The Picture of Dorian Gray is a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott's Monthly Magazine. Fearing the story was indecent, prior to publication the magazine's editor deleted roughly five hundred words without Wilde's knowledge. Despite that censorship, The Picture of Dorian Gray offended the moral sensibilities of British book reviewers, some of whom said that Oscar Wilde merited prosecution for violating the laws guarding public morality. In response, Wilde aggressively defended his novel and art in correspondence with the British press, although he personally made excisions of some of the most controversial material when revising and lengthening the story for book publication the following year. The longer and revised version of The Picture of Dorian Gray published in book form in 1891 featured an aphoristic preface—a defence of the artist's rights and of art for art's sake—based in part …
The Picture of Dorian Gray is a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott's Monthly Magazine. Fearing the story was indecent, prior to publication the magazine's editor deleted roughly five hundred words without Wilde's knowledge. Despite that censorship, The Picture of Dorian Gray offended the moral sensibilities of British book reviewers, some of whom said that Oscar Wilde merited prosecution for violating the laws guarding public morality. In response, Wilde aggressively defended his novel and art in correspondence with the British press, although he personally made excisions of some of the most controversial material when revising and lengthening the story for book publication the following year.
The longer and revised version of The Picture of Dorian Gray published in book form in 1891 featured an aphoristic preface—a defence of the artist's rights and of art for art's sake—based in part on his press defences of the novel the previous year. The content, style, and presentation of the preface made it famous in its own right, as a literary and artistic manifesto. In April 1891, the publishing firm of Ward, Lock and Company, who had distributed the shorter, more inflammatory, magazine version in England the previous year, published the revised version of The Picture of Dorian Gray.The Picture of Dorian Gray is the only novel written by Wilde. It exists in several versions: the 1890 magazine edition (in 13 chapters), with important material deleted before publication by the magazine's editor, J. M. Stoddart; the "uncensored" version submitted to Lippincott's Monthly Magazine for publication (also in 13 chapters), with all of Wilde's original material intact, first published in 2011 by Harvard University Press; and the 1891 book edition (in 20 chapters). As literature of the 19th century, The Picture of Dorian Gray "pivots on a gothic plot device" with strong themes interpreted from Faust.
The moral of this story is that if you have a friend who says deplorable things then you should shun them before they corrupt you or your other friends.
A very gay story of a very impressionable and stupid man.
The prose was very purple and also masterbatory at times, making me go cross-eyed trying to slog through those parts. There are racist descriptions, but luckily (hah) Oscar Wilde only discussed non‐white goy except in passing.
The book ends rather abruptly and unsatisfactorily.
Review of 'The picture of Dorian Gray' on 'Goodreads'
5 stars
On one level it's an enjoyable gothic horror/comedic classic, with very "extra" characters swooning around and making declarations. But considering Wilde's own life and his very public conduct thereof, it's just a tragic self-portrait of a man wracked by guilt and shame and a public who validated his self-condemnation. Lord Henry's outrageous inversions of common values are often comedic nonsense. But sometimes they seem more authentic than the original sentiment they play off, and it's those moments when Wilde's self-flagellation is paused and his punishing art hits society broadside. Hey wait, what? He must have seemed like such a troll to the Victorians.
On one level it's an enjoyable gothic horror/comedic classic, with very "extra" characters swooning around and making declarations. But considering Wilde's own life and his very public conduct thereof, it's just a tragic self-portrait of a man wracked by guilt and shame and a public who validated his self-condemnation. Lord Henry's outrageous inversions of common values are often comedic nonsense. But sometimes they seem more authentic than the original sentiment they play off, and it's those moments when Wilde's self-flagellation is paused and his punishing art hits society broadside. Hey wait, what? He must have seemed like such a troll to the Victorians.
For such a small novel, there is plenty of content. And that is how it should be, for if the main theme is Art (as the prologue might suggest)it ought to be complicated and thoughtful. After all, how would you answer the question: what is art?
In Wilde's only novel, Art is personified in Dorian Gray. The artists (there are two, Basil and Lord Henry)each contribute to this Art in their own way, and together with Dorian Gray, prove that "Art is quite useless." But what draws us to the Art? What is its soul? Is it constant like the Dorian's youth or does it change like his portrait in the attic? Does the application of Art determine its morality? Does it have morality?
This, of course, is just one layer of this insanely complex novel. It is also an analysis of a sort of nihilism, of innocence vs. experience, …
For such a small novel, there is plenty of content. And that is how it should be, for if the main theme is Art (as the prologue might suggest)it ought to be complicated and thoughtful. After all, how would you answer the question: what is art?
In Wilde's only novel, Art is personified in Dorian Gray. The artists (there are two, Basil and Lord Henry)each contribute to this Art in their own way, and together with Dorian Gray, prove that "Art is quite useless." But what draws us to the Art? What is its soul? Is it constant like the Dorian's youth or does it change like his portrait in the attic? Does the application of Art determine its morality? Does it have morality?
This, of course, is just one layer of this insanely complex novel. It is also an analysis of a sort of nihilism, of innocence vs. experience, of that age old question of whether it is better to be just than to do whatever you want, vanity, etc. All of which are treated in the same manner: questions raised, but are there any answers?
Perhaps there are, but there are only hints at them, and perhaps they change as we do with each experience and with each change. Perhaps this change is better carried by us then by a portrait. Perhaps there is ultimately no significant difference in the end.
