O.Wilde, Preface to 'The Picture of Dorian Gray'

The artist is the creator of beautiful things. (...)
Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only Beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. (...)

No artist is ever morbid. The artist can express everything. (...)
All art is at once surface and symbol. Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree the artist is in accord with himself...


O. Wilde (1854-1900),
Preface to 'The Picture of Dorian Gray'


Tuesday, September 13, 2011

Oscar Wilde, quotations

                                                                                         


Oscar Wilde


1854 - 1900





Irish dramatist,
novelist and poet






‘Morality, like art, means drawing a line someplace’


‘One should always play fairly when one has the winning cards’


‘Anyone who lives within their means suffers from a lack of imagination’


‘Always forgive your enemies; nothing annoys them so much’


‘Arguments are to be avoided; they are always vulgar and often convincing’


‘Biography lends to death a new terror’


‘Consistency is the last refuge of the unimaginative’


‘Every portrait that is painted with feeling is a portrait of the artist, not of the sitter’


‘Fashion is a form of ugliness so intolerable that we have to alter it every six months’


‘I was working on the proof of one of my poems all the morning, and took out a comma. In the afternoon I put it back again’


‘If you want to tell people the truth, make them laugh, otherwise they’ll kill you’


‘Illusion is the first of all pleasures’


‘To live is the rarest thing on the world. Most people exist, that is all’


‘The book that the world calls immoral are books that show the world its own shame’


‘I don’t want to go to heaven. None of my friends are there’


‘Every saint has a past, and every sinner has a future’


‘A cynic man is a man who knows the price of everything, and the value of nothing’


‘Who, being loved, is poor?


‘You don’t love someone for their looks, or their clothes, or for their fancy car, but because they sing a song only you can hear’


‘With freedom, books, flowers, and the moon, who could not be happy?’


‘I have nothing to declare except my genius’


 

Friday, September 09, 2011

Il Corvo, E. A. Poe



Edgar Allan Poe            

                                                       
1809 – 1849


American author, poet, editor
and literary critic
(American Romantic Movement)







Il Corvo
    (1845)

Mentre, debole e stanco, verso la mezzanotte
scorrea d’antico libro pagine strane e dotte
sonnecchiando, ad un tratto come un picchio ascoltai,
un lieve, un gentil picchio de la mia stanza all’uscio.
- E` qualcuno che picchia de la mia stanza all’uscio,
e non altro, – pensai.

Ricordo. Era il dicembre freddo, e ogni tizzo lento
si spegnea disegnando l’ombra sul pavimento.
Il dì solo anelavo – dacchè invano cercai
oblio nei libri al duolo per la morta Leonora –
per te, raggiante vergine, che in ciel chiaman Leonora,
e qui nome non hai.

E il triste incerto fremito de le rosse cortine
tema ignota e fantastica m’incutea senza fine,
sì che, a calmare i battiti del cuore, io mi levai;
indi: – E` qualcun che picchia de la mia stanza all’uscio,
qualcun che varcar vuole de la mia stanza l’uscio,
non altro, – mormorai.

Calmato allor lo spirito, senza esitare ancora:
- Da voi perdono imploro, signor – dissi – o signora;
ma il fatto è che dormivo, e voi pur piano assai
picchiaste, così lieve della mia stanza a l’uscio,
che avervi udito appena mi pare. – Ed aprii l’uscio;
ma sol bujo trovai.

Dubbio e timor nel bujo m’assalsero, e stupito
restai, sogni seguendo che mai uomo ha seguito;
ma ognor silenzio e tenebre intorno a me scrutai,
sol bisbigliossi un motto, il nome di Leonora!
Lo dissi io stesso, e l’eco rimormorò: Leonora!
Sol questo e nulla mai.

Tornando nella camera con lo spirito agitato,
ecco il picchio ripetersi d’un tratto e più spiccato.
- Oh! certo è a la finestra che battono, – esclamai, -
è là, su la persiana; scopriamo un tal mistero…
tregua un istante, o cuore; scopriamo un tal mistero…
Sarà il vento, – pensai.

