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×÷Õß¼ò½é£º°Â˹¿¨¡¤Íõ¶ûµÂ(Oscar Wilde, 1854-1900)£¬Ó¢¹úά¶àÀûÑÇʱ´úÖøÃû×÷¼Ò£¬¡°Î¨ÃÀÖ÷Òå Ô˶¯¡±µÄÁì¾üÈËÎ³«µ¼¡°ÎªÒÕÊõ¶øÒÕÊõ¡±(Art for art's sake)¡£ËûµÄ´ú±í×÷ÓÐÏ·¾ç¡¶É¯ÀÖÃÀ¡·(Salome)¡¶ÈÏÕæµÄ ÖØÒªÐÔ¡·(The Importance of Being Earnest)£¬Í¯»°¡¶¿ìÀÖÍõ×Ó¡·(The Happy Prince) ¡¶Ò¹ÝºÓëõ¹å¡·(The Nightingale and the Rose) £¬Ð¡Ëµ¡¶µÀÁ¬¡¤¸ñÀ׵ĻÏñ¡·(The Picture of Dorian Gray)£¬ÒÔ¼°ÊéÐÅ¡¶×ÔÉîÉî´¦¡·(De Profundis)µÈ¡£
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Behind Joy and Laughter there may be a temperament, coarse, hard and callous. But behind Sorrow there is always Sorrow. Pain, unlike Pleasure, wears no mask. Truth in Art is not any correspondence between the essential idea and the accidental existence; it is not the resemblance of shape to shadow, or of the form mirrored in the crystal to the form itself: it is no Echo coming from a hollow hill, any more than it is the well of silver water in the valley that shows the Moon to the Moon and Narcissus to Narcissus. Truth in Art is the unity of a thing with itself: the outward rendered expressive of the inward: the soul made incarnate: the body instinct with spirit. For this reason there is no truth comparable to Sorrow. There are times when Sorrow seems to me to be the only truth. Other things may be illusions of the eye or the appetite, made to blind the one and cloy the other, but out of Sorrow have the worlds been built, and at the birth of a child or a star there is pain.
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1¡¢correspondence n.·ûºÏ£»Ò»Ö£»ºôÓ¦£»ÏàËÆÖ®´¦£»Í¨ÐÅ
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keep up correspondence with sb. ÓëijÈ˱£³ÖͨÐÅ
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an essential difference ±¾ÖʵIJî±ð
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a hollow friend ¼ÙÅóÓÑ
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