless and gentle: according to some reports, when a group of students attacked him, he fought them alone.

After graduating, Wilde moved to London and began a serious writing career. His poems and songs have previously been published in various journals, and his first book of poetry was published in 1881, when Wilde was 27 years old. The following year he was invited to organize a lecture tour in North America to talk about aesthetics; because it was so successful and popular, the four-month planned trip was extended for almost a year. Although he was popular among a wide audience, critics left him under a lot of criticism in the press.

In 1884, he crossed paths with an old acquaintance, a wealthy young woman named Constance Lloyd. The couple married and set out to establish themselves as stylish trendsetters in society. They had two sons, Cyril in 1885 and Vyvyan in 1886, but their marriage began to fall apart after Vyvyan’s birth. It was also around this time that Wilde first met Robert Ross, a young gay man who eventually became Wilde’s first male lover.[ The Complete Letters of O.W.]

Wilde was basically a kind and caring father, and he also did all sorts of things to feed his family. She also worked as an editor for a women’s magazine, selling short works of art and also developing essay writing. Oscar Wilde has achieved good results that he has tested himself in every field.

At the age of 23 Wilde entered Magdalen College, Oxford. In 1878 he was awarded the Newdigate Prize for his poem "Ravenna." He attracted a group of followers, and they initiated a personal cult, self-consciously effete and artificial. "The first duty in life," Wilde wrote in Phrases and Philosophies for the Use of the Young (1894), "is to be as artificial as possible." After leaving Oxford he expanded his cult. His iconoclasm contradicted the Victorian era's easy pieties, but the contradiction was one of his purposes. Another of his aims was the glorification of youth.[ Holland, Merlin. 2003.]

Wilde published his well-received Poems in 1881. The next six years were active ones. He spent an entire year lecturing in the United States and then returned to lecture in England. He applied unsuccessfully for a position as a school inspector. In 1884 he married, and his wife bore him children in 1885 and in 1886. He began to publish extensively in the following year. His writing activity became as intense and as erratic as his life had been for the previous six years. From 1887 to 1889 Wilde edited the magazine Woman's World. His first popular success as a prose writer was The Happy Prince and Other Tales (1888). The House of Pomegranates (1892) was another collection of his fairy tales.[ Hyde, H. Montgomery. 1948]

Oscar Wilde’s most famous work is Dorian Gray. Dorian Gray was published in 1891 in book form. This novel mainly explores the problems of the youth problem. A characteristic of Dorian Wilde is his orphanhood. He is not old and he is a criminal. Like all of Wilde’s works, the novel was a famous success. His only official critical book, Intentions (1891), echoed many of the aesthetic views that Dorian Gray emphasized, and this points to his later plays and stories. They emphasized the importance of criticism in a century that Wilde considered non-critical. For him, criticism was an independent branch of literature, and its function was vital.

Between 1892 and 1895 Wilde was an active dramatist, writing what he identified as "trivial comedies for serious people." His plays were popular because their dialogue was baffling, clever, and often epigrammatic, relying on puns and elaborate word games for its effect. Lady Windermere's Fan was produced in 1892, A Woman of No Importance in 1893, and An Ideal Husband and The Importance of Being Earnest in 1895. [Hyde, H. Montgomery. 1948]

On March 2, 1895, Wilde's son, Lord Alfred Douglas, filed a criminal slander against the Queensbury Marquez for his friendship. In April, when his suit failed, counter-payments came. Following a remarkable trial, Wilde was convicted of homosexuality and sentenced to 2 years in prison under harsh working conditions.

Prison radically altered Wilde's experience, as did his introduction of homosexuality in 1886. In a sense, he had prepared himself for imprisonment and a change in his art. De Profundisis, a friend of Wilde's in prison, and an impressive letter of apology; it was first published in 1905. His theme was that he was not like other men and was a sin goat. Reading was written after the release of the Gaol Ballad (1898). In this poem, a man kills his girlfriend and is on the verge of execution, but Wilde sees her as a criminal like all of humanity. He wrote, "Everyone kills what they love, but not everyone dies anyway."[ Wilde, Oscar. 1891. The Decay of Lying]

Wilde was an outstanding student in college, first winning the Berkeley Gold Medal at Trinity College in Dublin, and then the prestigious Newdigate Prize in 1878 for his poem “Ravenna” at Magdalen College, Oxford University. In Oxford, Wilde was influenced by Walter Pater, a critic and writer and professor, and Walter Pater, a critic and essayist who legitimized Wilde’s new ideas about art and individualism.

