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“Vulgarity for Wilde is equivalent to a crime: "Every offense is vulgar, just like all the vulgarity is a crime" - on the functional basis, the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on a comparison of such phenomena as" offense "and"vulgarity" [6]. Oscar Wilde claims that an artist is a Creator of beautiful things. Yes, an artist should create the beautiful, but at the same time, he should not introduce elements from his life into art: " [6]...the art more hides the artist than reveals himself..."- according to the functional feature, the paradox refers to the philosophical one, which is realized at the level of the microtext. Oscar Wilde could easily make fun of everything, but in relation to art, in the power of which he believed, he remained extremely serious. The idea that art is higher than life is also expressed in the beautiful romantic fiction on which the entire novel "The Doctor’s Dilemma” [5]. The artist Hallward painted a portrait of a surprisingly beautiful young man, Dilemma. The portrait has an unusual property: youth and beauty never leave the living Dilemma, and all the changes in his thoroughly perverted nature are recorded only by the portrait. So no one can see what Dilemma is really like. But the portrait inexorably registers all the consequences of his vicious life. This Oscar Wilde wanted to Express an important idea for him that the essence of man and phenomena can only be revealed by art, in this connection, the writer valued it above reality” [34, с. 10]. Having analyzed the paradoxes in the work of Oscar Wilde, we can conclude that he was rightfully called the "Prince of Paradoxes". His works” [5] are full of different vulgarity for “Wilde is equivalent to a crime: "Every offense is vulgar, just like all the vulgarity is a crime" - on the” [6] functional basis of the paradox refers to the philosophical, which is implemented at the level of microtext. On a semantic basis, the paradox is based on a comparison of such phenomena as" offense "and"vulgarity". Oscar Wilde claims that an artist is a Creator of beautiful things. Yes, an artist should create the beautiful, but at the same time, he should not introduce elements from his life into art: " [6]...the art more hides the artist than reveals himself..." - on the” [47, p. 19] functional basis, the paradox refers to the philosophical, which is realized at the level of micro-context. Oscar Wilde could easily make fun of everything, but in relation to art, in the power of which he believed, he remained extremely serious. The idea that art is higher than life is also expressed in the beautiful romantic fiction on which the entire novel "the Doctor’s Dilemma " [5] is based. The artist Hallward painted a portrait of a surprisingly beautiful young man, Dorian gray. The portrait has an unusual property: youth and beauty never leave the living Dilemma, and all the changes in his thoroughly perverted nature are recorded only by the portrait. So no one can see what Dilemma is really like. But the portrait inexorably registers all the consequences of his vicious life. This Oscar Wilde wanted to Express an important idea for him that the essence of man and phenomena can only be revealed by art, in this connection, the writer valued it above reality” [34, с. 11]. Having analyzed the paradoxes in the work of Oscar Wilde, we can conclude that he was rightfully called the "Prince of Paradoxes" [5]. His works are full of various paradoxes, which are realized both in the microtext and in the macrotext. The themes that Oscar Wilde touches on in his paradoxes are diverse and Express his attitudes to a particular issue. In the works of Oscar Wilde there are such types of paradoxes as philosophical, Vulgarity for” [5] Wilde is equivalent to a crime: "Every offense is vulgar, just like all the vulgarity is a crime" [5] - on the functional basis, the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on a comparison of such phenomena as" offense "and"vulgarity". Oscar Wilde claims that an artist is a Creator of beautiful things. Yes, an artist should create the beautiful, but at the same time, he should not introduce elements from his life into art: "[5]...the art more hides the artist than reveals himself...” - according to” [5] the functional feature, the paradox refers to the philosophical one, which is realized at the level of the microtext. Oscar Wilde could easily make fun of everything, but in relation to art, in the power of which he believed, he remained extremely serious. The idea that art is higher than life is also expressed in the beautiful romantic fiction on which the entire novel "the Portrait of Dorian gray"is based. The artist Hallward painted a portrait of a surprisingly beautiful