A spalancar le imposte mossi, e, agitando l’ale,
entrò un bel corvo antico in aria trionfale.
Non fe’ saluto alcuno, arrestossi mai,
finché, come un padrone, posò lì sopra l’uscio,
di Pallade su un busto, proprio lì sopra a l’uscio.
Fermossi e l’osservai.

E allor lassù mirando quel nero uccello assiso,
il suo grave contegno mi diè lieve un sorriso.
- Rasa hai la cresta, – dissi, – ma un vinto non sarai.
Corvo spettral che vieni tristo dai regni bui,
parla, qual’ è il tuo nome, laggiù nei regni bui?
E il corvo: Non più mai!

Gran meraviglia io m’ebbi quell’uccello ad udire,
benché il motto sì incerto poco volesse dire;
ma pur quella fantastica parvenza io l’accettai,
poiché vedea l’uccello giù, al di sopra dell’uscio,
bestia o uccello, sul busto giù al di sopra dell’uscio,
col nome: Non più mai!

Ma non disse oltre il corvo, fermo sul busto e assorto,
come se pronunziando quel motto ei fosse morto.
Nulla s’intese, e alcuna piuma non mosse mai,
infin ch’io ripetei: – Altri fuggiron via;
ei pur n’andrà siccome le mie speranze via.
E l’uccello: Non mai!

Atterrito da l’arida risposta così adatta:
- Oh, senza dubbio – dissi – d’un corvo qui si tratta,
al quale un infelice padron stretto ne’ guai,
cantando con le lugubri nenie le sue meschine
speranze, in ritornello avrà insegnato alfine
quel triste: Non più mai!

E poiché l’alma al riso moveami ancor l’aspetto
del corvo, il seggiolone volsi a lui dirimpetto,
e tosto dietro a innumeri fantasie mi lanciai
per saper che volesse quel triste antico uccello,
quello sgraziato e magro, spettrale antico uccello
dir con il suo Non mai!

Così fantasticando stetti, senza parlare;
ma dai suoi occhi il cuore io mi sentia bruciare;
un pezzo stetti, e il capo sul velluto appoggiai
del sedil, che la lampada irradiava da l’alto,
la violacea stoffa irradiata da l’alto,
ch’Ella ha lasciato ormai.

Allor dei passi d’angeli udir mi parve e denso
L’aere intorno farsi d’indivisibile incenso.
- Malvagio, a mezzo d’angeli ti manda Iddio, – gridai –
riposo da le assidue memorie di Leonora;
bevi l’oblio, dimentica la perduta Leonora!
Disse il corvo: Non mai!

Profeta, – io feci, – e sempre tal, sia uccello o infido
spettro, ti spinga l’Erebo o la tempesta al lido, –
tu che su questa terra desolata ten vai,
per la mia tetra casa; dimmi schietto, t’imploro:
v’è pace almeno in Galaad?…dimmi, dimmi, t’imploro!
E il corvo: Non più mai!

Profeta – io ripetetti, – sia uccello o spettro errante –
Dimmi, pel Dio che adori, per quel ciel scintillante:
potrà in un Eden lunge l’anima triste assai
trovar la dolce vergine che chiamano Leonora,
la vergine che gli angeli ora chiaman Leonora?
Disse il corvo: Più mai!

Demone o uccello, parti, – proruppi allora, – ai boschi
torna, fra le tempeste, di Pluto ai regni foschi,
né una penna in ricordo di quel che detto or hai
resti! a la solitudine mi lascia, e sgombra via
dal busto! Oh, il becco levami dal core, e sgombra via!
Disse il corvo: Non mai!

E là, senza più muoversi, rimane esso a guardare,
fermo sul busto pallido, de l’uscio al limitare.
Sembrano di sognante demoni gli occhi, e i rai
del lume ognor disegnano l’ombra sul pavimento,
né l’alma da quell’ombra lunga sul pavimento
sarà libera mai!
                                                                   traduzione di
                                                     Francesco Contaldi (1865-1903)


Thursday, September 08, 2011

The Raven, E. A. Poe


Edgar Allan Poe  


1809 – 1849


American author, poet, editor
and literary critic
(American Romantic Movement)


                          
The  Raven
 (first published in 1845)


Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
 Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
                                                                                                                                           

Bliss, K. Mansfield


Kathleen Mansfield
Beauchamp Murry

1888, Wellington, New Zealand
1923, Fontainebleau, France

Prominent modernist writer of short fiction

Bliss

… What can you do if you are thirty and, turning the corner of your own street, you are overcome, suddenly, by a feeling of bliss – absolute bliss! – as though you’d suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom, sending out a little shower of sparks into every particle, into every finger and toe?...
Oh, is there no way you can express it without being ‘drunk and disorderly’? How idiotic civilisation is! Why be given a body if you have to keep it shut up in a case like a rare, rare fiddle?...

