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Richard Ellmann (1918–1987)

Autor(a) de Oscar Wilde

45+ Works 6,948 Membros 38 Críticas 1 Favorited

About the Author

Obras por Richard Ellmann

Oscar Wilde (1987) — Autor — 1,966 exemplares
James Joyce (1959) 1,312 exemplares
Norton Anthology of Modern Poetry (1973) — Editor — 887 exemplares
Yeats: The Man and the Masks (1949) 394 exemplares
The Norton Anthology of Modern and Contemporary Poetry (2003) — Editor — 291 exemplares
Ulysses on the Liffey (1972) 207 exemplares
The Critical Writings of James Joyce (1959) — Editor — 193 exemplares
Four Dubliners (1986) 155 exemplares
A Long The Riverrun (1988) 118 exemplares
Letters of James Joyce (1957) — Editor — 111 exemplares
The Identity of Yeats (1954) 88 exemplares
The Modern Tradition: Backgrounds of Modern Literature (1965) — Editor — 54 exemplares
The Consciousness of Joyce (1977) 35 exemplares
Oscar Wilde: A Collection of Critical Essays (1969) — Editor; Contribuidor — 26 exemplares
Ulysses / with Ulysses : a short history ; by Richard Ellman (1973) — Contribuidor — 12 exemplares
Edwardians and late Victorians (1960) 5 exemplares
And More Changes Still — Tradutor — 4 exemplares
Joyce in Love 1 exemplar

Associated Works

Ulysses (1922) — Prefácio, algumas edições24,268 exemplares
A Portrait of the Artist as a Young Man (1916) — Editor, algumas edições21,360 exemplares
Dubliners (1914) — Editor, algumas edições19,826 exemplares
The Picture of Dorian Gray and Other Writings (1890) — Editor, algumas edições; Prefácio, algumas edições2,492 exemplares
De Profundis (1905) — Preface, algumas edições1,656 exemplares
The Story and Its Writer: An Introduction to Short Fiction (1983) — Contribuidor — 1,136 exemplares
A Portrait of the Artist as a Young Man (Viking Critical Library) (1914) — Contribuidor, algumas edições422 exemplares
My Brother's Keeper: James Joyce's Early Years (1958) — Editor — 198 exemplares
The Selected Letters of James Joyce (1957) — Editor — 189 exemplares
SF12 (1968) — Tradutor — 139 exemplares
The Artist as Critic: Critical Writings of Oscar Wilde (1969) — Editor — 134 exemplares
Poems and Shorter Writings (1991) — Editor — 80 exemplares
Wilde [1997 film] (1997) — Original book — 74 exemplares
James Joyce: A Collection of Critical Essays (1992) — Contribuidor — 19 exemplares
T.S. Eliot (Bloom's Major Poets) (1999) — Contribuidor — 12 exemplares
Letters of James Joyce, Volume 2 (1966) — Editor — 8 exemplares
James Joyce Letters, Volumes II And III (1966) — Editor — 6 exemplares
Oscar Wilde: Selected Writings (1961) — Introdução, algumas edições2 exemplares


Conhecimento Comum



‘I have lived. Yes, I have lived. I drank the sweet, I drank the bitter, and I found the bitterness in the sweetness and the sweetness in the bitterness.’

Se amate questo scrittore, non potete assolutissimamente perdervi questa biografia. Sappiate che quando avrete voltato l'ultima pagina, saprete quasi quante volte andava in bagno Mr. Wilde. Il lavoro svolto da Ellmann, infatti, è certosino e accurato, oltre ad aver coperto quasi un ventennio della sua vita.

Detto questo, sappiate che ho impiegato due settimane circa per costringermi a continuare la lettura dal momento che ho letto Lord Douglas. Voi vi chiederete che bisogno ne avessi mai, visto che anche le pietre conoscono per sommi capi le vicende della vita di Wilde. Be', credetemi, non sono mai stata tanto felice di essermi presa del tempo prima di proseguire una lettura. Il fatto è che passa un oceano tra “sapere la biografia per sommi capi” e “conoscere lo strazio che è stato inflitto a quest'uomo”. E dire che ho anche letto il De Profundis. Non si può dire che non fossi preparata (e, infatti, ho optato per prendere fiato prima di sapere).

Il punto è che è difficile oggi non percepire come orribilmente ingiusta la pena inflitta a Wilde, con tutto ciò che ne è seguito. Come per il massacro degli indios nelle Americhe o per la persecuzione dei cristiani nell'antica Roma, la nostra mente ha ben chiaro quanto sia stato sbagliato (o almeno lo è per quelle menti lontane da una particolare forma di stupidità). Questo, infatti, induce Ellmann a commentare, a chiusa della biografia, che Oscar Wilde è più un uomo del nostro tempo che dell'epoca vittoriana.

He belongs to our world more than to Victoria’s. Now, beyond the reach of scandal, his best writings validated by time, he comes before us still, a towering figure, laughing and weeping, with parables and paradoxes, so generous, so amusing, and so right.

Oggi non troveremmo niente di sbagliato nel pretendere che la società ci accetti per come siamo e si vergogni della propria ipocrisia, e anche Wilde era di questo avviso.

He asked it to tolerate aberrations from the norm, such as homosexuality, to give up its hypocrisy both by recognizing social facts and by acknowledging that its principles were based upon hatred rather than love, leading to privation of personality as of art.