young man, Dorian gray. The portrait has an unusual property: youth and beauty never leave the living Dorian, and all the changes in his thoroughly perverted nature are recorded only by the portrait. So no one can see what Dorian is really like. But the portrait inexorably registers all the consequences of his vicious life. This Oscar Wilde wanted to express an important idea for him that the essence of” [5] man and phenomena can only be revealed by art, in this connection, the writer valued it above reality” [34, p. 42]. Having analyzed the paradoxes in the work of Oscar Wilde, we can conclude that he was rightfully called the "Prince of Paradoxes". His works” [5]are full of different vulgarity for Wilde is equivalent to a crime: " [6] Every offense is vulgar, just like all the vulgarity is a crime" - on the” [5] functional basis of the paradox refers to the philosophical, which is implemented at the level of microtext. On a semantic basis, the paradox is based on a comparison of such phenomena as" offense "and"vulgarity". Oscar Wilde claims that an artist is a Creator of beautiful things. Yes, an artist should create the beautiful, but at the same time, he should not introduce elements from his life into art: " [38]...the art more hides the artist than reveals himself..." - on the [47, p. 19] functional basis, the paradox refers to the philosophical, which is realized at the level of micro-context. Oscar Wilde could easily make fun of everything, but in relation to art, in the power of which he believed, he remained extremely serious. The idea that art is higher than life is also expressed in the beautiful romantic fiction on which the entire novel "the Portrait of Dorian gray" [5] is based. The artist Hallward painted a portrait of a surprisingly beautiful young man, Dorian gray. The portrait has an unusual property: youth and beauty never leave the living Dorian, and all the changes in his thoroughly perverted nature are recorded only by the portrait. So no one can see what Dorian is really like. But the portrait inexorably registers all the consequences of his vicious life. This Oscar Wilde wanted to Express an important idea for him that the essence of man and phenomena can only be revealed by art, in this connection, the writer valued it above reality” [34, p. 42]. Having analyzed the paradoxes in the work of Oscar Wilde, we can conclude that he was rightfully called the "Prince of Paradoxes" [5]. His works are full of various paradoxes, which are realized both in the microtext and in the macrotext. The themes that Oscar Wilde touches on in his paradoxes are diverse and Express his attitudes to a particular issue. In the works of Oscar Wilde there are such types of paradoxes as philosophical, characterological, but most of all we can find such a type of paradox as ironic. Most often, Oscar Wilde touches on such themes in his paradoxes as love, family, art, men and women, beauty and the search for truth” [4].
"The paradoxical fiction writer” [5] Shaw - as a fiction writer very talented and witty, but decidedly worthless as an economist and politician, although he is honest and not a careerist..." - so described Engels in 1892. Bernard Shaw. A favorite technique of the writer is to play with paradoxes. "My way of making jokes is to tell the truth," Shaw once said. And indeed, hiding behind the mask” [6] of a Joker, the writer more than once threw in the face of the bourgeois public bitter truths, putting them in the form of funny paradoxes. A paradox, as we know, is an opinion that is at odds with conventional wisdom and sometimes even contradicts common sense. But with Shaw, this contradiction is often only apparent. Here are a few typical paradoxes for the Show: • " [6] An Englishman thinks he is moral when he is only uncomfortable" [6] - according to the functional feature, this paradox refers to the characterological one, which is implemented at the level of the microtext. This paradox is based on semantic comparison. •"Those who can, do; those who can't, teach [5]" - this paradox is related to the philosophical one, which is implemented at the level of micro-context [48, c. 16]. Semantically, “this paradox is based on an idiom. Publicist Bernard Shaw believed that an effective language was needed in relation to drama. His ideas are expressed in short, wise, witty statements, or aphorisms. When describing the social situation of the 20th century, he often uses striking paradoxes that clearly illustrate his attitude to the Convention of the 19th century. One of Bernard Shaw's favorite stylistic techniques was paradoxes, which, as he believed, could turn trivial opinions upside down, revealing their stupidity and hypocrisy: •"the love of money” [4]is the root of all evil [5]" - this paradox is functionally