His B.A. In Oxford, Wilde settled in London in 1879, and two years later his first book of poems was published. Most of the poems in this volume have previously been published in various periodicals in Ireland. The collection met a variety of reviews in the UK that were less convenient than in the US.

For example, some of these early poems - for example, “Panthea” - are poems that glorify pleasure and emotion, as expected from a young esthete: “feeling is better than knowing”. Epifanio San Juan summed up the Panthey's argument in Oscar Wilde's Art: "Let us live with pleasure because the gods are indifferent." For example, other poems - “Helas” and “E Tenebris” - are a reflection of moral consciousness and even remorse. In E Tenebris, the poet says, "And I know that my soul in hell must lie / if I stand before the throne of God tonight." As Philip Cohen points out in Oscar Wilde’s ethical view, this moral tension is paradoxically woven throughout Wilde’s work, although despite his contradictory explicit statements, such as in the preface to Dorian Gray’s painting: “No artist is morally compassionate. Moral kindness in the artist is an unforgivable style. ”This morality and remorse are fully expressed in De Profundis’s letter to the prisoner. Perhaps the best poems of 1881 are poems called“ Impressions, ”in which“ Wildness and generality in depicting scenes. complexity, "said San Juan." Colors, sensations of touch, and strange "animistic" vibrations characterize physical movements as in Impressions du Matin. "[Wilde, Oscar. 1891. The Decay of Lying]

Among Wilde's most famous poems is "The Sphinx." The strangest of all Wilde’s poems begins with a crow-like sphinx planted in the corner of the poet’s room, and continues through a series of imaginary scenes depicting the sphinx as a goddess, prophet, and lover. Critics criticized the work for being noisy and artificial, but later critics found remarkable qualities; Among all of Wilde’s poems, “The Sphinx” betrays the masculine energy that enlivens the magnificent landscape that combines religion, iconology, and historical facts only within a stream of meditation and monologue.

Wilde lived in France after his release from prison. He tried to write drama in his first trial style, but the attempt failed. He died on November 30, 1900 in Paris.

1.2 Oscar Wilde’s literary style
Wilde wrote his only novel, arguably his most famous work, in 1890-1891. Dorian Gray’s photo focuses on the man who trades to get his aging with a portrait so that he stays alive and beautiful. Critics at the time ignored the novel because it reflected hedonism and blatant homosexuality. However, it is as durable as the English classics.

Over the next few years, Wilde turned his attention to drama. His first play was the tragedy of Salome in French, but he soon switched to English moral comedies. A fan of Lady Windermer, an insignificant woman and an ideal husband, she appealed to her community, while at the same time criticizing her delicately. These Victorian comedies often revolved around Persian conspiracies, but they found ways to criticize society, which made them very popular among the audience, but criticized more conservative or critical critics.

Wilde’s final game would have been his work. Debuting on stage in 1895, the importance of being an Earnest detached from Wilde’s “stock” plots and characters, while at the same time creating a comedy in the hall that embodied Wilde’s smart, socially sharp style. It became his most famous and also the most praiseworthy work.

Wilde's life began to unfold when he was in a romantic relationship with Lord Alfred Douglas, who introduced him to some prominent aspects of London's homosexual society (and created the phrase "love that doesn't dare say his name"). Lord Alfred's divorced father, the Queensbury Marquez, came alive, and a feud arose between Wilde and the Marquess. When Queensbury accused Wilde of simplicity and left a calling card, the scandal reached a boiling point; angry Wild decided to sue for libel. The plan did not work because Queensbury's legal team set up a defense based on the fact that if this was true, it could not be slandered. Details of Wilde’s relationship with men, as well as some blackmail material, came out, and even the moral content of Wilde’s writings was criticized.[ Wilde, Oscar. 1891. The Decay of Lying]

Wilde’s tales deserve more attention than they get in general. A few of them are little prose gems, most notably "The Happy Prince," "The Nightingale and the Flower," "The Selfish Giant," and "The Fisherman and His Spirit." But they also need to be taken seriously for another reason: they embodied some of the conflicts and themes that have arisen throughout Wilde’s entire career. The “Happy Prince” emphasizes the importance of self-sacrifice, even sacrifice, to improve the condition of the poor. This message predicts some of Wilde’s later ideas in his book, The Spirit of Man under Socialism. “Nightingale and the Rose” deals with giving in the same way, but here the emphasis is on the need to sacrifice for love. Wilde’s love of beauty and his understanding of its transient quality are reflected in this story of a nightingale who sacrificed her life to create the perfect rose. In the final satirical twist of the story, the beautiful rose is rejected because it doesn’t match the color of the young girl’s dress. At Oscar Wilde, Robert K. Miller announced that this absurd twist would reveal Wilde's "ambivalence of love" in relation to his ambivalence towards women. In The Self-Thinking Giant, the protagonist overcomes his selfishness towards children and thus serves as an allegory of the salvation of Christians.

