Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
Oscar WildeRead
I hate vulgar realism in literature. The man who would call a spade a spade should be compelled to use one.
Interpretation
The quote criticizes blunt realism in literature and suggests that one should engage in the realities they describe.
Oscar Wilde's quote expresses a disdain for vulgar realism in literature, highlighting a tension between artistic expression and the raw portrayal of reality. By stating that someone who insists on blunt honesty should actually experience the realities they reference, Wilde implies that true understanding and creativity require deeper engagement with the subject rather than mere surface-level representation.
In practice
In a discussion on the role of literary styles, one could use this quote to emphasize the importance of depth over superficial realism.
Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
London is too full of fogs and serious people. Whether the fogs produce the serious people, or whether the serious people produce the fogs, I don't know.
When one has never heard a man's name in the course of one's life, it speaks volumes for him; he must be quite respectable.
Men always want to be a woman's first love - women like to be a man's last romance.
A truth ceases to be true when more than one person believes in it.
His morality is all sympathy, just what morality should be
When you're a performer, of course you want an audience, but it's very, very different from courting fame.
I'm enamored with the art world. Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.
The country that I was coming from, the island I was in, hadn't been written about, really. So I thought that I virtually had it all to myself, including the language that was spoken there, which was a French Creole, and a landscape that is not recorded, really, and the people.
Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.
I never heard my music played the way I heard it in my head.
The Photograph is an extended, loaded evidence β as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.
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