related to the ironic, which is implemented at the level of microtext [47, p. 52-55]. This paradox is based on semantic comparison [49, p. 11]. •"When people are very poor, you cannot help them, no matter how much you may sympathize with them. It does them more harm than good in the long run [5]" - according to the [47, p. 52-55] functional feature, this paradox belongs to the characterological one, which is implemented at the level of the microtext. [52, c. 12] This paradox is based on semantic comparison. •"The dirtier a place is the more rent you get" [47, p. 52-55] - this paradox is functionally related to the ironic one, which is implemented at the level of microtext [49, p. 18]. This paradox is based on semantic comparison. •"I'll have to learn to speak middle-class language from you, instead of speaking proper English [5]" - this paradox is functionally related to the characterological one, which is implemented at the level of microtext[44]. On a semantic basis, this paradox is based on opposition. •"The great secret... is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls [5]" - this paradox is functionally related to the ironic, which is implemented at the level of the microtext. This paradox is based on semantic comparison[48]. •"Time enough to think of the future when you haven't any future to think of [5]" - this paradox is functionally related to the philosophical one, which is implemented at the level of the microtext [49, p. 20]. This paradox is based on semantic comparison. •
“Independence? This is middle-class blasphemy. We all depend on each other, every soul of us on Earth" [44] - this paradox is related to the philosophical one, which is realized at the level of micro-context. On a semantic basis, this paradox is based on opposition. “But paradox is not just a favorite” [5] form of speech for Shaw. The very action of Shaw's plays is paradoxical. The show creates situations in which the usual situation for a given society turns out to be reversed, and a lot of it looks set on its head. The one who seems the most unreasonable character, like captain Shotover in "the House where hearts break" [5]. The one who must obey is essentially the commander of all. This is the private Miik in the play "Bitter, but true". In the same play, an example of a paradoxical plot structure is the depiction of how a microbe becomes ill from people. Shaw uses these techniques to create the action of his plays. Paradoxical sayings, paradoxical situations-all this serves the writer to stir up the reader and the viewer, make them see the contradictions of public life, pay attention to social flogging and at the same time laugh at all this” [5]. Laughter is the strongest tool of social criticism in the Arsenal of Bernard Shaw's artistic tools. Shaw does not tend to care about the naturalness and plausibility of action and dramatic positions. Each of his plays is primarily a collection of witty dialogues that serve the author to bring his thoughts to the reader and viewer. In the play "the House where hearts are broken" [5], Shaw appears as a master of unexpected turns in the fate of the characters, in their actions and thoughts, a master of unexpected and paradoxical discoveries. Random, seemingly, meetings of the characters in the house-ship of captain Shotover give impetus to the movement, and here the Show mercilessly tears off the masks, showing the senselessness of the aimless existence of Hector Hashebay, his wife and their loved ones, as well as the illusory dream of Ella Den about personal happiness in the world of business success. Shotover, with his harsh, incriminating words, sets the tone for the entire play. His eccentricities, his eccentricities, which reveal a deep contempt for the cynical philosophy of success, and his outbursts of sullen tenderness, are a paradoxically pointed form of denial of the generally accepted institutions of a thievish bourgeois world that is doomed to destruction. The paradox of Bernard Shaw as a distinctive feature of the creative method of the playwright emerges in "Devil's Disciple" the most emphasized and pointy in the show "conversion of heroes" [5], that is, in revealing the true nature of people faced with the need to take bold decisions in "the hour of testing" in the situation when there are severe "laws of war" and the British without much thought as a warning to others hanging on the gallows all those deemed "rebel". All the power of the show's paradoxes, all the power of its sarcastic laughter, all the power and originality of its character, lies in stripping away the "secrets" of bourgeois accumulation, in exposing the inadequacy of false patriotism and false heroics, in denouncing the anti - human, self-serving morality and practice of "happy" fathers of