The giant’s imaginary sympathy is similar to Wilde’s next work depicting Christ in De Profundis. From the second volume, "The Fisherman and His Spirit," are Wilde's most intricate tales; it was described by John A. Quintus in the Virginia Quarterly Review as "another treatment of the doppelgänger theme that separates body and soul, as in Dorian Gray's painting." When the body returns to the normal state that corrupts the soul, the Fisherman’s spirit - the Fisherman who resisted him to love the mermaid - tempts his body to sin, and as a result the tormented body and soul unite. Both Quintus and Miller emphasized Wilde’s moral point of view in these stories. This element has already been observed in some early poems, and it reappears in Wilde's novel The Portrait of Dorian Gray. But Quintus was careful to point out that "Wilde's tales ... were not intended to encourage faith or to propagate Christianity."[ Wilde, Oscar. 1891. The Soul of Man Under Socialism.]

Just as they sometimes seem to be a moral example, his tales also have their own uncertainties: love is complex, and sometimes unanswered; the error is not always recognized; sin, the means of achieving harmony in The Fisherman and His Spirit, is a version of Wilde's felix culpa, the happy fall. In July 1889, Wilde resigned from the Women's World editorial board and decided to write a picture of Dorian Gray. It is a unique novel by Wilde, a mixture of French decadence and English Gothic. It sometimes falls to the level of smooth melodrama and thoughtful theory, filled with genuine humorous dialogue and beautiful pictorial passages. The novel details the life of the hedonistic aristocrat Dorian Gray.

When Dorian sees Basil Holward’s self-portrait, he wants it to change places with its resemblance, to always be young and beautiful, and to have the effect of time - and, ma ’ as it turns out, the effect of sin. As in the world of fairy tales, the wish is fulfilled, but at a terrible price. While he was painting Dorian Gray, Wilde became friends with Robert ("Robbie") Ross, whom he first met at Oxford in 1886, and later served as Wilde's literary performer after Wilde's trials and tribulations. Wilde's horrors of two years in prison. H. Montgomery Hyde, in his Oscar Wild: Biography, provided "a strong basis for believing that Wilde was with [Ross], who first deliberately experimented with homosexual practice." [Wilde, Oscar. 1891. The Soul of Man Under Socialism.]

Ross kept Wilde informed of all the literary gossip, and when Dori Gray appeared in Lippinkot's Monthly Magazine in 1890, Ross wrote to her: "Even in Savile's plots there is nothing but praise for Dorian Gray. To be very dangerous. I am a priest. I heard him praise it, he just regretted some of the thoughts ... to mislead people. ”Most of the commentaries on the novel were hostile because of the alleged distortion and immorality of the book. The brutal attack on The Scots Observer hinted at Wilde’s homosexuality and offered him a job as a seamstress or any other “decent” trader. For the hard-cover edition of the novel, which was published the following year, Wilde made some changes, the most important of which was the addition of six chapters and a famous epigrammatic introduction.[ The Picture of Dorian Gray. Penguin Classics. Mighall, Robert]

Wild clearly remembered Arnold in The Critical Artist when he overthrew the famous dictator that his predecessor's task of criticism was to see the object in its original state: This is not a play on paradox for Wilde, as this whole essay seeks to show that criticism is creative, that the critic uses the work of art as a leapfrog for his imaginative activity. the higher it rises, the better the critique. In the same way that the critic can be superior to the artist, the artist is superior to the man of action. The man of action has the least imagination because action is the "basic privilege for truth." "Imaginary freedom is a key element in Wilde's critique.

In" The Decay of Lies "he emphasizes that lying is a necessary condition of art, because in that case there is nothing but basic realism. the problem with snakes, Wilde points out, is that writers don’t lie enough; they do not have enough imagination in their works: "they find life raw and leave it raw." In this essay, Wilde makes a seemingly sad statement that “life mimics art more than art mimics life”.

