Writer Oscar Wilde Quotes

A writer is someone who has taught his mind to misbehave.

Oscar Wilde said that if you know what you want to be, then you inevitably become it - that is your punishment, but if you never know, then you can be anything. There is a truth to that. We are not nouns, we are verbs. I am not a thing - an actor, a writer - I am a person who does things - I write, I act - and I never know what I am going to do next. I think you can be imprisoned if you think of yourself as a noun.

Literature always anticipates life. It doesn't copy it but moulds it to it's purpose.

Reading the very best writers—let us say Homer, Dante, Shakespeare, Tolstoy—is not going to make us better citizens. Art is perfectly useless, according to the sublime Oscar Wilde, who was right about everything. He also told us that all bad poetry is sincere. Had I the power to do so, I would command that these words be engraved above every gate at every university, so that each student might ponder the splendor of the insight.

God knows; I won't be an Oxford don anyhow. I'll be a poet, a writer, a dramatist. Somehow or other I'll be famous, and if not famous, I'll be notorious. Or perhaps I'll lead the life of pleasure for a time and then—who knows?—rest and do nothing. What does Plato say is the highest end that man can attain here below? To sit down and contemplate the good. Perhaps that will be the end of me too.

...hanging out does not make one an artist. A secondhand wardrobe does not make one an artist. Neither do a hair-trigger temper, melancholic nature, propensity for tears, hating your parents, nor even HIV - I hate to say it - none of these make one an artist. They can help, but just as being gay does not make one witty (you can suck a mile of cock, as my friend Sarah Thyre puts it, it still won't make you Oscar Wilde, believe me), the only thing that makes one an artist is making art. And that requires the precise opposite of hanging out; a deeply lonely and unglamorous task of tolerating oneself long enough to push something out.

Good writers borrow, great writers steal. —T. S. Eliot (but possibly stolen from Oscar Wilde)

I don't want to earn a living, I want to live.

In Britain, chinoiserie was eclipsed by the medievalism of Sir Walter Scott and the Gothic Revival, while in Europe japonisme would be chinoiserie's successor. Japonisme never compelled the general middle-class British taste as did the indigenous medieval style. Nonetheless, through extensive importations to Britain of Japanese art and artifacts, notably by the shop Liberty's of London, as well as through the artists James McNeill Whistler and Dante Gabriel Rossetti, the architect E.W. Godwin, and the writer Oscar Wilde, the Japanese style of decoration was known in Britain well before 1894.

If you care about what others think, don't become a writer.

I want to be able to do anything with words: handle slashing, flaming descriptions like Wells, and use the paradox with the clarity of Samuel Butler, the breadth of Bernard Shaw and the wit of Oscar Wilde, I want to do the wide sultry heavens of Conrad, the rolled-gold sundowns and crazy-quilt skies of Hitchens and Kipling as well as the pastel dawns and twilights of Chesterton. All that is by way of example. As a matter of fact I am a professed literary thief, hot after the best methods of every writer in my generation.

What a lurid life Oscar Wilde does lead - so full of extraordinary incidents. What a chance for the memoir writers of the next century

Oscar Wilde is one of the people that I would have most liked to know. I'm sure I would have liked him a lot.

Creators of literary fairy tales from the 17th-century onward include writers whose works are still widely read today: Charles Perrault (17th-century France), Hans Christian Andersen (19th-century Denmark), George Macdonald and Oscar Wilde (19th-century England). The Brothers Grimm (19th-century Germany) blurred the line between oral and literary tales by presenting their German "household tales" as though they came straight from the mouths of peasants, though in fact they revised these stories to better reflect their own Protestant ethics. It is interesting to note that these canonized writers are all men, since this is a reversal from the oral storytelling tradition, historically dominated by women. Indeed, Straparola, Basile, Perrault, and even the Brothers Grimm made no secret of the fact that their source material came largely or entirely from women storytellers. Yet we are left with the impression that women dropped out of the history of fairy tales once they became a literary form, existing only in the background as an anonymous old peasant called Mother Goose.

Our textbooks were ridiculous propaganda. The first English sentence we learned was "Long live Chairman Mao!" But no one dared to explain the sentence grammatically. In Chinese the term for the optative mood, expressing a wish or desire, means 'something unreal." In 1966 a lecturer at Sichuan University had been beaten up for 'having the audacity to suggest that "Long live Chairman Mao!" was unreal!" One chapter was about a model youth hero who had drowned after jumping into a flood to save an electricity pole because the pole would be used to carry the word of Mao. With great difficulty, I managed to borrow some English language textbooks published before the Cultural Revolution from lecturers in my department and from Jin-ming, who sent me books from his university by post. These contained extracts from writers like Jane Austen, Charles Dickens, and Oscar Wilde, and stories from European and American history. They were a joy to read, but much of my energy went toward finding them and then trying to keep them. Whenever someone approached, I would quickly cover the books with a newspaper. This was only partly because of their 'bourgeois' content. It was also important not to appear to be studying too conscientiously, and not to arouse my fellow students' jealousy by reading something far beyond them. Although we were studying English, and were paid par fly for our propaganda value by the government to do this, we must not be seen to be too devoted to our subject: that was considered being 'white and expert." In the mad logic of the day, being good at one's profession ('expert') was automatically equated with being politically unreliable ('white').