families who build their well-being on the misfortunes of others and appear to us as calculating, cold, egoistic people, in debunking the ugly capitalist reality.realism. In the play "Major Barbara" [5], the great playwright accuses the rich entrepreneurs of England that they earn money from wars and death, ridicules British charity. The paradox lies in the fact that the charity organization "Salvation Army" live on the money people like Undershaft” [5], gunsmith and a man who makes guns. But despite all the cynicism and evil, Undershaft intelligent man and the only one in this play does something practical. His daughter Barbara wholeheartedly wants to help the charity, but she is unable to do anything other than make "hot, flaming speeches." Undershaft makes fun of such people” [5]: "you're all the same, dear people. You can tell me about the breaking stress of a ten-inch gun, which is very simple” [5]; but you all think you can tell me”[5] about the breaking stress of a man under temptation. You do not dare to handle [43] “explosives; but you are all ready to handle” [5] with honesty, truth, justice, and all the duty of a man, and kill each other in the game. What a country! What a world!"In this” [50] case, an ironic paradox is created with the help of literary and figurative meanings of the words: "ten-inch pistol breaking strain" and "up to the handle honesty and truth and justice and the duty of man as a whole" [49, p. 20].
“Having analyzed the paradoxes in the work of Bernard Shaw, we can draw the following conclusions. Just like Oscar Wilde, B. Shaw liked to use such a stylistic device as a paradox in his works. A large number of paradoxes occur at the level of macro-contexts - the entire plot of the work is built on a paradox”[5]. But there are also no fewer paradoxes at the level of microcontexts - a variety of statements, bright and lively dialogues. In the works of Bernard Shaw, there are such types of paradoxes as ironic and characterological, less can be found the philosophical type. Bernard Shaw touches on various themes in his paradoxes, but most of all he was concerned with the social life of the society of his time and the moral character of man. Thus, comparing the paradoxes of Bernard Shaw and Oscar Wilde, we came to the conclusion that the paradoxes of Bernard Shaw have nothing in common with the paradoxes of O. Wilde - a witty play on words. “Having broken down the paradoxes into themes and analyzed them, we came to the conclusion that Oscar Wilde is a very interesting, far from one” [5] - sided personality, which is distinguished primarily by its originality. Keenly reacting to the contradictions of the surrounding reality, Wilde appears as a sentimental cynic, an amoral moralist, or a dreamy skeptic. It calls for seeing the funny in the sad and feeling the tragic connotation in the comedy. The peculiarity of the paradoxes of Oscar Wilde is that at first they strike the reader with statements that contradict conventional concepts, as if they turn them inside out, but behind this balancing act of thought is always hidden a deep and true idea. Oscar Wilde himself defined the relation of paradox to the truth of life in his novel: "The truth of life is revealed to us in the form of paradoxes. To comprehend reality, you must see how it is balanced on a tightrope. It is only by looking at all the acrobatic things that truth does that we can judge It correctly" [5]. The paradoxes of Bernard Shaw are directed against the hypocrisy and hypocrisy of bourgeois morality, they help to understand the contradiction between the appearance and the essence of the phenomenon, reveal social contradictions, the absurdity of traditional ideas. The show contrasts the prevailing opinion with its paradoxical, but sober judgments” [5], there by helping to navigate the environment. It debunks false romantic ideas about war ("Weapons and man"), makes the apostate see a Saint ("Disciple of the devil" [5]), and in the pompous preacher - an insignificant egoist ("Candida"). In the words of B. Shaw, he returned people to their lost "normal vision", the ability to see things in their true light. The paradoxical disclosure of images and situations puts its stamp on the entire structure of his dramas and comedies, on the peculiarities of the playwright's writing style. Bernard Shaw deeply noticed the paradoxical "logic" of capitalist reality already in "Unpleasant plays", revealing the contradictions between the" upper "and" lower", the few spoils of fate and the masses of the oppressed people” [5]. The effective charge of the Show's paradoxes lies in the Stripping away of the sacred "secrets" of bourgeois accumulation, in revealing the inhumanity of the bourgeois way of life and the failure of bourgeois moral institutions.