While perhaps exaggerating the truth, Wilde convincingly discusses the many ways in which our perceptions of reality are influenced by the art we experience, an idea borrowed from poet and critic Samuel Taylor Coleridge and other English romantics. The soul of the man under socialism, though not collected in the Intentions, was published in the same 1891.

Wilde’s friends in the community must have been amazed at his promotion of socialism, but the conclusions of this essay are consistent with other essays - if we accept his views on socialism. Wilde promotes non-authoritarian socialism, under which the individual is freed from the burden of poverty or the burden of greed and guilt.

As Michael Helfand and Philip Smith point out in a study of literature and language in Texas, “Wilde developed a non-authoritarian socialist theory that saw the reduction of aesthetic activity and competition (and thus natural selection) as a way to achieve sustainable cultural life. . and social beautification. ”For Wilde’s earlier emphasis on the imagination, he now emphasizes individualism, both of which, he assumes, evolved during the socialist era.[ The Picture of Dorian Gray. Penguin Classics. Mighall, Robert]

Wilde's last important essay was written during his imprisonment. The events leading up to Wilde's arrest began when Lord Alfred Douglas's father, Queensbury's Marquee, tried unsuccessfully to end the relationship between his son and Wilde. Angered by his failure, he went to Wilde’s club and left his card to Oscar Wilde, who identified himself as a somdomite.

While reading Gaol, at the end of his term, Wilde wrote a long letter to Lord Alfred Douglas called De Profundis. A heavily edited version of this letter was published in 1905; The entire work did not appear until 1962, when the full edition of Rupert Hart-Davis's Wilde's Letters was published. As a work of art, De Profundis suffers from a split goal because his audience is multiple. Initially, Wilde intended the letter to be read by more people than just Douglas. At the end of the play, he describes both his weaknesses and those who later assessed De Profundis:

“Disgust and bitterness come at the beginning of the letter, which angers Douglas for his lack of imagination and spirit. Wilde then changes his position and accepts any blame for the outcome of the events. But the brutality of the early denunciation leads to a hollow weeping statement: “To regret one’s own experience is to stop one’s own development. To deny one’s own experiences is to lie on the lips of one’s life. It's like denying the spirit. " In general, although it is beautifully written, the letter suffers from this vague tone, and, as George Woodcock points out, presents Wilde's sentimentality "in the most infuriating depth in De Profundis." Still, the play contains fragments of real power, as it describes Wilds ’life in prison and the ridicule given to him during his move from Wandsworth to Reading. And Wilde repeats the most important critical principles in previous essays: individualism, imagination, the importance of self-expression and self-improvement. In De Profundis, Christ becomes the archetype of the artist, "the highest of the individualists."[ The Portrait of Mr W. H.. In: Complete Short Fiction.]

Wilde's last work, The Ballad of Reading Gaol, was written shortly after his release from prison in 1897. In The Commentary Oscar Wilde, Yats called it a "great or almost brilliant poem," but the fact that he chose only 38 of them means that the poem is 109 lines long for publication in the Oxford Modern Byte Book, which means he is aware of the work's scattering. The poem was written in 1898 without Wilde's name, but "C.3.3." Reading with identification appeared with the cell number in Gaol. The ballad tells a very moving story of a man sentenced to death for killing his young wife and the horror of the prisoners who are going through his last days. In the poem, Wilde is always a part of the realism he hates, but he prefers 19th-century prison life to discussing themes of suffering, isolation, and public guilt (“Still, everyone reads what they love. ldiradi "). The poem is considered the most successful of Wilde’s non-dramatic works because, as Robert Keith Miller puts it, Wilde himself is “no longer in the spotlight”. The speaker is a prisoner, but the focus is on the convicted person first, and then on all prisoners as a group.[The Portrait of Mr W. H.. In: Complete Short Fiction.]

From Wilde’s death until the late 1940s, critics chose to focus on the person rather than on his biography, ”writes Debra Boyd, a contributor to the Dictionary of Literary Biography. Even then, Wilde "fell into the details of the Victorian-era writers' pantheon, mostly admiring the film The Importance of Being an Earnest, or believing it to represent the Aesthetics or Decadent movement." But in recent decades, Boyd continued, the author's reputation has risen. “Additional biographical and textual material was provided,” critics and scholars said, improving Wilde’s sense of his work. “Furthermore,” Boyd says, “poststructuralist criticism and gay research have provided scholars with a variety of theoretical foundations for studying Wilde’s work.[ The Portrait of Mr W. H.. In: Complete Short Fiction.]

