Dorian Gray's true picture of Oscar Wilde | Books | The Guardian Books blog Dorian Gray's true picture of Oscar Wilde It is unique in the author's work for its direct sincerity, offering a uniquely authentic portrait of Wilde himself Portrait of the artist ... Colin Firth (left) and Ben Barnes in the 2009 film Dorian Gray Share on Messenger Close Though a product of the Victorian age, Oscar Wilde and his works always seemed thoroughly modern. I don't only mean that readers today easily relate to Wildean concepts; the universal will always be universal, and Shakespeare is as relevant as ever. Rather, Oscar's sensibilities are so perfectly fitted to our time: sarcastic, idealistic, playful, gloomy, melodramatic, conflicted. He was a self-created superstar, with a weirdly modern awareness of all that entailed: manipulation of image, distancing humour and irony, persona as artistic statement. And all those knowingly self-contradictory epigrams, simultaneously flippant and deathly serious, almost like Zen koans: coming at eternal truth by a sort of profound, solemn mischievousness.

I've always adored Oscar Wilde: the effervescent dramas and witty essays, and the construct that was Oscar, glamorous, riotous, effortlessly brilliant. But in an odd, paradoxical – you might almost say Wildean – way, my favourite of his works is The Picture of Dorian Gray, subject of Dublin's One City, One Book initiative for the last month. Readings, exhibitions, walks and various other events have been marking the only novel Wilde published. And with a nice touch of synchronicity, I'd only recently reread the story, in a beautiful hardback collection of all Oscar's work , complete with Aubrey Beardsley's wonderfully stark illustrations, old playbills and so on. Its story of Dorian Gray – a young man beautiful of face and spirit, seduced into dissolution and degradation by the impish hedonist Lord Henry "Harry" Wotton – is an unflinching meditation on moral corruption, the nature of the soul, heaven and hell. In the opening scene we are introduced to the titular picture, painted by the deeply moral Basil Hallward.

There's an air of foreboding from the beginning, as Basil declares he will never exhibit it, saying: "There is too much of myself in the thing … I am afraid that I have shown with it the secret of my own soul." With Harry's Mephistophelean whispers in his ears, Dorian eventually eschews moral sobriety to wallow in indulgences of the flesh. Under the censorious strictures of the period none of this is spelled out explicitly, which makes it more powerful: the reader's mind imagines the worst of all scenarios. Dorian's narcissism had already guaranteed his fall: he ushers up an unholy prayer that the portrait should age and bear the scars of his moral turpitude, while his physical self would forever look young and innocent. After he cruelly provokes the suicide of the sweet-natured Sybil, Dorian is fully lost but shows none of it on his angelic face; the picture, meanwhile, ages and degrades and grows rotten in the attic. For me, Dorian Gray is special – not necessarily Wilde's best work but unique in his canon – because it's so sincere: ineffably, inescapably, absolutely.

It's a very good novel anyway: moving, exciting, full of dread, angst, horror, lucidity… and a great love, I think, for mankind and for the artist's own self. But above and underneath and beyond all this, he is sincere when he writes it. Not the normal Wildean sincere-in-his-insincerity (though Harry delivers a whirlwind of tremendous comic riffs), but old-fashioned, straight-up sincere. No arch one-liners to deflect attention, no glib protestations that it was all just a joke, not to be taken seriously. This is authentic, almost painfully so; this is Oscar laid bare. Elsewhere in his work we see mostly Public Oscar on display. Private Oscar was mostly kept concealed behind the dazzling wit. He can be found in a few other places: later works like De Profundis, some of the poetry and, in a strange way, the children's stories. But nowhere, for me, is the real Oscar revealed so much as through his alter-ego here, or rather his dual alter-egos: the beautiful, ruined Dorian and the cynical but empathetic Harry.

The One City, One Book website chooses a most appropriate quote: "The whole book seemed to him to contain the story of his own life, written before he had lived it." And Dorian Gray is replete with similar lines, from various characters: "…seeing in that great work of art a presentation of the tragedy of his own soul." "I will show you my soul. You shall see the thing that you fancy only God can see." "It is the face of my soul." In the text they're talking about Basil's portrait, or other works of art; in the broader narrative of the author's life, he is talking about the essence of Oscar Wilde. He's writing the book of himself in words and actions. It's art imitating life imitating art, to infinity. It's pure Oscar. It's the real Oscar. The Picture of Dorian Gray | Summary & Adaptations | Britannica.com The Picture of Dorian Gray novel by Wilde Pride and Prejudice The Picture of Dorian Gray, moral fantasy novel by Oscar Wilde , published in an early form in Lippincott’s Magazine in 1890. The novel had six additional chapters when it appeared in book form in 1891.