(Oscar) Wilde is surely one of the most erotic writers who ever lived.

An idea that is not dangerous is unworthy of being called an idea at all.” — Oscar Wilde, writer and poet

Many moral advances have taken the form of a shift in sensibilities that made an action seem more ridiculous than sinful, such as dueling, bullfighting, and jingoistic war. And many effective social critics, such as Swift, Johnson, Voltaire, Twain, Oscar Wilde, Bertrand Russell, Tom Lehrer, and George Carlin have been smart-ass comedians rather than thundering prophets. What in our psychology allows the joke to be mightier than the sword? Humor works by confronting an audience with an incongruity, which may be resolved by switching to another frame of reference. And in that alternative frame of reference, the butt of the joke occupies a lowly or undignified status. ... Humor with a political or moral agenda can stealthily challenge a relational model that is second nature to an audience by forcing them to see that it leads to consequences that the rest of their minds recognize as absurd. ... According to the 18th-century writer Mary Wortley Montagu, 'Satire should, like a polished razor keen / Wound with touch that's scarcely felt or seen.' But satire is seldom polished that keenly, and the butts of a joke may be all too aware of the subversive power of humor. They may react with a rage that is stoked by the intentional insult to a sacred value, the deflation of their dignity, and a realization that laughter indicates common knowledge of both. The lethal riots in 2005 provoked by the editorial cartoons in the Danish newspaper Jyllands-Posten (for example, one showing Muhammad in heaven greeting newly arrived suicide bombers with 'Stop, we have run out of virgins!') show that when it comes to the deliberate undermining of a sacred relational model, humor is no laughing matter. (pp. 633-634)

Nor is it merely that we can discern in Christ that close union of personality with perfection which forms the real distinction between the classical and romantic movement in life, but the very basis of his nature was the same as that of the nature of the artist - an intense and flamelike imagination. He realised in the entire sphere of human relations that imaginative sympathy which in the sphere of Art is the sole secret of creation. He understood the leprosy of the leper, the darkness of the blind, the fierce misery of those who live for pleasure, the strange poverty of the rich. Someone wrote to me in trouble, 'When you are not on your pedestal you are not interesting.' How remote was the writer from what Matthew Arnold calls 'the Secret of Jesus.' Either would have taught him that whatever happens to another happens to oneself, and if you want an inscription to read at dawn and at night-time, and for pleasure or for pain, write up on the walls of your house in letters for the sun to gild and the moon to silver, 'Whatever happens to oneself happens to another.

He is the most Shakespearean creature since Shakespeare. If Shakespeare could sing with myriad lips, Browning could stammer through a thousand mouths. [...] Yes, Browning was great. And as what will he be remembered? As a poet? Ah, not as a poet! He will be remembered as a writer of fiction, as the most supreme writer of fiction, it may be, that we have ever had. His sense of dramatic situation was unrivalled, and, if he could not answer his own problems, he could at least put problems forth, and what more should an artist do? Considered from the point of view of a creator of character he ranks next to him who made Hamlet. Had he been articulate, he might have sat beside him. The only man who can touch the hem of his garment is George Meredith. Meredith is a prose Browning, and so is Browning. He used poetry as a medium for writing in prose.

As some people turned to religion for comfort, so, Highsmith wrote in her notebook in September 1970, she took refuge in her belief that she was making progress as a writer. But she realised that both systems of survival were, however, fundamentally illusory. She wrote, she said, quoting Oscar Wilde because, 'Work never seems to me a reality, but a way of getting rid of reality'.

Oscar Wilde said that if you know what you want to be, then you inevitably become it. That is your punishment. But if you never know, then you can be anything. There is a truth to that. We are not nouns, we are verbs. I am not a thing — an actor, a writer — I am a person who does things — I write, I act — and I never know what I am going to do next. I think you can be imprisoned if you think of yourself as a noun.

They degrade the classics into authorities. They used them as bludgeons for preventing the free expression of Beauty in new forms. They are always asking a writer why he does not write like somebody else, or a painter why he does not paint like somebody else, quite oblivious of the fact that if either of them did anything of the kind he would cease to be an artist... When they say that a work is grossly unintelligible, they mean that the artist has said or made a beautiful thing that is new. when they describe a work as grossly immoral, they mean that the artist has said or made a beautiful thing that is true.