Boyd later referred to several scholars, such as Jonathan Dollimor and Richard Dellamora, who “added Wilde to the list of writers who explored the sexual and political dimensions of art”. Boyd points out that even in such a favorable environment, scholars tend to turn to longer fiction, such as the author’s dramas and Dorian Gray, to ignore Wilde’s shorter works. “More attention needs to be paid to his short work of art,” he said. “In the age of modern literary theory, few writers are able to articulate the theoretical foundations for their works, and then put into practice what they preach. Wilde's stories show that he combined theory and practice to create works of art that were well-suited to critical scrutiny.[ Critical Essays on Oscar Wilde]

The author has been the subject of many biographies in both the book and the film, most notably Richard Ellman’s 1988 Oscar Wilde and the dramatic film Wilde, released in the late 1990s. Just as Wilde established his place in the literary canon of the playwright and poet, Correspondent Wilde was also the object of critical expertise. The author has published several volumes of letters, including "Complete Letters from Oscar Wilde," supported by Wilde's granddaughter Merlin Holland and published in 2000. In his introductory part, Holland describes how he encountered the full texts of letters previously published only in fragments. In the eyes of his grandson, the Missionists point to another aspect of Wilde besides the creator of social comedies and poems. With these letters preserved in the Netherlands, the readers refer to the author as "a very extraordinary classical, literary, and philosophical educator who is deeply interested in the problems of his time and carries in his intellectual baggage what we all often overlook.

Chapter 2. Oscar Wilde as a founder of a “ The picture of Dorian Grey ” genre in British literature

2.1. Main features and peculiarity of the novel
Recognized as the leading genre of the last two or three literatures, the novel has attracted the attention of centuries, literary critics and critics. It is also the subject of the writers' own opinions. However, this genre still survives. Very different, sometimes contradictory, opinions are expressed about the historical destinies in the novel and its future. His - written by Thomas Mann in 1936 - is a novel of prose quality, awareness and criticism, as well as its richness, its easy and efficient control of the display, its ability to study music and knowledge, its mythology and science, its human breadth, objectivity and satire. what makes it a monumental and dominant view of literature today.

So what is a novel? Their statements, given by many eminent scholars and literary scholars, are intended to explain this term, but their definitions are still incomplete. I have decided to demonstrate and describe the most striking features of the novel in this course work, and in general, I would like to express my thoughts on Oscar Wilde’s distinctive novel.

One of the greatest personalities Belinsky called an epic novel of personal life: the subject of this genre, the "fate" of the individual, "simple, everyday life." In the second half of the 1840s, critics argued that the novel and the events surrounding it were “now the responsibility of all branches of poetry”.[ Wilde, Oscar. 1891. The Decay of Lying]

Relying on the judgment of eighteenth-century writers, H. Fielding and K.M. Vieland, the scholar Bakhtin is not the author of "Epic and Novel (‘ On Research. ') Novel Methodology'1941) Novel Hero " a finished and unchanging, but changing, changing, taught life '. Here, returning to the novel, we see not only the main character, but also his development of the characters that surround him. First of all, this is Basil. His art and Dorian Gray change with his appearance. ‘I am always my own master; That was at least until I met Dorian Gray. I knew I had come just to face a man whose personality was so charming, that if I was allowed to do so, he could master my whole nature, my whole heart, my art. ” After meeting Dorian, Sibyl Van’s life also changed radically. He saw the world in which he lived and the artificiality of the feelings he felt. ‘I knew nothing but shadows and I thought they were real. You came and set me free from prison. " But realizing this was devastating for him. Most Lord Henry underwent imperceptible changes. After all her ridicule and sarcasm, the marriage seems a little remorseful of her divorce - ‘Poor Victoria! He likes it when I was there.[ Wilde, Oscar. 1891. The Decay of Lying]

As you know, a novel is a long prose story that usually depicts imaginary characters and events in the form of a sequence. According to the novel genre, the story was completely fictional, but as he expressed his ideas, Wilde portrayed himself in 3 characters: “This is a tragedy that reflects my life. Harry this world is what I think. Who I am is what I think. I wanted to be who he was ... maybe in a different life. " [Wilde, Oscar. 1891. The Decay of Lying]

The narrative style of the novelist Oscar Wilde is very traditional and common in nineteenth-century literature: the author tells his story in the third person, and if we do not take into account the short preface of the novel, he is impartial. "Opening art and hiding the artist is the goal of art." This thesis, mentioned in the introduction to the novel, takes on Incarnation.