The novel, an archetypal tale of a young man who purchases eternal youth at the expense of his soul, was a romantic exposition of Wilde’s own Aestheticism . Dorian Gray is a handsome and wealthy young Englishman who gradually sinks into a life of dissipation and crime. Despite his unhealthy behaviour, his physical appearance remains youthful and unmarked by dissolute life. Instead, a hidden portrait of himself catalogues every evil deed by turning his once handsome features into a hideous, grotesque mask. When Gray destroys the painting, his face turns into a human replica of the portrait, and he dies. Gray’s final negation, “ugliness is the only reality,” neatly summarizes Wilde’s Aestheticism, both his love of the beautiful and his fascination with the profane. Publication of the novel scandalized Victorian England, and The Picture of Dorian Gray was used as evidence against Wilde in his 1895 trial for homosexuality . The novel became a classic of English literature and was adapted into a number of films, most notably a 1945 version that earned multiple Academy Award nominations.

Learn More in these related articles: The Picture of Dorian Gray, by Oscar Wilde | Standard Ebooks The Picture of Dorian Gray Oscar Wilde 79,745 words (4 hours 50 minutes) with a reading ease of 75.5 (fairly easy) Description The Picture of Dorian Gray was first published as a serial in Lippencott’s Monthly Magazine, and the publishers thought it would so offend readers that they removed nearly 500 words without Wilde’s approval. Wilde soon expanded it and republished it as a novel, including a short preface justifying his art. Even though his contemporaries considered it so offensive that some argued for his prosecution, Dorian Gray today survives as a classic philosophical novel that explores themes of aestheticism and double lives. Couched in Wilde’s trademark cutting wit, Dorian Gray is still being adapted today, with Dorian and his moldering portrait remaining cultural touchstones. Free download epub — All devices and apps except Amazon Kindles. azw3 — Amazon Kindle devices and apps. Also download the Kindle cover thumbnail to see the cover in your Kindle’s library. epub3 — Advanced format not yet fully compatible with most ereaders.

A brief history of this ebook 2016-12-21 Remove .gitignore now that the build script specifies a target directory 2016-11-08 Change some HTML entities in long description metadata to UTF characters 2016-11-08 The Picture of Dorian Gray : Oscar Wilde : 9781435129757 The Picture of Dorian Gray Leather Try AbeBooks Description This is a beautiful leatherbound edition of Wilde's scandalous story of excess and corruption. It features a satin-ribbon bookmark, distinctive stained edging and decorative marbled endpapers. This edition of a novel now acknowledged a landmark of literature will be an artful addition to any home library. Horror hides behind an attractive face in "The Picture of Dorian Gray", Oscar Wilde's tale of a notorious Victorian libertine and his life of evil excesses. Though Dorian's hedonistic indulgences leave no blemish on his ageless features, the painted portrait imbued with his soul proves a living catalogue of corruption.

Desperate to hide the physical evidence of his unregenerate spirit, Dorian will stop at nothing, not even murder, to keep his picture's existence a secret. A scandalous story when it was first published in 1890, Wilde's novel is acknowledged a landmark of literature today and a tale emblematic of its time. This exquisite collectible edition features an elegant bonded-leather binding, a satin-ribbon bookmark, distinctive stained edging, and decorative marbled endpapers. It's the perfect gift for book-lovers and an artful addition to any home library. show more Product details 148 x 216 x 28mm | 480.81g Publication date The Picture of Dorian Gray by Oscar Wilde on iBooks This book is available for download with iBooks on your Mac or iOS device, and with iTunes on your computer. Books can be read with iBooks on your Mac or iOS device. Description Dorian is a good-natured young man until he discovers the power of his own exceptional beauty. As he gradually sinks deep into a frivolous, glamorous world of selfish luxury, he apparently remains physically unchanged by the stresses of his corrupt lifestyle and untouched by age.

But up in his attic, hidden behind a curtain, his portrait tells a different story. From Publishers Weekly Apr 04, 2011 – First published in 1890 in Lippincott's Monthly Magazine and the following year in novel form, The Picture of Dorian Gray categorically changed Victorian Britain and the landscape of literature. An ostentatious, self-confessed aesthete, known for his wit and intellect, Wilde not only had to endure his prose being labeled "poisonous" and "vulgar," but also suffer its use as evidence in the ensuing trial, resulting in his eventual imprisonment for crimes of "gross indecency." Frankel's introduction provides a deft preliminary analysis of the novel itself — exploring etymology and extensive editorial alterations (both accidental and deliberate) — and offers valuable insight into the socio-cultural juxtaposition of aristocratic Victorian society and the London underworld. The original typescript provides the unique opportunity to examine what was considered acceptable in both the US and UK at the time.

