Система персонажей в романе О. Уайльда "Портрет Дориана Грея"

2.      Ядром образной системы, построенной О. Уайльдом, являются 3 персонажа – лорд Генри Уоттон, Бэзил Холлуорд и Дориан Грей. Все действия, происходящие в романе, разворачиваются вокруг них. Система второстепенных персонажей также является значимой и служит для раскрытия авторского замысла.  Второстепенные  персонажи романа (Сибилла Вейн, Джеймс Вейн, мистер Эрскин, Алан Кэмпбел, Адриан Синглтон и другие) вступают в сложную структуру взаимоотношений с вышеперечисленными героями. Они взаимодействуют с ними, высвечивая их поведенческие модели в разных ситуациях, и показывают жизненные установки главных героев с  разных сторон.

Список использованной литературы:

1.      Уайльд, О. Портрет Дориана Грея = The Picture of Dorian Gray: Книга для чтения на английском языке / О. Уайльд. – СПб.: КАРО, 2007.

2.      Уайльд, О. Портрет Дориана Грея: Роман / О. Уайльд; пер. с англ. А. Абкиной. – СПб.: Азбука классика, 2009.

3.      Акимова, О. В. Этика и эстетика Оскара Уайльда: Учебное пособие / О. В. Акимова; под ред. Н. Я. Дьяконовой. – СПб.: Алетейя, 2008.

4.      Ланглад, Ж. д. Оскар Уайльд, или Правда Масок / Жак де Ланглад. – М.: «Молодая гвардия»: Палимпсест, 1999.

5.      Луков, Вл. А., Соломатина, Н. В. Феномен Уайльда: тезаурусный анализ: Научная монография / Вл. А. Луков, Н. В. Соломатина. – М.: Московский гум. ун-т, 2007.

6.      Соколянский, М. Г. Оскар Уайльд: Очерк творчества / М. Г. Соколянский. – К., Одесса: Лыбидь, 1990.

7.      Фридштейн, Ю. Оскар Уайльд: Театр для одного актера / Ю. Фридштейн // Портрет Дориана Грея: Роман / Пер. с англ. А. Абкиной. – СПб.: Азбука классика, 2009.

8.      Хализев, В. Е. Теория литературы: Учебное пособие для студентов филологических факультетов высших учебных заведений / В. Е. Хализев. – М.: Высшая школа, 1999.

9.      Эллман, Р. Оскар Уайльд: Биография / Р. Эллман; пер. с англ.  Л. Мотылев. – М.: Независимая Газета, 2000.

2

[1] «He played with the idea and grew wilful; tossed it into the air and transformed it; let it escape and recaptured it; made it iridescent with fancy and winged it with paradox» [1, p.72-73].

[2] «You are an extraordinary fellow. You never say a moral thing, and you never do a wrong thing» [1, p.12].

[3] «Lord Henry stroked his pointed brown beard and tapped the toe of his patent-leather boot with a tasselled ebony cane» [1, p.19].

[4] «And beauty is a form of genius - is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it» [1, p.40].

[5] «To realize one's nature perfectly - that is what each of us is here for» [1, p.33].

[6] «Conscience and cowardice are really the same things, Basil. Conscience is the trade-name of the firm. That is all» [1, p.15].

[7] «The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful» [1, p.35].

[8] «I believe that if one man were to live out his life fully and completely, were to give form to every feeling, expression to every thought, reality to every dream - I believe that the world would gain such a fresh impulse of joy that we would forget all the maladies of mediaevalism, and return to the Hellenic ideal - to something finer, richer than the Hellenic ideal, it may be» [1, p.34].

[9] «There was something terribly enthralling in the exercise of influence. No other activity was like it. To project one's soul into some gracious form, and let it tarry there for a moment; to hear one's own intellectual views echoed back to one with all the added music of passion and youth; to convey one's temperament into another as though it were a subtle fluid or a strange perfume: there was a real joy in that--perhaps the most satisfying joy left to us in an age so limited and vulgar as our own, an age grossly carnal in its pleasures, and grossly common in its aims» [1, p.63-64].

[10] «It was delightful to watch him. With his beautiful face, and his beautiful soul, he was a thing to wonder at. It was no matter how it all ended, or was destined to end. He was like one of those gracious figures in a pageant or a play, whose joys seem to be remote from one, but whose sorrows stir one's sense of beauty, and whose wounds are like red roses» [1, p.101].