I would like to highlight a special type of novel, The Portrait of Dorian Gray, commonly referred to as “philosophical fiction”. Hence, philosophical fiction refers to works of art in which a large part of the work is devoted to discussing a series of questions that are usually considered in discursive philosophy. Here in the novel we have philosophical problems primarily devoted to art - its role in society and its existence for a particular person and its purpose.

First, the idea of art is given in the introduction, in which the author gives information about it in several aphorisms that may contradict each other. Second, the novel itself contains characters that represent the author’s view of the problem. They are Basil Holward and Sibyl Wayne. And when Dorian invaded their art - the most precious thing they had in their lives - they suffered, but the punishment fell on him anyway.

Now that we know some of the features of the novel in general I want to express my thoughts on this work of art as Wilde’s philosophical emblems. Throughout the book, we feel the wonderful philosophy of aesthetics and the hedonism that makes the novel a brilliant literary work:

1) minute details (e.g., Sibyl Van's description - "a girl's face like a flower, a small Greek head wrapped in dark brown hair, eyes with purple passion wells, lips resembling rose petals"

2) the diversity of the world of huge objects

3) Symbols (they always draw us to specific things) events or unusual associations) (here is a portrait, a description of the weather ("the wind blew the fog and countless golden eyes in the sky") a horrible peacock tail depicted with "- as if" Eyes "had seen his horrible work), a book that poisoned him, a room with a portrait, his zeal for dandy, the philosophy of hedonism, the Roman Catholic Church ceremonies, etc.)

4) replacing the real world with a world of myths and legends (it could be) The names given to Dorian - Adonis, Paris, Narcissus; the connection between the mysterious he and his portrait is reminiscent of his relationship with Faust.

I suggest commenting on some of the paragraphs further. The novel of personal attention deserves a detailed description of elegance suits. Take Dorian’s description of Sibyl Wayne, for example: ‘When she came in her son’s dress, she was amazing. He was wearing moss cinnamon sleeve colored velvet jerkin, thin brown cross hose, hawk feathers held in jewelry, and a soft green cap with a hood covered in a dull red. She had never looked more elegant. ‘The book is full of exotic visual techniques, in this manifesto and originality as an aesthetic literary movement and Wilde’s personality as a writer. Such an exotic is clearly seen in the descriptions of reality, so it is invalid exotic. Also Wagner, Chopin, Shubert.

These include elegant colors, perfume names, jewelry and more. For example, some small pictures that give an exotic concept visual methods: ‘honey is pleasant and the honey-colored flowers glow his lips, his trembling horns, seemed almost unbearable a load of beauty like a flame like theirs; and fantastic now and then the shadows of the flying birds flew through the long silken silk curtains stretching out in front of a huge window, creating a moment The Japanese effect ... The dim beehive of bees is crossing the road walking around with the same demand under unknown long grass or dust. The golden horns of the bare wood seemed to intensify the silence oppressor '. The author carefully describes the images of flowers, bees, birds -anti-static action. Reminiscent of an exotic unfit self and image whether living room, library or conservatory.

For example, in the description of Lord Henry’s library, a luxury armchair charming room, olive-painted panels oak , cream frieze, silk long-haired human rugs, sculpture. A copy of Les Cent Nouvelles, linked to Margaret Valois, "Clovis Eve ',' big blue porcelain dishes' - traps of luxury and elegance. Chapter 11 of the novel, especially rich in exotic descriptions, it has to do with the longevity of the protagonist. This exoticism begins in the first paragraph.

It should be noted that one of the most interesting features The novel is a written language. The most common methods used image creation by the author metaphor, metonymy, comparison, personalization, graduations, and metaphors. The author uses empathy repeating the technique and making it more accurate with inversion. That's all things make the language of this gem more colorful and multifaceted.

To crown all of this, let’s turn to time in the novel. Fable frame “Portrait ...” evoked a parallel life cycle of Dorian Gray and his painting canvas. Until the life of the protagonist assumes the function of a portrait external variability and the presence of a portrait after the death of the protagonist no interest. So this is the only way to characterize the appropriate time a particular novel.

