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El Retrato de Dorian Gray
El Retrato de Dorian Gray
El Retrato de Dorian Gray
Audiolibro9 horas

El Retrato de Dorian Gray

Escrito por Oscar Wilde

Narrado por Viviana Segura

Calificación: 3 de 5 estrellas

3/5

()

Información de este audiolibro

Basil Hallward es un artista que queda fuertemente impresionado por la belleza estética de un joven llamado Dorian Gray y comienza a admirarlo. Basil pinta un retrato del joven. Charlando en el jardín de Hallward, Dorian conoce a un amigo de Basil y empieza a cautivarse por la visión del mundo de Lord Henry. Exponiendo un nuevo tipo de hedonismo, Lord Henry indica que «lo único que vale la pena en la vida es la belleza, y la satisfacción de los sentidos». Al darse cuenta de que un día su belleza se desvanecerá, Dorian desea tener siempre la edad de cuando Basil le pintó en el cuadro. Mientras él mantiene para siempre la misma apariencia del cuadro, la figura retratada envejece por él. Su búsqueda del placer lo lleva a una serie de actos de lujuria; pero el retrato sirve como un recordatoriode los efectos de su alma, con cada pecado la figura se va desfigurando y envejeciendo.

IdiomaEspañol
Fecha de lanzamiento28 ago 2020
ISBN9781953250438
El Retrato de Dorian Gray
Autor

Oscar Wilde

Oscar Wilde (1854–1900) was a Dublin-born poet and playwright who studied at the Portora Royal School, before attending Trinity College and Magdalen College, Oxford. The son of two writers, Wilde grew up in an intellectual environment. As a young man, his poetry appeared in various periodicals including Dublin University Magazine. In 1881, he published his first book Poems, an expansive collection of his earlier works. His only novel, The Picture of Dorian Gray, was released in 1890 followed by the acclaimed plays Lady Windermere’s Fan (1893) and The Importance of Being Earnest (1895).

Comentarios para El Retrato de Dorian Gray

Calificación: 3.033325776467921 de 5 estrellas
3/5

8,822 clasificaciones270 comentarios

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  • Calificación: 5 de 5 estrellas
    5/5
    Deja mirar como en 1890 tenía gran peso la belleza y el estatus. Sin embargo, tiene un mensaje mas profundo. Deberías leerlo.
  • Calificación: 5 de 5 estrellas
    5/5
    Excelente narración, con una buena velocidad y con todos los énfasis necesarios.
  • Calificación: 5 de 5 estrellas
    5/5
    La historia es buena e interesante. Es un libro que tienes que escuchar o leer!
  • Calificación: 5 de 5 estrellas
    5/5
    Me gustó mucho este libro, la manera en que está escrito, cada uno de los personajes, me gustó el final, no me lo esperaba.
  • Calificación: 3 de 5 estrellas
    3/5
    Muy buen libro. La narradora podría mejorar la actuación de las voces. También sería bueno que consultara la pronunciación de las palabras extranjeras.
  • Calificación: 4 de 5 estrellas
    4/5
    Dorian Gray was the LibraryThing book club read in January 2014. Here I compile (and lightly redact) my comments from that activity:1) About 5 chapters in, it's hard to imagine how this book will be very haunting, what with Lord Henry cracking wise every few seconds. It's like a Gothic novel written by Groucho Marx.2) "Ho, ho," I thought, "Criticizing authors for being wordy is like criticizing Mozart for using too many notes." I mean, the more words we can get from masters of the language, the better, right? Then I got to Chapter 11 of Dorian Gray. It's the most blatant example of padding I've ever encountered in a classic novel. It's the literary equivalent of reading the phone book into the record during a filibuster.3) The edition I'm reading has sparse footnotes in chapters 1 through 10, and then about 200 footnotes in chapter 11. As I recall, some of those footnotes pinpoint the exhibit catalogs and merchant catalogs that Wilde seemed to be using when writing chapter 11. It reminds me of Capote's quip: "That's not writing: that's typing." IMO, chapter 11 is bankrupt of literary worth. (Sorry.)4) Geez, take it easy on the furniture! "And Lord Henry flung himself down on the divan and opened his cigarette-case." (Chapter 2) "Lord Henry flung himself into a large wicker arm-chair and watched him." (Chapter 2) "The hot tears welled into his eyes; he tore his hand away and, flinging himself on the divan, he buried his face in the cushions, as though he was praying." (Chapter 2) "As the door closed behind them, the painter flung himself down on a sofa, and a look of pain came into his face." (Chapter 2) "Then he lit a cigarette and flung himself down on the sofa." (Chapter 4) "He flung himself down on the sofa and turned away his face." (Chapter 7) "He threw himself into a chair and began to think." (Chapter 7) "Then he rose from the table, lit a cigarette, and flung himself down on a luxuriously cushioned couch that stood facing the screen." (Chapter 8) "He went towards the little, pearl-coloured octagonal stand that had always looked to him like the work of some strange Egyptian bees that wrought in silver, and taking up the volume, flung himself into an arm-chair and began to turn over the leaves." (Chapter 10) "'What is it all about?' cried Dorian in his petulant way, flinging himself down on the sofa." (Chapter 12) "Then he flung himself into the rickety chair that was standing by the table and buried his face in his hands." (Chapter 13) "He sent him to bed, and threw himself down on the sofa in the library, and began to think over some of the things that Lord Henry had said to him." (Chapter 20)5) When I mentioned the sources that Wilde seemed to be using while writing chapter 11, I was apparently being too generous. That he copied verbatim from various books on embroideries, tapestries, gemstones, etc., is apparently well-documented, in particular in the OUP edition of his complete works.6) "A man cannot be too careful in the choice of his enemies." Note that this is a truism, with one word replaced by its antonym. This is also the formula Wilde (allegedly) used in: "One must have a heart of stone to read the death of little Nell without laughing." In general, Wilde's one-liners seem formulaic to me. Just as (according to Monty Python) an argument is not the automatic gainsaying of any statement the other person makes, wit requires more than the inversion of bromides.7) By the way, on the topic of Oscar Wilde, formulaic witticisms, and Monty Python, there's a Python sketch that starts out: "The Prince of Wales: Ah, my congratulations, Wilde. Your play is a great success. The whole of London's talking about you. Oscar Wilde: Your highness, there is only one thing in the world worse than being talked about, and that is not being talked about. (There follows fifteen seconds of restrained and sycophantic laughter) The Prince of Wales: Oh, very witty, Wilde . . . very, very witty. James McNeill Whistler: There is only one thing in the world worse than being witty, and that is not being witty. (Fifteeen more seconds of the same) Oscar Wilde: I wish I had said that, Whistler. James McNeill Whistler: Ah, you will, Oscar, you will. (more laughter) Oscar Wilde: Your Highness, do you know James McNeill Whistler? The Prince of Wales: Yes, we've played squash together. Oscar Wilde: There is only one thing worse than playing squash together, and that is playing it by yourself. (silence) Oscar Wilde: I wish I hadn't said that. James McNeill Whistler: But you did, Oscar, you did."