[11] «I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvellous to us. The commonest thing is delightful if one only hides it» [1, p.11].

[12] «His personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before» [1, p.21].

[13] «There is too much of myself in the thing, Harry - too much of myself!» [1, p.23]

[14] «He gives me good advice» [1, p.97].

[15] «I do want to preach to you. I want you to lead such a life as will make the world respect you. I want you to have a clean name and a fair record» [1, p.260].

[16] «Pray, Dorian, pray» [1, p.269].

[17] «I worshipped you too much. I am punished for it. You worshipped yourself too much. We are both punished» [1, p.269].

[18] «The artist is the creator of beautiful things» [1, p.3].

[19] «Lord Henry looked at him. Yes, he was certainly wonderfully handsome, with his finely 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 all youth's passionate purity. One felt that he had kept himself unspotted from the world» [1, p.30-31].

[20] «He was dimly conscious that entirely fresh influences were at work within him. Yet they seemed to him to have come really from himself. The few words that Basil's friend had said to him - words spoken by chance, no doubt, and with wilful paradox in them - had touched some secret chord that had never been touched before, but that he felt was now vibrating and throbbing to curious pulses» [1, p.35-36].

[21] «If it were I who was to be always young, and the picture that was to grow old! For that - for that - I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that!» [1, p.46-47].

[22] «She is all the great heroines of the world in one. She is more than an individual. You laugh, but I tell you she has genius. I love her, and I must make her love me» [1, p.95].

[23] «I love Sibyl Vane. I want to place her on a pedestal of gold and to see the world worship the woman who is mine» [1, p.133].

[24] «Her trust makes me faithful, her belief makes me good. When I am with her, I regret all that you have taught me. I become different from what you have known me to be. I am changed, and the mere touch of Sibyl Vane's hand makes me forget you and all your wrong, fascinating, poisonous, delightful theories» [1, p.133].

[25] «If the picture was to alter, it was to alter. That was all. Why inquire too closely into it? For there would be a real pleasure in watching it. He would be able to follow his mind into its secret places. This portrait would be to him the most magical of mirrors. As it had revealed to him his own body, so it would reveal to him his own soul» [1, p.179].

[26] «He knew that he had tarnished himself, filled his mind with corruption and given horror to his fancy; that he had been an evil influence to others, and had experienced a terrible joy in being so» [1, p.371].

[27] «Confess? Did it mean that he was to confess? To give himself up and be put to death? He laughed. He felt that the idea was monstrous» [1, p.374].

[28] «It would kill the past, and when that was dead, he would be free. It would kill this monstrous soul-life, and without its hideous warnings, he would be at peace. He seized the thing, and stabbed the picture with it» [1, p.376].

[29] «When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was» [1, p.377].

[30] «I am only happy, Sibyl, when I see you act. You must not think of anything but your acting. Mr. Isaacs has been very good to us, and we owe him money» [1, p.104].

[31] «Nowadays people know the price of everything and the value of nothing» [1, p.82].

[32] «When she acts, you will forget everything. These common rough people, with their coarse faces and brutal gestures, become quite different when she is on the stage. They sit silently and watch her. They weep and laugh as she wills them to do. She makes them as responsive as a violin. She spiritualizes them, and one feels that they are of the same flesh and blood as one's self» [1, p.139].

[33] «А young lad with rough brown hair came into the room. He was thick-set of figure, and his hands and feet were large and somewhat clumsy in movement. He was not so finely bred as his sister. One would hardly have guessed the close relationship that existed between them» [1, р.107].

[34] «Inexperienced though he was, he had still a strong sense of the danger of Sibyl's position. This young dandy who was making love to her could mean her no good. He was a gentleman, and he hated him for that, hated him through some curious race-instinct for which he could not account, and which for that reason was all the more dominant within him» [1, р.114-115].

[35] «The drowsy sailor leaped to his feet as she spoke, and looked wildly round. The sound of the shutting of the hall door fell on his ear. He rushed out as if in pursuit» [1, р.322].

[36] «James Vane stood on the pavement in horror. He was trembling from head to foot» [1, p.326].