2.2 Analysis of “ The picture of Dorian Grey “ written by Oscar Wilde

A portrait of Dorian Gray opens in the studio of artist Basil Holward in London. Lord Henry "Harry" Wotton, lying next to him and smoking a cigarette. Basil is finishing painting a portrait of a “guy in extraordinary personal beauty”. Lord Henry praises the portrait as Basil’s best work and emphasizes that it should be displayed in a suitable gallery. Lord Henry was surprised and said that Basil would not show it anywhere: "I put too much of my own in him."[ The Picture of Dorian Gray. Penguin Classics. Mighall, Robert]

Basil tries to keep the originality of the subject of the painting a secret from Lord Henry, then accidentally reveals that the handsome young man’s name is Dorian Gray. Basil admits that he prefers to keep celebrities to himself, even not telling their names to others, because he thinks he might lose some of them. In fact, he "became a lover of privacy." Even when he travels, he keeps his destination a secret, an event that will later become important in the story. Lord Henry responds that he understands, but he is more interested in why Basil does not display the portrait.

Basil responds that any painting made with real emotion reveals more to the artist than the subject. She is afraid that the picture will reveal the secret of the heart. Basil explains how he met Dorian at Lady Brandon’s house. He felt horrified when he saw Dorian, for he felt that the young man's characteristic was strong enough to absorb him. Most importantly, Dorian Basilda inspires a new approach to art and allows him to create the best work of his professional life. He does not display the portrait because the Basil community is concerned about Gray’s identification with personal and artistic idolatry. Based on the basic principle of aesthetics, he suggests that the artist should create a beautiful work for himself; art should mean nothing. He dismisses artists and critics who see art as a means of biographical expression, and he refuses to think of his work in this way.

When Lord Henry expresses a desire to meet Gray, Basil explains to both Dorian and the picture that he wants to hide Dorian and the picture so that the world will never know about his “curious artistic idolatry”. Lord Henry suggests that Basil's feelings pass and he eventually becomes indifferent to Dorian, but Basil disagrees.

At that moment the butler, who had announced Dorian's arrival, came in, and Lord Henry laughed that we should meet now. Before Dorian enters the waiting studio, Basil asks Lord Henry not to influence or take away the person who inspired him as an artist.

The first chapter gives information about the two main characters of the book and the reader will have a good knowledge about them. Basil is an artist of seemingly independent means. He is secretive and Wilde even mentions that Basil disappeared in the past without warning. In addition, the peculiar nod of the head that “makes his friends laugh at him at Oxford” describes Basil as a strange but pleasant, friendly man.

Although Basil claims to be independent, he overcomes him immediately after meeting Dorian, and immediately becomes dependent on Dorian as his museum, soul, art, and life. Basil’s interest in Dorian is both professional and personal. Dorian Basil inspires the idea of a new art by combining Greek perfection with a romantic passion. However, more personal things in attraction have every meaning. Basil is also a jealous man, trying to save Dorian from Lord Henry to be with him.

The other main character mentioned in Chapter 1 is Lord Henry Wotton, a very intelligent, confident, manipulative man. He smokes opium-contaminated cigarettes everywhere and dominates wherever he is and whoever he is with. She is very thoughtful and enjoys a deep voice. Like Wilde himself, Lord Henry often speaks in aphorisms. While talking to Basil, Lord Henry chooses a lawn to inspect the lawn, then separates the daisy, which symbolizes his role as a manipulator and destroyer for beauty for his own romance. While it may seem strange to classify a picture as a character, Basil’s portrait of Dorian plays such an important role in the book that the reader was actually introduced to the picture as a character before meeting Dorian himself. Perhaps Wilde shows that Dorian’s reputation in physical beauty preceded him and was more important to his character than any other attribute.

In any case, the presence of the portrait in Chapter 1 allows the reader to hear something about Dorian before his character appears in the novel. Basil talked at length about Dorian, his charm, as well as "But he doesn't think horribly from time to time and seems to really enjoy giving me pain." This description connects Dorian with Lord Henry as a manipulator and then predicts their close relationship. Chapter 1 also reveals some important themes of the novel: the connection of beauty with the mind and the heart, and the importance and power of beauty with its transient nature. Discussing the advantages of beauty over reason, Basil argues that "for all physical and intellectual differences, there is death, like the stepping steps of kings who have been dog-like throughout history." Basil’s statement shows that physical and intellectual perfection is often the downfall of those who possess them. The reader should emphasize how true Basil’s statement is throughout the novel.

Wilde points out that Lord Henry displayed his public reputation, but the author really looked like Basil and dreamed of being like Dorian. Although the reader must always take care in accepting Wilde’s comments at face value, he was a creative artist like Basil and less secure than his personal reputation. She really admired the youth and beauty that Dorian possessed. Still, Lord Henry is the Wildon character of this novel: bright, intelligent, and manageable.