Intriguing annotations allude to Wilde's influences and enterprising range of reference, incorporating art, poetry, literature, Greek mythology, philosophy, and fashion (certain to inspire further reading; an appendix is provided). Comparisons are drawn between Dorian Gray and Wilde's other literary output, as well as to the work of Walter Pater. Numerous illustrations subtly compliment Frankel's inferences. A fine contextualization of a major work of fiction profoundly interpreted, ultimately riveting. © Publishers Weekly The 100 best novels: No 27 – The Picture of Dorian Gray by Oscar Wilde (1891) | Books | The Guardian The 100 best novels The 100 best novels: No 27 – The Picture of Dorian Gray by Oscar Wilde (1891) Wilde's brilliantly allusive moral tale of youth, beauty and corruption was greeted with howls of protest on publication Share on Messenger Close Of all the books in this series, Oscar Wilde's only novel enjoyed by far the worst reception on its publication. The reviews were dreadful, the sales poor, and it was not until many years after Wilde's death that this remarkable work of imagination was recognised as a classic.

Its gestation was troubled, too. First commissioned in the summer of 1889 by an American editor for Lippincott's Monthly Magazine, Wilde initially submitted a fairy tale "The Fisherman and his Soul", which was rejected. Eventually, his typescript for The Picture of Dorian Gray was delivered in April 1890, whereupon Lippincott's editor declared that "in its present condition there are a number of things an innocent woman would make an exception to". In the light of several subsequent reviews, this was a comparatively mild critique. Wilde himself was steadfast in defending his author's vision. He always maintained that the Faustian idea of Dorian Gray, "the idea of a young man selling his soul in exchange for eternal youth", was "old in the history of literature". But when he gave an archetypal story a striking contemporary spin, with strong homoerotic undertones, he stirred up a furore of hostility.

Reread today, however, The Picture of Dorian Gray is a wonderfully entertaining parable of the aesthetic ideal (art for art's sake), and a sneak preview of the brilliance exhibited in plays such as The Importance of Being Earnest and Lady Windermere's Fan. What began as an outré, decadent novella, now seems more like an arresting, and slightly camp, exercise in late-Victorian gothic, than the depraved fiction alleged by his outraged critics. Dorian Gray is the impossibly beautiful young man who becomes the subject of a portrait by the fashionable society painter, Basil Hallward. When the artist, who has become infatuated with his model, introduces the "young Adonis" to Lord Henry Wotton, he is rapidly seduced by the peer's witty and corrupting devotion to fin-de-siècle hedonism, some of it inspired by Wilde's own experience. Among the influences that shaped the book, I would argue that Disraeli ( No 11 in this series ) is a ghostly godfather to the novel. Wilde tips his hat not only to Disraeli's Sybil, but also to Vivian Grey, his first novel.

Closer to his own time, Wilde also took inspiration from Robert Louis Stevenson and The Strange Case of Dr Jekyll and Mr Hyde. There was something about the literary alter ego that held a peculiar fascination for late Victorians. Under the malign influence of Lord Henry – "the only way to get rid of temptation is to yield to it", is one of many Wildean epigrams scattered through the text – Dorian Gray plunges into a decadent and sinister milieu, becoming a slave to drugs and debauchery. His fatal love affair with the actress Sybil Vane alerts him to the secret of his eternal youth: he will remain untarnished while his portrait reflects the hideous corruption of his soul. Eventually despairing, the young man blames the artist Hallward for his fate, and murders him. But Dorian Gray can never "be at peace". Finally, in a horrifying climax, he takes a knife to his own portrait. When his servants find him, the picture depicts their youthful master as they had once known him. The corpse next to it is as "withered, wrinkled and loathsome of visage" as the portrait had been.

Art and life are back in harmony, as Wilde intended, and his brilliantly allusive moral tale is complete. When the magazine version of Dorian Gray was published, there were howls of protest. Some reviewers declared that, far from exposing immorality, Wilde wanted to promote it. Elsewhere, the story was greeted with outrage by British reviewers, some of whom suggested that Wilde should be prosecuted on moral grounds, leading Wilde to defend his novel in letters to the press. One reviewer for a newspaper which declared that Lippincott's should be "ashamed to circulate" such filth, refused to describe the contents of the novel because he did not wish to "advertise the developments of an esoteric prurience". As well as talk of prosecution, there was a strong hint of Francophobia against the decadent "yellow book" Lord Henry gives Dorian to recruit him to his belief in "Art". The Daily Chronicle found the novel to be "a tale spawned from the leprous literature of the French decadents". More dangerous were the attempts of some reviewers to link the novel to the Cleveland Street affair of 1889.