2 .3 The plot of the Doctor Dilemma in literature and art of different eras
Drama is also easier to understand because there are conversations between the characters and the language. By reading drama, the readers can learn about the values, ideas, experiences, problems, norms, thoughts, ideas and humanity, from drama in their life.
The writer is interested in Bernard Shaw’s play because he is not only one of the greatest playwrights in the world but also one who influenced the thoughts of vast numbers of human beings during two generations. his subject is about genuine social issues or real human problems. he writes about prostitution in Mrs. Warren’s Profession, war in Arms and the Man, religious intolerance in The Devil’s Disciple, revenge in Captain brassbound’s Conversion and so on. There are some characteristics of bernard Shaw’s play. First, Shaw is an iconoclast or statue breaker. he likes to destroy old customs, concepts, tradition and philosophy as well as practice. Second is he is non conformist type. he doesn’t care about social conventions. Third is his plays are plays of ideas. his play is more important than the story and the character. The next one is the characters in Shaw’s plays are used as trumpets for his ideas. he considered long speeches to be unnatural.
We choose Bernard Shaw’s the Doctor’s Dilemma as her study because some reasons and considerations. After reading this drama, we get interested in analyzing the dilemma for her study. This drama is about the doctor’s life, especially Dr. Ridgeon. he is a successful doctor who has just discovered a new formula for tuberculosis. One day a young woman ( Mrs. Dubedat) desperately seeks help for her husband from Ridgeon, who has evidently found a way to cure consumption by "stimulating the phagocytes." Ridgeon initially refuses, but changes his mind for two reasons, Dubedat is a fine artist and Ridgeon is falling in love withhis wife. When the doctors meet Dubedat, however, they find that he is a dishonest scoundrel. This fact makes Ridgeon get confused whether he must choose Louis Dubedat or Dr. blenkinsop who also has trouble with tuberculosis. Ridgeon must choose one of them to be saved; he has to choose a kind, poor doctor without a genius or the wicked genius artist? In this drama, there are some problems or conflicts faced by the characters. They have to find the solution and the main problem it self is the dilemma. This drama also talks about the other part of doctors’ life that mostly people don’t know, their proud, ideas, thoughts, values and so on. This drama is just about genuine social issues or real human problems.
Significance of the study
This study is expected to give some contributions to the doctors, the lecturer and the students of Widya Mandala Catholic University Surabaya in understanding literary works in terms of conflicts and dilemma. Also, through the study of “The Doctor’s Dilemma” we hopes that the reader will know more about Shaw and how his works are, particularly, the Doctor’s Dilemma. We has learnt some values from this drama. We learnt that dilemma often happen to people whatever their job are such as teacher, doctor, a wife etc. And also learnt that people should not only make the right decision, but they should make them for the right reasons. Some people may not agree with a decision, but as long as it was made for the right reason other people can’t complain. In this case, we hopes that the readers are challenged to discuss Shaw and his works, especially, the Doctor’s Dilemma.
The story opens on the day that Ridgeon, a prominent research doctor, is knighted. his friends gather to congratulate him. The friends include Sir Patrick, a distinguished old physician; Walpole, an aggressive surgeon; Sir Ralphbloomfield bonington, a charismatic society doctor; and blenkinsop, a threadbare but honest government doctor. Each one has his favorite theory of illness and method of cure. These are incompatible--one man's cure is another man's poison. Nonetheless, they all get along.
