Impressionism in selected poems by Oscar Wilde

II. La Fuite de la Lune «, «Impressions de Voyage «,» Impressions: Le Rfiveillon «,» Impressions: I. Le Jardin. II. La Mer «. Poems «Symphony in Yellow» and «Fantaisies Dficoratives» also referred to as the poems of this cycle, following the presence in them of variations on the theme of French impressionist painting, in particular to this principle should KN Atarova, the compiler first published in 2004 a collection of poems by Oscar Wilde. Similar principles are shared by other researchers of Wilde — LG Andreev, VV Khorolsky, MA Corner.

To analyze the impressionistic poems in this article selected poem Les Silhouettes (silhouettes), 1877. The poem «Les Silhouettes» is part of a diptych «Impressions» and was first published in the journal «Pan» in 1877, entering later in the cycle «Flowers of Gold «(«Golden Flower») collection» Poems «, 1881. Following the logic of impressionistic reflection of reality through the transience of her feelings and» mysterious obscurity reflects reality «9, look at the poem in terms of solving this problem.

Wilde fully follows the principle of the mysterious obscurity arising pictures — first sea (first quatrain), followed by «laughing over the elements» sailor (second quatrain), and finally, the reapers «against the sky in silence» 10 (third stanza). Unified picture, but there are a desire to see what was imagination, offering fragments. We see the «gray stripes on the surface of the Gulf» (The sea is flecked with bars of grey), hear the «sullen wind tears wave» and «chases the moon across the sky like an autumn leaf» (The dull dead wind is out of tune, and like a withered leaf the moon is blown across the stormy bay) 11, and a desperate desire to understand the sailor, climbed onto the boat, laughing over the elements, as if throwing a challenge to her and saying that lying on the «pebbles dark engraving boat» again and again win vastness of the sea, as conquer the vastness of the land reapers, a series which takes place in the silence of a string against the sky. Yes, the world is drawn in the silhouettes of uncertainty, yes, at first glance, it is difficult to see the whole picture and understand the connection of the three motifs in the same fabric of the verse, but this uncertainty and brings to life the game reader’s imagination, creating an impressive picture of the strength and power of the element, which resists quiet and desperately happy human presence.

What music is filled with a poem? Rhythmic structure of the poem can be presented as an example of the first quatrain:

The see is flecked with bars of grey,.

The dull dead wind is out of tune,.

And like a withered leaf the moon.

Is blown across the stormy bay.

Iambic tetrameter and girdle rhyme abba, who wrote a poem, create a sense of harmony and strength, sounding as if rolled ashore powerful waves and strong audible in the measured movements of the reapers. Music can be heard and the elements in the selected phonetic means: in the case of alliteration so dull / dead, black / board and consonance dead / wind, pallid / sand by repeating consonants d, b enhance the feeling of sound rolls sea and gusts, which also emphasizes the significant predominance among consonants s, (sea, across, stormy, sand, careless, face, dusky, grass, pass, silhouettes, against, sky), which especially in the case of words with double consonants at the end of the word gives a wonderful feeling of outgoing sound waves in the sea, whistling wind. Among the vowels, reinforcing a sense of durability and enduring strength wildlife highlights the long vowels and diphthongs in words sea, leaf, gleaming, reapers (i :), bars, grass, pass (a :), stormy, aboard (o :), grey, sailor, face, bay, against (ei). According to the technique of impressionism poem sounds like a piece of music, and the music itself conjures up the image being drawn by the author.

Help create the image of the author and carefully selected vocabulary figurative and expressive means. Interesting choice of adjectives and verb forms that create a sense of transience and transience: flecked, blown across, careless, gleaming, dusky, pass. The images are compared in paired rows and the movement and development of the verb in the second line:

And like a withered leaf the moon.

Is blown across the stormy bay.

Or in the verb in the first line:

The young brownthroated reapers pass,.

Like silhouettes against the sky.

