El retrato de Dorian Gray, del autor Oscar Wilde, fue publicada
completa en 1890 en la revista Lippincott´s Monthly Magazine. El editor de la
revista temió que la historia fuera indecente y, sin el permiso de Wilde, borró
alrededor de quinientas palabras antes de su publicación.
En 1889 J.M. Stoddart,
editor de Lippincott, cenaba con Oscar Wilde, Sir Arthur Conan Doyle y T.P. Gill en el hotel Langham para
comisionarles que escribieran novelas cortas. Conan Doyle pronto enviaría The Sign of the Four, sin embargo Wilde
recién mandaría el manuscrito de El
retrato de Dorian Gray en 1890.
Stoddart reconoció
los meritos literarios de la novela pero se dio cuenta que ofendería a la moral
de la Inglaterra victoriana. Junto a sus editores se dio a la tarea de borrar todo
lo que mencionara: 1) pasajes aludiendo a la homosexualidad y al deseo
homosexual, 2) todas las referencias al libro de ficción Le Secret de Raoul y su
autor, Catulle Sarrazin; y 3) todas las referencias de los amantes de Gray en
los que apareciera la palabra “mistress”.
En respuesta Wilde
defendió su novela y arte en este prefacio que aparecía en la misma novela, El
retrato de Dorian Gray:
The
artist is the creator of beautiful things. To reveal art and conceal the artist
is art's aim. The critic is he who can translate into another manner or a new
material his impression of beautiful things.
The
highest as the lowest form of criticism is a mode of autobiography. 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.
The nineteenth century dislike of
realism is the rage of Caliban
seeing his own face in a glass.
The nineteenth century dislike of
romanticism is the rage of Caliban not seeing his own face in a glass. The
moral life of man forms part of the subject-matter of the artist, but the
morality of art consists in the perfect use of an imperfect medium. No artist
desires to prove anything. Even things that are true can be proved. No artist
has ethical sympathies. An ethical sympathy in an artist is an unpardonable
mannerism of style. No artist is ever morbid. The artist can express
everything. Thought and language are to the artist instruments of an art. Vice
and virtue are to the artist materials for an art. From the point of view of
form, the type of all the arts is the art of the musician. From the point of
view of feeling, the actor's craft is the type. 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. We can forgive a man for making a useful thing as long as he does not
admire it. The only excuse for making a useless thing is that one admires it
intensely.
All
art is quite useless.
OSCAR WILDE
Vocabulary
Caliban es unos de los
principales antagonistas en la obra de Shakespeare The Tempest. Es el hijo
subhumano de la malévola bruja Sycorax.
T.P. Gill: Thomas Patrick Gill (1858 –
1931) fue miembro del Irish Parliamentary Party y miembro del parlamento
británico. Estudió en el Trinity College, Dublin y llegó a ser periodista.
Related post
El prefacio,
traducción de la defensa de Oscar Wilde a su obra, El retrato de Dorian Gray.
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