This scandal, centred on a male brothel frequented by an upper-class clientele that included members of the British political elite, was an eerie forerunner, in its exposure of the demi-monde, of the Queensberry libel case that would eventually destroy Wilde in 1895. A note on the text The Picture of Dorian Gray, Wilde's only novel, was published on 20 June 1890 in the July edition of Lippincott's, as a novella of 13 chapters, and was the leading contribution to the magazine. Several British reviewers condemned the book for immorality. The novel became so controversial that WH Smith withdrew that month's edition of Lippincott's from its railway station bookstalls. In fact, the magazine's editors, fearful of charges of "indecency" had already cut some 500 words, without Wilde's knowledge, before publication. Deletions to Wilde's typescript included the elimination of several passages alluding to homosexual desire, and the deletion of three references to Gray's female lovers Sibyl Vane and Hetty Merton as his "mistresses".

Wilde, it must be said, conducted himself during this campaign, with impressive dignity and composure. Later, Wilde himself further revised the story for book publication, making significant alterations, cutting the most controversial passages, adding new chapters, and including a preface that has since become famous in its own right as his defence of art for art's sake. The amended version, extended from 13 to 20 chapters, was published in a single volume by Ward Lock & Co, in April 1891. This is now the standard version of the text. The Picture of Dorian Gray - Wikiquote The Picture of Dorian Gray From Wikiquote “I want to be good. I can’t bear the idea of my soul being hideous.” “A very charming artistic basis for ethics, Dorian! I congratulate you on it.” The Picture of Dorian Gray is a philosophical novel by Oscar Wilde , first published complete in the July 1890 issue of Lippincott's Monthly Magazine . Contents The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim.

These sayings were originally published as a defense of his work in The Fortnightly Review (1 March 1891), and published as the work's Preface in subsequent editions. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest, as the lowest, form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved.

From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. Cf. Théophile Gautier , Preface to Mademoiselle de Mapin. Chapter 1[ edit ] It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid.

Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don't think. There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. It is better not to be different from one's fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They live as we all should live--undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands. Your rank and wealth, Harry; my brains, such as they are--my art, whatever it may be worth; Dorian Gray's good looks--we shall all suffer for what the gods have given us, suffer terribly. When I like people immensely, I never tell their names to any one. It is like surrendering a part of them. I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvelous to us.

The commonest thing is delightful if one only hides it. You seem to forget that I am married, and the one charm of marriage is that it makes a life of deception absolutely necessary for both parties. Being natural is simply a pose, and the most irritating pose I know. Conscience and cowardice are really the same things … Conscience is the trade-name of the firm. That is all. Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul. As for believing things, I can believe anything, provided that it is quite incredible. Laughter is not at all a bad beginning for a friendship, and it is far the best ending for one. "You don't understand what friendship is, Harry," he murmured--"or what enmity is, for that matter. You like every one; that is to say, you are indifferent to every one". I make a great difference between people.

I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellects. A man cannot be too careful in the choice of his enemies. I have not got one who is a fool. They are all men of some intellectual power, and consequently they all appreciate me. Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices. I like persons better than principles, and I like persons with no principles better than anything else in the world. Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions. I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. It is a sad thing to think of, but there is no doubt that genius lasts longer than beauty. That accounts for the fact that we all take such pains to over-educate ourselves.

In the wild struggle for existence, we want to have something that endures, and so we fill our minds with rubbish and facts, in the silly hope of keeping our place. The thoroughly well-informed man--that is the modern ideal. And the mind of the thoroughly well-informed man is a dreadful thing. It is like a bric-a-brac shop, all monsters and dust, with everything priced above its proper value. Those who are faithful know only the trivial side of love; it is the faithless who know love's tragedies. Women have no appreciation of good looks; at least, good women have not. My dear fellow, I am not quite serious. But I can't help detesting my relations. I suppose it comes from the fact that none of us can stand other people having the same faults as ourselves. Chapter 2[ edit ] To influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of some one else's music, an actor of a part that has not been written for him.

