De Profundis. Оскар УайльдЧитать онлайн книгу.
n your heart that to write to me as I lie in the loneliness of prison-life is better than to publish my letters without my permission or to dedicate poems to me unasked, though the world will know nothing of whatever words of grief or passion, of remorse or indifference you may choose to send as your answer or your appeal.
I have no doubt that in this letter in which I have to write of your life and of mine, of the past and of the future, of sweet things changed to bitterness and of bitter things that may be turned into joy, there will be much that will wound your vanity to the quick. If it prove so, read the letter over and over again till it kills your vanity. If you find in it something of which you feel that you are unjustly accused, remember that one should be thankful that there is any fault of which one can be unjustly accused. If there be in it one single passage that brings tears to your eyes, weep as we weep in prison where the day no less than the night is set apart for tears. It is the only thing that can save you If you go complaining to your mother, as you did with reference to the scorn of you I displayed in my letter to Robbie, so that she may flatter and soothe you back into self-complacency оr conceit, you will be completely lost. If you find one false excuse for yourself, you will soon find a hundred, and be just what you were before. Do you still say, as you said to Robbie in your answer, that I “attribute unworthy motives” to you? Ah! you had no motives in life. You had appetites merely. A motive is an intellectual aim. That you were “very young” when our friendship began? Your defect was not that you knew so little about life, but that you knew so much. The morning dawn of boyhood with its delicate bloom, its clear pure light, its joy of innocence and expectation you had left far behind. With very swift and running feet you had passed from Romance to Realism. The gutter and the things that live in it had begun to fascinate you. That was the origin of the trouble in which you sought my aid, and I, so unwisely according to the wisdom of this world, out of pity and kindness gave it to you. You must read this letter right through, though each word may become to you as the fire or knife of the surgeon that makes the delicate flesh burn or bleed. Remember that the fool in the eyes of the gods and the fool in the eyes of man arc very different. One who is entirely ignorant of the modes of Art in its revolution or the moods of thought in its progress, of the pomp of the Latin line or the richer music of the vowelled Greek, of Tuscan sculpture or Elizabethan song may yet be full of the very sweetest wisdom. The real fool, such as the gods mock or mar, is he who does not know himself. I was such a one too long. You have been such a one too long. Be so no more. Do not be afraid. The supreme vice is shallowness. Everything that is realised is right. Remember also that whatever is misery to you to read, is still greater misery to me to set down. To you the Unseen Powers have been very good. They have permitted you to see the strange and tragic shapes of Life as one sees shadows in a crystal. The head of Medusa that turns living men to stone, you have been allowed to look at in a mirror merely. You yourself have walked free among the flowers. From me the beautiful world of colour and motion has been taken away.
I will begin by telling you that I blame myself terribly. As I sit here in this dark cell in convict clothes, a disgraced and ruined man, I blame myself. In the perturbed and fitful nights of anguish, in the long monotonous days of pain, it is myself I blame. I blame myself for allowing an unintellectual friendship, a friendship whose primary aim was not the creation and contemplation of beautiful things, to entirely dominate my life. From the very first there was too wide a gap between us. You had been idle at your school, worse than idle at your university. You did not realise that an artist, and especially such an artist as I am, one, that is to say, the quality of whose work depends on the intensification of personality, requires for the development of his art the companionship of ideas, and intellectual atmosphere, quiet, peace, and solitude. You admired my work when it was finished you enjoyed the brilliant successes of my first nights, and the brilliant banquets that followed them you were proud, and quite naturally so, of being the intimate friend of an artist so distinguished: but you could not understand the conditions requisite for the production of artistic work. I am not speaking in phrases of rhetorical exaggeration but in terms of absolute truth to actual fact when I remind you that during the whole time we were together I never wrote one single line. Whether at Torquay, Goring, London, Florence or elsewhere, my life, as long as you were by my side, was entirely sterile and uncreative. And with but few intervals you were, I regret to say, by my side always.
I remember, for instance, in September ’93, to select merely one instance out of many, taking a set of chambers, purely in order to work undisturbed, as I had broken my contract with John Hare for whom I had promised to write a play, and who was pressing me on the subject. During the first week you kept away. We had, not unnaturally indeed, differed on the question of the artistic value of your translation of Salome, so you contented yourself with sending me foolish letters on the subject. In that week I wrote and completed in every detail, as it was ultimately performed, the first act of An Ideal Husband. The second week you returned and my work practically had to be given up. I arrived at St James’s Place every morning at 11.30, in order to have the opportunity of thinking and writing without the interruptions inseparable from my own household, quiet and peaceful as that household was. But the attempt was vain. At twelve o’clock you drove up, and stayed smoking cigarettes and chattering till 1.30, when I had to take you out to luncheon at the Café Royal or the Berkeley. Luncheon with its liqueurs lasted usually till 3.30. For an hour you retired to White’s. At tea-time you appeared again, and stayed till it was time to dress for dinner. You dined with me either at the Savoy or at Tite Street. We did not separate as a rule till after midnight, as supper at Willis’s had to wind up the entrancing day. That was my life for those three months, every single day, except during the four days when you went abroad. I then, of course, had to go over to Calais to fetch you back. For one of my nature and temperament it was a position at once grotesque and tragic.
You surely must realise that now? You must see now that your incapacity of being alone: your nature so exigent in its persistent claim on the attention and time of others: your lack of any power of sustained intellectual concentration: the unfortunate accident-for I like to think it was no more-that you had not yet been able to acquire the “Oxford temper” in intellectual matters, never, I mean, been one who could play gracefully with ideas but had arrived at violence of opinion merely-that all these things, combined with the fact that your desires and interests were in Life not in Art, were as destructive to your own progress in culture as they were to my work as an artist? When I compare my friendship with you to my friendship with such still younger men as John Gray and Pierre Louys I feel ashamed. My real life, my higher life was with them and such as they.
Of the appalling results of my friendship with you I don’t speak at present. I am thinking merely of its quality while it lasted. It was intellectually degrading to me. You had the rudiments of an artistic temperament in its germ. But I met you either too late or too soon, I don’t know which. When you were away I was all right. The moment, in the early December of the year to which I have been alluding, I had succeeded in inducing your mother to send you out of England,I collected again the torn and ravelled web of my imagination, got my life back into my own hands, and not merely finished the three remaining acts of An Ideal Husband, but conceived and had almost completed two other plays of a completely different type, the Florentine Tragedy and La Sainte Courtisane, when suddenly, unbidden, unwelcome, and under circumstances fatal to my happiness you returned. The two works left then imperfect I was unable to take up again. The mood that created them I could never recover. You now, having yourself published a volume of verse, will be able to recognise the truth of everything I have said here. Whether you can or not it remains as a hideous truth in the very heart of our friendship. While you were with me you were the absolute ruin of my Art, and in allowing you to stand persistently between Art and myself I give to myself shame and blame in the fullest degree. You couldn’t know, you couldn’t understand, you couldn’t appreciate. I had no right to expect it of you at all. Your interests were merely in your meals and moods. Your desires were simply for amusements, for ordinary or less ordinary pleasures. They were what your temperament needed, or thought it needed for the moment. I should have forbidden you my house and my chambers except when I specially invited you. I blame myself without reserve for my weakness. It was merely weakness. One half-hour with Art was always more to me than a cycle with you. Nothing really at any period of my life was ever of the smallest importance to me compared with Art. But in the case of an artist, weakness is nothing less than a crime, when it is a weakness that paralyses the imagination.
I blame myself