《道林·格雷的画像》章节试读

《道林·格雷的画像》的笔记-第19页 - Chapter 2

Yes, he was certainly wonderfully handsome, with his fine-curved scarlet lips, his frank blue eyes, his crisp gold hair. There was something in his face that made one trust him at once. All the candour of youth was there, as well as youth's passionate purity. One felt that he had kept himself uspotted from the world.

《道林·格雷的画像》的笔记-第一章、第八章、第二十章、第六章、第十七章 - 第一章、第八章、第二十章、第六章、第十七章

(Chapter 01)An artist should create beautiful things, but should put nothing of his own life into them. 艺术家应当创造美，但不应当把自己生活中的东西放进去。(Chapter 08)Nothing makes one so vain as being told that one is a sinner. 没有比被人说成罪人更使人得意了。
(Chapter 20)The world is changed because you are made of ivory and gold. The curves of your lips rewrite history.
看到时觉得异常眼熟 后来才想起来是VELVET GOLDMINE里引用过的台词啊 要知道我当初有多爱最后那句和那个场景~
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是的，道连，你会永远喜欢我。在你眼里，我代表着你没有胆量涉足的罪孽。"这个民族在发展。" "更吸引我的是腐朽。" "那么艺术呢?"她问。"是一种疾病。" "爱情呢?" "是一种幻想。""宗教呢?" "是信仰的时髦替代物。" "你是一个怀疑主义者。"
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还有亨利的部分等有时间了慢慢摘录
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《道林·格雷的画像》的笔记-Chapter1 - Chapter1

It is better not to be different from one's fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and grape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They live as we all should live, undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands.
...
Oh, I can't explain. When I like people immensely, I never tell their names to anyone. It is like surrendering a part of them. I have grown to love secrecy.

《道林·格雷的画像》的笔记-序 - 序

艺术家创造美好的事物。　　
揭露自己和隐藏自己都是艺术的目的。　　
批评，是人把自己对美好事物的感觉转换成另一种形式的表达。最深刻和最粗浅的批评都在诉说评论者的平生。那些从美好事物中发现丑恶的人通常都已经无耻地堕落。他们犯了错。而那些看出美丽内涵的人是有教养的，他们才是希望。他们是从认为美丽只代表美丽的人中遴选出来的。　　
从来没有一本书是道德的或者不道德的之分，只有写得好和写得坏之分。　　
仅此而已。　　
十九世纪对现实主义的厌恶犹如卡利班从镜子中看见自己的面容时的狂怒。十九世纪对浪漫主义的厌恶犹如卡利班从镜子中看不到自己的面容时的狂怒。　　
人的正常生活是艺术家的主要题材，但是艺术的正常表现得靠艺术家对单一介质的完美运用而存在。没有艺术家想要证明任何东西，即使那都是真实可证明的。没有艺术家会抱有人生观上的同情。他们内心这种同情只会不可重复地不经意表露于风格上。他们从来都不执着于病态。思想和语言只是他们表现艺术的工具。邪恶和美德都是他们的艺术素材。从形式来看，所有艺术都是音乐家的造物。从感觉上看，所谓的艺术类型取决于艺术家的手艺。
所有的艺术都是表面和符号化的。那些试图深入其中的家伙都将自己置于危险之中。那些试图读懂这些符号的家伙都在冒着生命的危险。因为艺术并不反映生活，而是反映那些窥探它的人。多种多样对某件作品的看法说明这件作品是新的，复杂的，活的。当那些批评自相矛盾，恰好证明艺术家没有违背自己的意愿。　　
我们可以原谅一个人制造了一件他不喜欢但我们觉得很有用的东西，但当一个人制造了一件对我们一点用处也没有的东西时，唯一能忍受它的存在的理由是：被某个人疯狂地喜爱。
然而艺术，都是无用的。

《道林·格雷的画像》的笔记-Chapter7 - Chapter7

The picture,changed or unchanged, would be to him the visible emblem of conscience. He would resist temptation. He would not see Lord Henry any more --would not, at any rate, listen to those subtle poisonous theories that in Basil Hallward's garden had first stirred with him the passion for impossible things.

《道林·格雷的画像》的笔记-第100页

The bright dawn flooded the room and swept the fantastic shadows into dusky corners, where they lay shuddering.

《道林·格雷的画像》的笔记-第15页

Behind every exquisite thing that existed, there was something tragic.
(page unknown)

《道林·格雷的画像》的笔记-Chapter4 - Chapter4

Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are.

《道林·格雷的画像》的笔记-第5页

Beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face.
(页码记不清了，只知道在一开始)

《道林·格雷的画像》的笔记-第13页

They feed hungry, and clothe the beggar. But their own soul starve, and are naked.
(unknown page)

《道林·格雷的画像》的笔记-第1页 - 1

但无疑天才比美更持久。这也就是我们大家都拚命地过分接受教育的原因。在激烈的生存竞争中，我们总想拥有某种经久不灭的东西，所以我们把垃圾和事实塞满， 脑袋，愚蠢地希望以此保持我们的地位。

《道林·格雷的画像》的笔记-第40页

When one is in love, one always begins by deceiving one's self , and one always ends by deceiving others. That's what the world calls a romance.