The aim of life is self-development. To realize one's nature perfectly--that is what each of us is here for. People are afraid of themselves, nowadays. They have forgotten the highest of all duties, the duty that one owes to one's self. Of course, they are charitable. They feed the hungry and clothe the beggar. But their own souls starve, and are naked. Courage has gone out of our race. Perhaps we never really had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion--these are the two things that govern us. The bravest man amongst us is afraid of himself. The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful. It has been said that the great events of the world take place in the brain. It is in the brain, and the brain only, that the great sins of the world take place also. Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them.

And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words? Beauty is a form of genius--is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it. To me, beauty is the wonder of wonders. It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible. Ah! realize your youth while you have it. Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals, of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you.

Be always searching for new sensations. Be afraid of nothing. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to. Youth! Youth! There is absolutely nothing in the world but youth! Always! That is a dreadful word. It makes me shudder when I hear it. Women are so fond of using it. They spoil every romance by trying to make it last for ever. It is a meaningless word, too. The only difference between a caprice and a lifelong passion is that the caprice lasts a little longer. How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young. It will never be older than this particular day of June.... If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! For that – for that – I would give everything! Yes, there is nothing in the whole world I would not give!

I would give my soul for that! I am jealous of everything whose beauty does not die. I am jealous of the portrait you have painted of me. Why should it keep what I must lose? Every moment that passes takes something from me and gives something to it. Oh, if it were only the other way! If the picture could change, and I could be always what I am now! Why did you paint it? It will mock me some day--mock me horribly! "What a fuss people make about fidelity!" exclaimed Lord Henry. "Why, even in love it is purely a question for physiology. It has nothing to do with our own will. Young men want to be faithful, and are not; old men want to be faithless, and cannot: that is all one can say". Chapter 3[ edit ] Examinations, sir, are pure humbug from beginning to end. If a man is a gentleman, he knows quite enough, and if he is not a gentleman, whatever he knows is bad for him. I always like to know everything about my new friends, and nothing about my old ones. Philanthropic people lose all sense of humanity. It is their distinguishing characteristic. Behind every exquisite thing that existed, there was something tragic.

Worlds had to be in travail, that the meanest flower might blow. There was something terribly enthralling in the exercise of influence. No other activity was like it. To project one's soul into some gracious form, and let it tarry there for a moment; to hear one's own intellectual views echoed back to one with all the added music of passion and youth; to convey one's temperament into another as though it were a subtle fluid or a strange perfume: there was a real joy in that--perhaps the most satisfying joy left to us in an age so limited and vulgar as our own, an age grossly carnal in its pleasures, and grossly common in its aims. I can stand brute force, but brute reason is quite unbearable. There is something unfair about its use. It is hitting below the intellect. Well, the way of paradoxes is the way of truth. To test Reality we must see it on the tight rope. When the Verities become acrobats, we can judge them. "I can sympathize with everything except suffering," said Lord Henry, shrugging his shoulders. "I cannot sympathize with that. It is too ugly, too horrible, too distressing.

There is something terribly morbid in the modern sympathy with pain. One should sympathize with the colour, the beauty, the joy of life. The less said about life's sores, the better". The advantage of the emotions is that they lead us astray, and the advantage of science is that it is not emotional. Humanity takes itself too seriously. It is the world's original sin. If the caveman had known how to laugh, history would have been different. Nowadays most people die of a sort of creeping common sense, and discover when it is too late that the only things one never regrets are one's mistakes. Chapter 4[ edit ] He was always late on principle, his principle being that punctuality is the thief of time. I never talk during music--at least, during good music. If one hears bad music, it is one's duty to drown it in conversation. Nowadays people know the price of everything and the value of nothing. Men marry because they are tired; women, because they are curious: both are disappointed. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals. A grande passion is the privilege of people who have nothing to do.

My dear boy, the people who love only once in their lives are really the shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination. Faithfulness is to the emotional life what consistency is to the life of the intellect--simply a confession of failure. There are many things that we would throw away if we were not afraid that others might pick them up. Ordinary women never appeal to one's imagination. They are limited to their century. No glamour ever transfigures them. One knows their minds as easily as one knows their bonnets. One can always find them. There is no mystery in any of them. They ride in the park in the morning and chatter at tea-parties in the afternoon. They have their stereotyped smile and their fashionable manner. They are quite obvious. But an actress! How different an actress is! Harry! why didn't you tell me that the only thing worth loving is an actress? When one is in love, one always begins by deceiving one's self, and one always ends by deceiving others. That is what the world calls a romance. Most people become bankrupt through having invested too heavily in the prose of life.

