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The Picture of Dorian Gray E-Book

Oscar Wilde

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Herausgeber: Youcanprint
Kategorie: Gesellschafts- und Liebesromane
Sprache: Englisch

Beschreibung

"The Picture of Dorian Gray" is Oscar Wilde's classic tale of the moral decline of its title character, Dorian Gray. When Dorian has his portrait painted by Basil Hallward and wishes that he would stay young while his picture changes, his wish comes true. In exchange for this Dorian gives up his soul and as he ages the bad deeds that he commits are reflected in his painting and not him. "The Picture of Dorian Gray", arguably Wilde's most popular work, was considered quite scandalous when it was first published in the late 1800s in Victorian England.

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Veröffentlichungsjahr: 2018

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Leseprobe

The Picture of Dorian Gray

Oscar Wilde

First digital edition 2017 by Anna Ruggieri

CONTENTS

The Picture of Dorian Gray

Oscar Wilde

THE PREFACE

CHAPTER 1

CHAPTER 2

CHAPTER 3

CHAPTER 4

CHAPTER 5

CHAPTER 6

CHAPTER 7

CHAPTER 8

CHAPTER 9

CHAPTER 10

CHAPTER 11

CHAPTER 12

CHAPTER 13

CHAPTER 14

CHAPTER 15

CHAPTER 16

CHAPTER 17

CHAPTER 18

CHAPTER 19

CHAPTER 20

THE PREFACE

The artist is the creator of beautiful things. To reveal art and conceal the artist isart's aim. 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 corruptwithout 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. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. 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. When critics disagree, the artist is in accord with himself. 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.

CHAPTER 1

The studio was filled with the rich odour of roses, and when thelight summer wind stirred amidst the trees of the garden, therecame through the open door the heavy scent of the lilac, or themore delicate perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which hewas lying, smoking, as was his custom, innumerable cigarettes, LordHenry Wotton could just catch the gleam of the honey-sweet andhoney-coloured blossoms of a laburnum, whose tremulous branchesseemed hardly able to bear the burden of a beauty so flamelikeastheirs; and now and then the fantastic shadows of birds in flightflitted across the long tussore-silk curtains that were stretchedin front of the huge window, producing a kind of momentary Japaneseeffect, and making him think of those pallid, jade-faced paintersof Tokyo who, through the medium of an art that is necessarilyimmobile, seek to convey the sense of swiftness and motion. Thesullen murmur of the bees shouldering their way through the longunmown grass, or circling with monotonous insistence round thedusty gilt horns of the straggling woodbine, seemed to make thestillness more oppressive. The dim roar of London was like thebourdon note of a distant organ.

In the centre of the room, clamped to an upright easel, stoodthe full-length portrait of a young man of extraordinary personalbeauty, and in front of it, some little distance away, was sittingthe artist himself, Basil Hallward, whose sudden disappearance someyears ago caused, at the time, such public excitement and gave riseto so many strange conjectures.

As the painter looked at the gracious and comely form he had soskilfully mirrored in his art, a smile of pleasure passed acrosshis face, and seemed about to linger there. But he suddenly startedup, and closing his eyes, placed his fingers upon the lids, asthough he sought to imprison within his brain some curious dreamfrom which he feared he might awake.

"It is your best work, Basil, the best thing you have everdone," said Lord Henry languidly. "You must certainly send itnextyear to the Grosvenor. The Academy is too large and too vulgar.Whenever I have gone there, there have been either so many peoplethat I have not been able to see the pictures, which was dreadful,or so many pictures that I have not been able to see the people,which was worse. The Grosvenor is really the only place."

"I don't think I shall send it anywhere," he answered, tossinghis head back in that odd way that used to make his friends laughat him at Oxford. "No, I won't send it anywhere."

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