Ma la società vittoriana inglese non aveva nessuna intenzione di cedere alla richiesta di Wilde, e sappiamo come è andata a finire. È davvero straziante leggerlo nero su bianco, sia i terribili anni della prigionia (quando malattia e malnutrizione erano scambiati per pigrizia e riluttanza al dovere), sia l'esilio (che a Wilde in alcuni momenti sembrò peggiore dello stesso carcere, quando molti che erano stati suoi amici si voltavano dall'altra parte se lo incrociavano per strada).

His stubbornness, his courage, and his gallantry also kept him there. He had always met adversity head on, to face hostile journalists, moralistic reviewers, and canting, ranting fathers. A man so concerned with his image disdained to think of himself as a fugitive, skulking in dark corners instead of lording it in the limelight. He preferred to be a great figure, doomed by fate and the unjust laws of a foreign country.

The move took place on 21 November, and proved to be the single most humiliating experience of Wilde’s prison life. Handcuffed and in prison clothing, he had to wait on the platform at Clapham Junction from two to half past two on a rainy afternoon. A crowd formed, first laughing and then jeering at him. One man recognized that this was Oscar Wilde, and spat at him. ‘For a year after that was done to me,’ Wilde wrote in De Profundis, ‘I wept every day at the same hour and for the same space of time.’

One warder was assigned to cut his hair, which at Wandsworth had been allowed to grow out a little. ‘Must it be cut?’ asked Wilde, with tears in his eyes; ‘you don’t know what it means to me.’ It was cut.

‘Why do you not write now?’ she asked. ‘Because I have written all there was to write. I wrote when I did not know life, now that I know the meaning of life, I have no more to write.’ Then, less penitently, he said, ‘I have found my soul. I was happy in prison because I found my soul.’ Anna de Brémont felt close to tears, but they had reached the pier, and he said, ‘Contessa, don’t sorrow for me,’ and left her.
… (mais)
lasiepedimore | 8 outras críticas | Aug 30, 2023 |
This may be the first literary biography I read.
mykl-s | 11 outras críticas | Jun 17, 2023 |
Fascinating and readable critical analysis and synthesis. This book had its origins in lectures Ellmann gave at the Library of Congress in the early 1980s. The theme seems to be the way in which each writer dealt with contradictions in their lives and work. I knew the least about Beckett beforehand and consequently learned a lot about him. I knew the most about Yeats, but my favourite chapters were those on Wilde and Joyce. Contains some mature language (how could it not with these modernists?) and outdated language ('commit suicide') but definitely worth reading for those interested in art and its creation, Irish literature and drama, European history 1850-1980.

Strangely, the title has nothing to do with the analysis. The author spends no time on Dublin's effect on the writers and does talk about their time away from Ireland - Wilde at Oxford, Yeats in London and the south of France, Joyce and Beckett in Paris. A better title would have been 'Four Irishmen at Home and Abroad'.

If the book were extended after Wilde (b. 1854), Yeats (b. 1865), Joyce (b. 1882), and Beckett (b. 1906) to bring the literary tradition up to today, who might be included? Maybe Behan (b. 1923), Heaney (b. 1939), Patrick McCabe (b. 1955), and Martin MacDonagh (b. 1970)?
… (mais)
bibliothecarivs | 2 outras críticas | Dec 13, 2020 |
There are any number of things I disagree with in here, starting Ellmann's prima facie ludicrous belief that Joyce intended everything in Ulysses to lead towards one major philosophical statement:

"To those who lived meaninglessly in a brutal and consuming present, Joyce offered a world of accountability and did not shrink from calling it spiritual. To those who, nursed by locally distorted Catholic doctrines, spoke of spiritual realities as if they alone existed, he pointed to the realities of the body's life," (89).

If that's what Joyce was doing, then I'm fully behind it: he'd be doing negative dialectics decades before Adorno. But Ellmann's argument doesn't stop there. He connects the two terms here (materialism and spiritualism) with two other kind-of-sort-of relevant terms (objectivity and subjectivism), and two philosophers who are relevant, but not in the way that Ellmann seems to think (Aristotle and Hume) to make a grandiose metaphysical statement about how puns represent reality because reality is inevitably doubling and folding in on itself or something. He then claims that this is not mystical.

There's a lot going on there, but there are some pretty obvious points to make. First, Aristotle is not a materialist. In fact, Aristotle holds the very position that Ellmann sometimes attributes to Joyce, of 'form' interacting with matter. Aristotle believes in forms, he just doesn't believe that they can function if they transcend matter. Now, true, this puts him in opposition to Hume, but it also puts him in opposition to actual materialists.

Second, Ellmann goes through all of this without mentioning Kant--you know, the guy who made the problems of materialism vs idealism and scepticism vs dogmatism central to European philosophy. Now, Joyce may not have known Kant. But his not knowing Kant is a pretty good indication that he wasn't making the argument Ellmann attributes to him. Joyce was a knowledgeable guy. If he was making a Kantian argument, he would have known he was doing it.

Third, metaphysics of this kind is always mystical.

More important for most readers of Ulysses, however, is the way Ellmann traces Odyssean and Shakespearean tropes and themes through the book. He makes a number of excellent arguments about small moments (particularly interesting is his take on Bloom/Stephen looking into the mirror and seeing Shakespeare), and you don't have to buy the "Joyce solved all the world's intellectual problems" thing to get a lot out of the book.

So, he hasn't convinced me that Joyce had even one remotely coherent political thought (he might have read some anarchism, but was clearly enamored of the movement's destructive aspects--no institutions! no groups!--rather than its positive, communitarian aspects); nor has he convinced me that Ulysses' is a structural masterpiece. But he makes a strong, reasonable case, one that was worth making, and is well worth reading.
… (mais)
stillatim | Oct 23, 2020 |



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