To have ruined one's self over poetry is an honour. I want to make Romeo jealous. I want the dead lovers of the world to hear our laughter and grow sad. I want a breath of our passion to stir the dust into consciousness, to wake their ashes into pain. People are very fond of giving away what they need most themselves. It is what I call the depth of generosity. The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize. Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect.

But now and then a complex personality took the place and assumed the office of art, was indeed, in its way, a real work of art, life having its elaborate masterpieces, just as poetry has, or sculpture, or painting. Experience was of no ethical value. It was merely the name men gave to their mistakes. It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves. Chapter 5[ edit ] Her eyes caught the melody and echoed it in radiance, then closed for a moment, as though to hide their secret. When they opened, the mist of a dream had passed across them. She was free in her prison of passion. Then she paused. A rose shook in her blood and shadowed her cheeks. Quick breath parted the petals of her lips. They trembled. A southern wind of passion swept over her and stirred the dainty folds of her dress. "I love him", she said simply. Children begin by loving their parents; as they grow older they judge them; sometimes they forgive them. To be in love is to surpass one's self.

Dorian is far too wise not to do foolish things now and then, my dear Basil. Whenever a man does a thoroughly stupid thing, it is always from the noblest motives. The real drawback to marriage is that it makes one unselfish. And unselfish people are colourless. They lack individuality. Still, there are certain temperaments that marriage makes more complex. They retain their egotism, and add to it many other egos. They are forced to have more than one life. They become more highly organized, and to be highly organized is, I should fancy, the object of man's existence. The reason we all like to think so well of others is that we're all afraid for ourselves. The basis of optimism is sheer terror. As for a spoiled life, no life is spoiled but one whose growth is arrested. If you want to mar a nature, you have merely to reform it. Pleasure is Nature's test, her sign of approval. When we are happy, we are always good, but when we are good, we are not always happy. To be good is to be in harmony with oneself. Discord is to be forced to be in harmony with others.

Modern morality consists in accepting the standard of one's age. I consider that for any man of culture to accept the standard of his age is a form of the grossest immorality. I should fancy that the real tragedy of the poor is that they can afford nothing but self-denial. Beautiful sins, like beautiful things, are the privilege of the rich. But then the only things that one can use in fiction are the things that one has ceased to use in fact. Believe me, no civilized man ever regrets a pleasure, and no uncivilized man ever knows what a pleasure is. Nothing is ever quite true. Women ... inspire us with the desire to do masterpieces, and always prevent us from carrying them out. Yes, Dorian, you will always be fond of me. I represent to you all the sins you have never had the courage to commit. Chapter 9[ edit ] It is only shallow people who require years to get rid of an emotion. A man who is master of himself can end a sorrow as easily as he can invent a pleasure. I don't want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them. Art is always more abstract than we fancy.

Form and colour tell us of form and colour--that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him I cannot repeat an emotion. No one can, except sentimentalists. (Dorian). Chapter 10[ edit ] What the worm was to the corpse, his sins would be to the painted image on the canvas. They would mar its beauty and eat away its grace. They would defile it and make it shameful. And yet the thing would still live on. It would be always alive. "I didn't say I liked it, Harry. I said it fascinated me. There is a great difference." "Ah, you have discovered that?” murmured Lord Henry. And they passed into the dining-room. Chapter 11[ edit ] The worship of the senses has often, and with much justice, been decried, men feeling a natural instinct of terror about passions and sensations that seem stronger than themselves, and that they are conscious of sharing with the less highly organized forms of existence.

But it appeared to Dorian Gray that the true nature of the senses had never been understood, and that they had remained savage and animal merely because the world had sought to starve them into submission or to kill them by pain, instead of aiming at making them elements of a new spirituality, of which a fine instinct for beauty was to be the dominant characteristic. There are few of us who have not sometimes wakened before dawn...Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals oer us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open somemorning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness, and the memories of pleasure their pain.

Yet, as has been said of him before, no theory of life seemed to him to be of any importance compared with life itself. He felt keenly conscious of how barren all intellectual speculation is when separated from action and experiment. He knew that the senses, no less than the soul, have their spiritual mysteries to reveal. Is insincerity such a terrible thing? I think not. It is merely a method by which we can multiply our personalities. Dorian Gray had been poisoned by a book. There were moments when he looked on evil simply as a mode through which he could realize his conception of the beautiful. Chapter 12[ edit ] I love scandals about other people, but scandals about myself don't interest me. They have not got the charm of novelty. Sin is a thing that writes itself across a man's face. It cannot be concealed. People talk sometimes of secret vices. There are no such things. If a wretched man has a vice, it shows itself in the lines of his mouth, the droop of his eyelids, the moulding of his hands even. One has a right to judge of a man by the effect he has over his friends.