Picture of Dorian Gray characters. Dorian Gray Four characters are important for this novel, and the most important of them is Dorian Gray. Dorian and her beauty are at the center of this story. When Dorian opens the novel, Basil is as young, clean, and surprisingly beautiful as the character who drew him. However, unlike other human beings, Dorian remains eternally young, and the picture of Basil dedicated to him shows signs of Dorian’s every immoral act. Dorian may be beautiful, but he is a shallow, self-centered, self-destructive man.

Dorian Wilde creates a portrait of complex characters. Wilde cared a lot about beauty and stressed that she didn’t need any other foundation. However, the portrait he painted of Dorian is actually very disgusting. This man may be physically attractive, but he leaves behind broken hearts, corrupted reputations, and traces of the dead. Dorian’s name is important, but vague. His last name, gray, means morally neither black nor white (or it could be black or white). Its name combines several possible meanings. Doris was a Greek people, and Doris was a beautiful mother of Dorian in Greek mythology and a sea nymph who combined her unique supernatural beauty. In French, d’or means “gold” or “gold,” which also describes Dorian’s stunning beauty. The name can also be read as secret information about a specific model of homosexual relationship between an older and younger man, known as “Greek” or “Dorian” love.

Basil is the second of four characters at the center of the novel. Rayhon is a mature man. He is an ordinary artist on the contrary. She is concerned with prestige and good manners, as well as creating and possessing beauty. Since he was the main artist in the novel, the introduction should be read with reference to him. Wilde opens his introduction with "The Artist is the Creator of Beautiful Things." There is something here: Basil created a beautiful portrait of Dorian. But that’s partly beautiful, because it allows Basil to worship Dorian in the picture - and he doesn’t stay beautiful. Only Dorian does. Does that mean Basil creates Dorian? This does in part: it certainly alleviates Dorian’s unnatural status.

Lord Henry Votton wrote at the beginning of his introduction to this novel, Oscar Wilde: "A critic can turn his impression of beautiful things into another style or new material." If so, Lord Henry is, among other things, a critic. Where Basil draws, but does not have to explain his art, Henry explains beauty, art, and life in a way that radically changes Dorian. Basil may reflect Dorian’s beauty on the canvas, but it is Henry who explains its meaning in a way that makes Dorian aware of its importance. Henry is both cynical and disgusting. He lives a life that is shown to the world for pleasure and, according to his claims, under his own lights. Oscar Wilde once wrote about the three main characters in the novel: "Basil Holward - that's what I think: Lord Henry is what the world thinks of me: I wanted to be a Diyorian - probably in other centuries as well."[ The Picture of Dorian Gray. Penguin Classics. Mighall, Robert]

Sibyl Van's name has a deep symbolic meaning. In ancient Greece, the Sibyls were in sacred shrines. The gods spoke through them. However, Sibyl Van is an actress and the theologians who speak through her are human artists. He and Dorian change the same idea; they are living art. His last name has different meanings. She is so beautiful and it would be appropriate to talk to her in vain, but it is not.

Instead, unfortunately, he lives in vain, dying young as a result of his complex relationship with simplicity and art. His flourishing love for Dorian moves him when the wind blows the weather and changes his outlook on life, and thus he is dedicated to his acting career. Sibyl is young and poor. He pours himself into full acting because he has to escape reality, and acting allows him to imagine a better life for himself. After Dorian falls in love with her, her performances get worse. According to him, there is no need for acting to escape this way anymore. If so, students may wonder why Basil is painted so well.

Sibyl Wayne's defensive brother, James Wayne, is also known as "Jim." He does not believe the aristocratic claimant that Sibyl and their mother knew the prince to be "charming." If he harms Siberia, he swears to kill the prince. James joined the Navy and sailed to Australia before Dorian left Sibyl to die. A few years later, James returns to England and embarks on a long search to find the man he found guilty of his sister’s death. He accidentally hears the woman call someone "Prince Charming"; she catches a man named Dorian who is trying to kill her.

When Dorian emphasizes that James is too young to be the person he is looking for, James is horrified and apologizes. Then, as if aware of the young man's guilt, he somehow accompanies Dorian to the property of his village. James, who was waiting to kill Dorian, managed to get to the wrong place at the wrong time, and one of Dorian's guests accidentally shot him. Thus, James became connected to Dorian Gray and became the second family to die violently.