I have a weird graphic I made for myself once, and it's the "lineage tree" of everyone that has inspired me and more importantly given me the permission to be myself in my work. There's a slew of people from theater: Erwin Piscator, Chekhov, Mac Wellman, Stein; and then a whole lot of wonderful works that are called novels: everything from Tristram Shandy to Bouvard and Pecuchet, to Virginia Woolf's Three Guineas, and Finnegan's Wake and Invisible Man, and then contemporary writers I'm currently reading like Renee Gladman and Anakana Schofield. There are many more in my graphic also: there's Beckett's novels and Melancholy of Resistance, and there's Reznikoff and Dos Passos, there are contemporary poets I admire like Jena Osman, dance-writers like Michelle Ellsworth, and books I can't help read for fun like Muriel Spark. But there's Groucho Marx and Oscar Wilde. It's a huge question and the answers would likely change daily. But these I'm talking about here are in the pantheon.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

It was simple: we are the storytellers. Imagination in Ireland was beyond the beyond. It was out there. It was Far Out before far out was invented in California, because sitting around in a few centuries of rain breeds these outlands of imagination. As evidence, think of Abraham Stoker, confined to bed until he was eight years old, lying there breathing damp Dublin air with no TV or radio but the heaving wheeze of his chest acting as pretty constant reminder that soon he was heading Elsewhere. Even after he was married to Florence Balcombe of Marino Crescent (she who had an unrivalled talent for choosing the wrong man, who had already given up Oscar Wilde as a lost cause in the Love Department when she met this Bram Stoker and thought: he seems sweet), even after Bram moved to London he couldn’t escape his big dark imaginings in Dublin and one day further down the river he spawned Dracula (Book 123, Norton, New York). Jonathan Swift was only settling into a Chesterfield couch in Dublin when his brain began sailing to Lilliput and Blefuscu (Book 778, Gulliver’s Travels, Jonathan Swift, Penguin, London). Another couple of deluges and he went further, he went to Brobdingnag, Laputa, Bainbarbi, Glubbdubdrib, Luggnagg and . . . Japan, before he went furthest of all, to Houyhnhnms. Read Gulliver’s Travels when you’re sick in bed and you’ll be away. I’m telling you. You’ll be transported, and even as you’re being carried along in the current you’ll think no writer ever went this Far. Something like this could only be dreamt up in Ireland. Charles Dickens recognised that.

both were writers of high ambition, with

Mother made sure her little kids were subjected to a strict routine. We were given a timetable which covered our every waking moment, copies of which were posted by our bedside, in the sitting room and in the kitchen. Story hour meant that mother would read us novels and short stories by Guy de Maupassant, Oscar Wilde and Edmondo de Amicis. Soon we graduated to Tolstoy, Gogol and Turgenev. She read them to us in Chinese and I never realised until much later that the writers wrote them in different European languages. Comics were absolutely forbidden and so were Enid Blyton adventures and pop music. . .Lee Cyn and I soon went to a primary school nearby. . .After mother’s rigorous timetable, school became fun and easy-going.

Dorian? Is that an important publisher?" "Count Dorian is really famous. How do you not know him?" "I can only think of the Dorian in the painting. You know, Oscar Wilde’s beautiful, cursed one?" he says. "Sorry. And, anyway, why is he important?" he asks, noting her apprehension. "Well, for one thing, he’s a Count." "Pardon..." he mocks, in a French accent. "Why is this Count famous?" "Because he cultivates young talent. He’s launched a lot of young people in different fields: music, painting, sculpture, fashion, theater, movies." She pauses for breath. "And writers, too." "So he’s a type of patron." She nods. "And he’s contacted you about your novels?" She nods again. "And what’s the problem?" "He has an estate in Tuscany, as well as houses in New York and Hong Kong. And he’s asked to meet me." "Are you embarrassed to go on your own? I can take you if you want. But if he’s a talent hunter, you just need to act as natural as possible and you'll be fine. I imagine he’s used to it. He can’t not like you," he says, caressing her face. "He thinks I’m a man..," she whispers. Andrea freezes. "Eh?!" he exclaims, looking at her and suddenly feeling a strange foreboding. "I

The public ... is always asking a writer why he does not write like somebody else ... quite oblivious of the fact that if he did anything of the kind he would cease to be an artist.

As the Irish writer Oscar Wilde once said, “Thinking is the most unhealthy thing in the world, and people die of it just as they die of any other disease.

A man is rich in proportion to the number of things he can afford to let alone.” –Henry David Thoreau American essayist and philosopher, author of Walden “What gets measured gets managed.” –Peter Drucker Considered “the founder of modern management,” author of The Effective Executive “Morality is simply the attitude we adopt towards people we personally dislike.” –Oscar Wilde Irish writer, author of The Picture of Dorian Gray

They are always asking a writer why he does not write like somebody else, or a painter why he does not paint like somebody else, quite oblivious of the fact that if either of them did anything of the kind he would cease to be an artist.

Anyone who lives within their means suffers from a lack of imagination.” –Oscar Wilde Irish writer, author of The Picture of Dorian Gray