Yours seem to lose all sense of honour, of goodness, of purity. You have filled them with a madness for pleasure. They have gone down into the depths. You led them there. Chapter 14[ edit ] Youth smiles without any reason. It is one of its chiefest charms. There were sins whose fascination was more in the memory than in the doing of them, strange triumphs that gratified the pride more than the passions, and gave to the intellect a quickened sense of joy, greater than any joy they brought, or could ever bring, to the senses. The brain had its own food on which it battened, and the imagination, made grotesque by terror, twisted and distorted as a living thing by pain, danced like some foul puppet on a stand and grinned through moving masks. Then, suddenly, time stopped for him. Yes: that blind, slow-breathing thing crawled no more, and horrible thoughts, time being dead, raced nimbly on in front, and dragged a hideous future from its grave, and showed it to him. He stared at it. Its very horror made him stone. Nobody ever commits a crime without doing something stupid.

Chapter 15[ edit ] The husbands of very beautiful women belong to the criminal classes. It is perfectly monstrous the way people go about nowadays saying things against one behind one's back that are absolutely and entirely true. When a woman marries again, it is because she detested her first husband. When a man marries again, it is because he adored his first wife. Women try their luck; men risk theirs. Women love us for our defects. If we have enough of them, they will forgive us everything, even our intellects. A man can be happy with any woman, as long as he does not love her. I like men who have a future and woman who have a past. Moderation is a fatal thing. Enough is as bad as a meal. More than enough is as good as a feast. Chapter 16[ edit ] One's days were too brief to take the burden of another's errors on one's shoulders. Each man lived his own life and paid his own price for living it. The only pity was one had to pay so often for a single fault. One had to pay over and over again, indeed. In her dealings with man, destiny never closed her accounts.

For all sins, as theologians weary not of reminding us, are sins of disobedience. When that high spirit, that morning-star of evil, fell from heaven, it was as a rebel that he fell. Chapter 17[ edit ] It is a sad truth, but we have lost the faculty of giving lovely names to things. Names are everything. I never quarrel with actions; my one quarrel is with words. That is the reason I hate vulgar realism in literature. A man who could call a spade a spade should be compelled to use one. I admit that I think that it is better to be beautiful than to be good. But on the other hand, no one is more ready than I am to acknowledge that it is better to be good than to be ugly. Scepticism is the beginning of faith. To define is to limit. Every effect that one produces gives one an enemy. To be popular one must be a mediocrity. We women, as some one says, love with our ears, just as you men love with your eyes, if you ever love at all. Romance lives by repetition, and repetition converts an appetite into an art.

Besides, each time that one loves is the only time one has ever loved. Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible. I have never searched for happiness. Who wants happiness? I have searched for pleasure. "Describe us as a sex," was her challenge. "Sphinxes without secrets". Chapter 18[ edit ] It was the imagination that set remorse to dog the feet of sin. It was the imagination that made each crime bear its misshapen brood. In the common world of fact the wicked were not punished, nor the good rewarded. Success was given to the strong, failure thrust upon the weak. That was all. Shallow sorrows and shallow loves live on. The loves and sorrows that are great are destroyed by their own plenitude. The only horrible thing in the world is ennui, Dorian. That is the one sin for which there is no forgiveness. But we are not likely to suffer from it, unless these fellows keep chattering about this thing at dinner. I must tell them that the subject is to be tabooed.

As for omens, there is no such thing as an omen. Destiny does not send us heralds. She is too wise or too cruel for that. Besides, what on earth could happen to you, Dorian? You have everything in the world that a man can want. There is no one who would not be delighted to change places with you. "How fond women are of doing dangerous things!" laughed Lord Henry. "It is one of the qualities in them that I admire most. A woman will flirt with anybody in the world as long as other people are looking on". The basis of every scandal is an immoral certainty. "Are you very much in love with him?" he asked. She did not answer for some time, but stood gazing at the landscape. "I wish I knew," she said at last. He shook his head. "Knowledge would be fatal. It is the uncertainty that charms one. A mist makes things wonderful". "All ways end at the same point, my dear Gladys." "What is that?" Chapter 19[ edit ] "My dear boy," said Lord Henry, smiling, "anybody can be good in the country. There are no temptations there.