Comparisons in the initial and final stanzas are organically combined to ha rakteru and essence: merge together and the forces of nature and human power — weightless autumn leaf silhouettes and the reapers say about transience and elusiveness of the world of nature and man. And use impersonation dull dead wind only enhances the effect of bringing together the two elements and emphasizes the force majeure wildlife, characters which in the poem are the sea, the wind, the moon and the sky (the sea, the wind, the moon, the sky).

It’s safe to say that the poem is distinguished as a careful selection of phonetic and lexical representational resources, which together paint a picture, and give voice to, imprinted in the imagination lyrical, and include the reader’s imagination, which then appends the picture because of their vision.

Analysis of the poem «Les Silhouettes» shows that the search for a new poetic system Wilde is targeted: the brightness and fleeting sensation arises through musical poetic rhythm and painterly figurative means of the poem. Wilde skill in the transfer impressionistic «impressions» of the observation of sea elements testifies to the success of his aesthetic quest in this direction.

Conclusion.

Thus, we can draw the following conclusions.

Wilde argued that true art has always been the art of lying. Refusal of a beautiful lie, search the truth of life led to the decline of art. «Life is too caustic liquid, — said Oscar Wilde — it destroys art, it is an enemy, empties his house.» .

Aesthetic and ethical views of Oscar Wilde is a bizarre mixture of Nietzsche and the cult of beauty. In his works, Wilde tries to illustrate and embody these views, but more often it is due to his talent and integrity had to refute them; his artistic creativity is higher, truthfulness and humanity of his theoretical positions.

List of references.

Ellmann R. Oscar Wilde (his Life and Personality). New York, Vintage books, 1988. P. 682.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Khorolsky VV Aestheticism and symbolism in the poetry of England and Ireland turn of the century. Voronezh, 1995. p. 47.

Andreev LG Impressionism. M., 1980. p. 203.

Gowerton G. Impressionism // Literature As A Fine Art. N.Y., 1959. P. 302.

Wilde O. Poems / Comp. K. H. Atarova. M .: Rainbow, 2004.

Corner M. Introduction // Wilde. O. The Works of Oscar Wilde. The Wordsworth Poetry Library, 1994 P. i.

Wilde. O. The Works of Oscar Wilde with Introduction of Martin Corner. The Wordsworth Poetry Library, 1994. P. 70.

Khorolsky VV Aestheticism and symbolism in the poetry of England and Ireland turn of the century. Voronezh, 1995. p. 47.

ibid.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

ibid.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Ibid.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Andreev LG Impressionism. M., 1980. p. 203.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Wilde O. Poems / Comp. K. H. Atarova. M .: Rainbow, 2004.

Ellmann R. Oscar Wilde (his Life and Personality). New York, Vintage books, 1988. P. 682.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Wilde. O. The Works of Oscar Wilde with Introduction of Martin Corner. The Wordsworth Poetry Library, 1994. P. 70.

Corner M. Introduction // Wilde. O. The Works of Oscar Wilde. The Wordsworth Poetry Library, 1994 P. i.

Ibid.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Ibid.

Ibid.

Khorolsky VV Aestheticism and symbolism in the poetry of England and Ireland turn of the century. Voronezh, 1995. p. 47.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Ibid.

Gowerton G. Impressionism // Literature As A Fine Art. N.Y., 1959. P. 302.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Ibid.

Andreev LG Impressionism. M., 1980. p. 203.

Ibid.

Corner M. Introduction // Wilde. O. The Works of Oscar Wilde. The Wordsworth Poetry Library, 1994 P. i.

Andreev LG Impressionism. M., 1980. p. 203.

Wilde. O. The Works of Oscar Wilde with Introduction of Martin Corner. The Wordsworth Poetry Library, 1994. P. 70.

Khorolsky VV English poetry of the XIX-XX centuries in Russian and advice of the Soviet criticism // Typological convergence and relationships in Russian and foreign literature XIX-XX centuries. Krasnoyarsk. — 1987. p. 75.

Ibid.

Ibid.