A young woman ( Mrs. Dubechat) desperately seeks help for her husband from Ridgeon, who has evidently found a way to cure consumption by "stimulating the phagocytes." Ridgeon initially refuses, but changes his mind for two reasons--Dubechat is a fine artist and Ridgeon is smitten withhis wife.
When the doctors meet Dubechat, however, they find that he is a dishonest scoundrel. Ridgeon eventually decides to treat blenkinsop (who also has consumption) and refer the artist to bloomfield bonington, this insuring that he will die. In the end Ridgeon justifies his behavior as a plan to let Dubechat die before his wife find out what an amoral cad he actually was. This, in fact, happens and Dubechat's artistic reputation soars.
“Bernard Shaw let it be known that he wrote The Doctor's Dilemma in 1906 to meet a challenge from his friend, the theatre critic William Archer. Archer had claimed that GbS could not be regarded as a supreme dramatist until” [51] he had written a tragedy involving "the King of Terrors" – death. Shaw responded by writing an extravagant burlesque” [51], which carried his cast of medicine men to the verge of farce, making them more vivid than real doctors yet recognisable as” [51] comic characters in the medical profession. Then he added a subtitle to the play: "A Tragedy".
“The actual tragedy of the medical profession he addresses in a long [55], ingenious, belligerent and sometimes passionate preface to the play. In his opinion, the medical service in britain at the beginning of the” [51] 20thcentury (the play is set in 1903) had reached a state of lethal absurdity. It was not reasonable, he argued, to expect doctors in private practice to be impartial when confronted by a strong pecuniary interest. Since we all come under their attentions at some time in our lives, we are tempted to impose on them an infallibility that camouflages their ignorance" [51]. Molière saw through the doctors," Shaw wrote, "but he had to call them in just the same." And so did Shaw” [51] – thoughhe regarded their illegible prescriptions as little more than the paraphernalia of medieval witchcraft. The blind trust that many Victorians and Edwardians had in competitive private doctors protected them from unbearable mistrust and anxiety – and who could say that such misplaced confidence did not sometimes increase the patient's chances of recovery? It was the philosophy of the placebo.
"If you cannot have what you believe in," Shaw wrote in his preface, "you must believe in what you have. When your child is ill or your wife dying," when you are confronted by "[51]the spectacle of a fellow creature in pain or peril, what you want is comfort, reassurance, something to clutch at, were it but a straw. This the doctor brings you. You have a wildly urgent feeling that something must be done; and the doctor does something. Sometimes what he does kills the patient"[55].
“We believed that at this period of medical history we had become helplessly dependent on the spurious cures of doctors at the expense of the social hygiene and good housing that would form a "sanitary blockade" against many infections. Unfortunately, this social solution was considered too expensive by politicians. Shaw looked forward to a time when doctors as competitive tradesmen were replaced by a medical profession that had been brought under responsible and effective” [51] public control. “Until this body of men and women were "trained and paid by the country to keep the country in health it will remain what it is at present: a conspiracy to exploit popular credulity and human suffering". In other words, he was looking forward to the creation of a National health Service” [51].
“We already saw hopeful signs of this happening when he wrote The Doctor's Dilemma. "Every year sees an increase in the number of persons employed in the” [51] Public health Service, who would formerly have been mere adventurers in the Private Illness Service," he wrote in the preface. In 1909 beatrice Webb was to” [51] publisher minority report to the Royal Commission” [51] “on the Poor Law” [51], which contained a collectivist scheme that amounted to a blue print for the welfare state. “Shaw recognised this as an important document that would make a significant difference in sociology and political science. "It is big and revolutionary and sensible and practicable at the same time, which is just what is wanted to inspire and attract a new generation." The person whom it did inspire was William beveridge, the founder of the National health Service, whose report on social insurance in 1942 Shaw welcomed as an instalment of Fabian socialism that would help to integrate society” [51]. Our taxes were an investment in our health, and anyone who evaded such a tax would be seen as an enemy of the people.