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Such a thing could not be worse; could not do more to sully the tenderness and care that is required if anything like beautiful art could be produced. Simon Chater offers us Cyrano's "nose speech" from the TV adaptation (1985) of Cyano de Bergerac, a play by Edmond Rostand. If Gwendolen is a product of London high society, Cecily is its antithesis. She has invented her romance with Ernest and elaborated it with as much artistry and enthusiasm as the men have their spurious obligations and secret identities. Whether this attempt succeeded or failed is truly not for me to, although I certainly wouldn't trust of my critics either. The cure the body by means of the soul and the soul by the means of the body: this is what I had wanted to show in the novel, the necessary dualism of life and the world that we live in meant that true happiness could only be pursued by a few. Perhaps, it reminds me slightly of a poem that a wrote: The Harlots House. I put those words into the mouth of Jack, in The Importance of Being Earnest.
To do so, I urge only that you use both your soul, and the body that encases it. The Importance of Being Earnest. Lucia Vallaro and her wonderful excuse to go to dinner. Certainly, into the mouths of Henry, Basil and Dorian I found myself putting thoughts that had, at times occurred to me, but at the same time I cannot say that I saw this as simply the only point of my activity.
Please wait while we process your payment. The Picture of Dorian Gray, London: Penguin, 2003. Here are the monologues!
When I would have my hapless moral lovers state 'The dead are dancing with the dead' (ibid). Written by Dale Wasserman, Joe Darion and music by Mitch Leigh. London: Wordsworth Poetry Library, 2000. Collected Poetry of Oscar Wilde. Indeed, it is not even decent... and that sort of thing is enormously on the increase. Here I tried to describe the sense of excitement, and of course the sense of danger, that could come from attempting to give unbridled reign to one's aesthetic impulses. To begin with, I dined thereon Monday, and once a week is quite enough to dine with one's own relations. Of course, some criticized my basic idea of the Faust motif, and of some of my sermonising, but I stand by it. Cecily is probably the most realistically drawn character in the play, and she is the only character who does not speak in epigrams. It was an attempt to make art live in and for itself, not simply as it exists in and through things.
Needless to say, I also think on the novel as something as something of a superior ghost story. In thesecond place, whenever I do dine there I am always treated as a member of the family, and sent down with either no woman at all, or two. In the third place, I know perfectlywell whom she will place me next to, to-night. By William Shakespeare. Rather, so much of what I wrote revolved around a combined sense of freshness and tiredness that I would find the in the world. More than anything, I would say that my novel, my Dorian was my attempt to give life to these contradictory impulses.
I speak, of course, of The Picture of Dorian Gray, that novel through which, as it was said at my trial, a line of immorality and depravity ran like a purple thread. Still, if I had to introduce the novel in order to reflect on it now I would describe it as something of a contradiction. John Hudson gives us the Land of Confusion by Anthony Goerge Banks / Phillip David Charles. When I wrote lines like; 'We watched mechanical grotesques, / Making fantastic Arabesques, / The shadows raced across the blind, ' (2000, 30) I wanted to make sure that my readers would know and understand the dangers of the world of the sense, just as much as its thrills.
Jordan Saxby delivers a killing monologue straight out of Gotham City: The Killing Joke by Brian Azzarello, based on the graphic novel by Alan Moore. As a piece of evidence it proved, many respects, to be my downfall; to make sure that it could no longer be denied that I was, according to the standards of the society in which I lived and whose morals I was so concerned with exposing. Nonetheless, my satires were well known enough that I did not expect anyone to take my novel too seriously, or at least, not to feel as if they could entirely trust me. Hugo Halbrich in a sincere, heartfelt rendition of The Song of Wandering Aengus by Irish poet W. B. Yeats. It seems then, that you must make up your own mind. Like Algernon and Jack, she is a fantasist. Fernanda Bigotti instructs us on the proper way to make a marriage proposal according to Mabel Chiltern, from An Ideal Husband by Oscar Wilde. It is necessary to understand something about my work before being able to explain this fully. I now look at my novel as the attempt to show that what it might mean for this to pursued in all of its possibility, and of course what that itself might need in order to even be a possibility at all. Peter Macfarlane proves to us that a little lunacy never hurts, as Don Miguel de Cervantes in Man of La Mancha. However, her ingenuity is belied by her fascination with wickedness. When one is in the country one amuses other people' (2012, 5). Ana Aldazabal shows she knows her dodos, in this portrayal of Eve from Eve's Diary by Mark Twain.
Everything felt simply for amusement, or for moral pressure: 'When one is in town one amuses oneself. Camila Ledo tells us about dystopian Far Away, by Carol Churchill. The novel that I am going to discuss is a novel that changed my life, and also that was taken to sum it up completely. I stand by this, but of course it should apply to my novel too. As my only novel, I suppose that some must consider it to be a life's work in some way, or at least to contain all that it was that I considered most important. All social life, it seemed, was performance. The amount of women in London who flirt with their own husbands is perfectly scandalous. She is a child of nature, as ingenuous and unspoiled as a pink rose, to which Algernon compares her in Act II. She will place me next Mary Farquhar, who always flirts with her own husband across the dinner-table. I cannot say that I was sincere, or that I was insincere. Of course, as I had Henry say in it, 'Conscience and cowardice are really the same things' I meant it.
ALGERNON: I haven't the smallest intention of dining with Aunt Augusta. Melanie Fuertes tells us of "The Gratitude List" by Gabriel Davis. Gregorio Pando Poez brings Marc Anthony to life in Julius Caesar. Sofia Chater delivers a scathing monologue as Abigail Williams from The Crucible by Arthur Miller. Sam Gilbert and the School for Scandal by Richard Brinsley Sheridan. She is obsessed with the name Ernest just as Gwendolen is, but wickedness is primarily what leads her to fall in love with "Uncle Jack's brother, " whose reputation is wayward enough to intrigue her. I remember saying once that 'most people simply exist' and that to live is truly an exceptional thing (1998, 1). That is not very pleasant. Nonetheless, there was something that I found truly disgusting about the way that our Victorian life insisted on living in this terrible bad faith.
I wanted my art to be something more. Funny, serious, sad, classical, witty…. Gabriel Romero Day thinking about what it is like to be dead in this monologue from Rosencrantz and Guildenstern Are Dead by Tom Stoppard. Though she does not have an alter-ego as vivid or developed as Bunbury or Ernest, her claim that she and Algernon/Ernest are already engaged is rooted in the fantasy world she's created around Ernest. These elements of her personality make her a perfect mate for Algernon. Her charm lies in her idiosyncratic cast of mind and her imaginative capacity, qualities that derive from Wilde's notion of life as a work of art. London: Penguin, 2012. Andrew Cobb tells us it's Your Move, Chief as Dr. Sean, Good Will Hunting, written by Matt Damon & Ben Affleck. Alina Queirolo portrays "Good People" by David Lindsat-Abaire.
It is simply washing one's clean linen in public. I repeat them now because at times this was precisely the kind of boredom that I found myself confronting, both within myself and within those whom I knew in London and outside it. For what is art without that little prick of fright? Of course, I was knew of the danger of sensual indulgence, both for the soul and for the body, but I didn't think people would take prudishness seriously, especially not from me. It was as much to demonstrate the paucity of the life led in the open, as much as it was to show genuine moral concern.