That is the reason why people who live out of town are so absolutely uncivilized. Civilization is not by any means an easy thing to attain to. There are only two ways by which man can reach it. One is by being cultured, the other by being corrupt. Country people have no opportunity of being either, so they stagnate". Death and vulgarity are the only two facts in the nineteenth century that one cannot explain away. All crime is vulgar, just as all vulgarity is crime. It is not in you, Dorian, to commit a murder. I am sorry if I hurt your vanity by saying so, but I assure you it is true. Crime belongs exclusively to the lower orders. I don't blame them in the smallest degree. I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations. Of course, married life is merely a habit, a bad habit. But then one regrets the loss even of one's worst habits. Perhaps one regrets them the most. They are such an essential part of one's personality. "Oh! anything becomes a pleasure if one does it too often," cried Lord Henry, laughing. "That is one of the most important secrets of life.

I should fancy, however, that murder is always a mistake. One should never do anything that one cannot talk about after dinner. "The soul is a terrible reality. It can be bought, and sold, and bartered away. It can be poisoned, or made perfect. There is a soul in each one of us. I know it." "Do you feel quite sure of that, Dorian?" "Quite sure." "Ah! then it must be an illusion. The things one feels absolutely certain about are never true. That is the fatality of faith, and the lesson of romance. To get back my youth I would do anything in the world, except take exercise, get up early, or be respectable. Youth! There is nothing like it. It's absurd to talk of the ignorance of youth. The only people to whose opinions I listen now with any respect are people much younger than myself. They seem in front of me. Life has revealed to them her latest wonder. The tragedy of old age is not that one is old, but that one is young. Life is not governed by will or intention. Life is a question of nerves, and fibres, and slowly built-up cells in which thought hides itself and passion has its dreams.

You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play--I tell you, Dorian, that it is on things like these that our lives depend. I wish I could change places with you, Dorian. The world has cried out against us both, but it has always worshipped you. It always will worship you. You are the type of what the age is searching for, and what it is afraid it has found. I am so glad that you have never done anything, never carved a statue, or painted a picture, or produced anything outside of yourself! Life has been your art. You have set yourself to music. Your days are your sonnets. Art has no influence upon action. It annihilates the desire to act. It is superbly sterile. The books that the world calls immoral are books that show the world its own shame. That is all. Chapter 20[ edit ] The world is changed because you are made of ivory and gold.

The curves of your lips rewrite history. It was his beauty that had ruined him, his beauty and the youth that he had prayed for. But for those two things, his life might have been free from stain. His beauty had been to him but a mask, his youth but a mockery. What was youth at best? A green, an unripe time, a time of shallow moods, and sickly thoughts. Why had he worn its livery? Youth had spoiled him. The Picture of Dorian Gray : Oscar Wilde : 9780141439570 The Picture of Dorian Gray Paperback By (author) Oscar Wilde , Introduction by Robert Mighall Share US$6.88 US$8.99 You save US$2.11 Free delivery worldwide Add to basket Add to wishlist Description Oscar Wilde's tale of a Faustian pact in Victorian England, The Picture of Dorian Gray is a both a slow-burning Gothic horror and a brilliant philosophical investigation of youth, beauty and desire. This Penguin Classics edition is edited with an introduction and notes by Robert Mighall. Enthralled by his own exquisite portrait, Dorian Gray exchanges his soul for eternal youth and beauty.

Influenced by his friend Lord Henry Wotton, he is drawn into a corrupt double life; indulging his desires in secret while remaining a gentleman in the eyes of polite society. Only his portrait bears the traces of his decadence. The Picture of Dorian Gray was a succes de scandale. Early readers were shocked by its hints at unspeakable sins, and the book was later used as evidence against Wilde at the Old Bailey in 1895. It has lost none of its power to fascinate and disturb. This definitive edition includes a selection of contemporary reviews condemning the novels immorality, and the introduction to the first Penguin Classics edition by Peter Ackroyd. Oscar Wilde (1854-1900), son of an eminent eye-surgeon and a nationalist poet, was educated in Dublin and Oxford and became the leading exponent of the new Aesthetic Movement.

His work, including short fiction such The Happy Price (1888), his novel The Picture of Dorian Gray (1891), gradually won him a reputation, which was cemented by his phenomenally successful plays, including A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). Imprisoned for homosexual acts, he died after his release, in exile in Paris. If you enjoyed The Picture of Dorian Gray, you might like Joris-Karl Huysmans' Against Nature (A Rebours) Wilde's real-life inspiration for the novel that slowly corrupts Dorian Gray, also available in Penguin Classics. show more Product details 128 x 196 x 20mm | 222.26g Publication date

Question: ‘The Picture of….’who’? Is a novel by Oscar Wilde?
Answer: Dorian Grey