It was dusky in the dining-room and quite chilly. But all the same Bertha threw off her coat; she could not bear the tight clasp of it another moment, and the cold air fell on her arms.
But in her bosom there was still that bright glowing place – that shower of little sparks coming from it. It was almost unbearable. She hardly dared to breathe for fear of fanning it higher, and yet she breathed deeply, deeply. She hardly dared to look into the cold mirror – but she did look, and it gave her back a woman, radiant, with smiling, trembling lips,, with big, dark eyes and an air of listening, waiting for something… divine to happen… that she knew must happen… infallibly…

Oh, why did she feel so tender towards the whole world tonight? Everything was good – was right.  All that happened seemed to fill again her brimming cup of bliss…

For the first time in her life Bertha Young desired her husband.
Oh, she’d love him – she’d been in love with him, of course, in every other way, but just not in that way. And, equally, of course, she’d understood that he was different. They’d discuss it so often. It had worried her dreadfully at first to find that she was so cold, but after a time it had not seemed to matter. They were so frank to each other – such good pals. That was the best of being modern.
But now ardently! Ardently! The word ached in her ardent body! Was this what that feeling of bliss had been leading up to? But then, then - …


Actress Kate Elliott,
in 2011 she starred as Katherine Mansfield
in tele-movie Bliss

The Wind Blows, K. Mansfield



Kathleen Mansfield
Beauchamp Murry                                 


1888, Wellington, New Zealand
1923, Fontainebleau, France


Prominent modernist writer of short fiction







The Wind Blows

Suddenly – dreadfully – she wakes up.  What has happened?  Something dreadful has happened.  No – nothing has happened.  It is only the wind shaking the house,  rattling the windows,  banging a piece of iron on the roof and making her bed tremble.  Leaves flutter past the window,  up and away; down in the avenue a whole newspaper wags in the air like a lost kite and falls, spiked on a pine tree.  It is cold.  Summer is over    it is autumn    everything is ugly…

The wind -  the wind!  There’s a funny smell of soot blowing down the chimney.  Hasn’t anyone written poems to the wind?...

The wind    the wind.

 
 

Thursday, September 01, 2011

Nicolaas Frederick Knip

Flower painting




1741 - 1808                                                         

  
Dutch painter and
decorative artist


Baigneurs au bord d'une rivière

Nicolaas Friederick Knip was a Dutch decorative artist and, later, he became a painter.
He  was born in 1741 in Nijmegen. He died in Hertogenbosch. Around the year 1772 he began to work as a wallpaper painter in Tilburg and about 14 years later he  was active in the town of Hertogenbosch.
During his life he  worked with other artists, too,  such as Quirinus van Amelsfoort (1762–1820), to whose landscapes he sometimes added his touch.
Later he decided to concentrate painting flower and fruit subjects. Unfortunately he lost his sight in his 50s. He died in Hertogenbosch at the age of 67.
Thanks to his precious teaching, some of his own children - Henrietta Geertruij  and Josephus Augustus - became famous painters, too. And in their works it is possible to find their father's different attitudes towards the art of painting. 



 










     Still life with flowers
     by Henrietta Geertruij Knip
     (1783 - 1842)










Figuren op een landweggetje
by Josephus Augustus Knip
(1777 - 1847)
        
 
Gezicht op de brug van
Binn met de Mattehorn,
Zwitserland.
by Josephus Augustus Knip
(1777 - 1847)

Bombardment of 's-Hertogenbosch (Den Bosch)
by the French during the siège of 1794.
by  Josephus Augustus Knip,  1800