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Dorian Gray

Dorian Gray

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Published by: Alan Flores Rodriguez on Feb 16, 2014
Copyright:Attribution Non-commercial


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 The Picture oDorian Gray
Oscar Wilde
The Picture of Dorian Gray 
 by Oscar Wilde
is a publication of The Electronic Classics Series. ThisPortable Document file is furnished free and without any charge of any kind. Any person usingthis document file, for any purpose, and in any way does so at his or her own risk. Neither thePennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylva-nia State University assumes any responsibility for the material contained within the documentor for the file as an electronic transmission, in any way.
The Picture of Dorian Gray 
 by Oscar Wilde
 The Electronic Classics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publi-cation project to bring classical works of literature, in English, to free and easy access of thosewishing to make use of them. Jim Manis is a faculty member of the English Department of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pagesare not copyrighted within the United States; however, the fonts used may be.Cover Design: Jim ManisCopyright ©2006 - 2012
 The Pennsylvania State University is an equal opportunity university.
Oscar Wilde 
The Picture of Dorian Gray
Oscar Wilde
 is the creator of beautiful things. To reveal artand conceal the artist is art’s aim. The critic is he who cantranslate into another manner or a new material his impres-sion of beautiful things.The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautifulthings are corrupt without being charming. This is a fault.Those who find beautiful meanings in beautiful things arethe cultivated. For these there is hope. They are the elect towhom 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 rageof Caliban not seeing his own face in a glass. The moral lifeof man forms part of the subject-matter of the artist, but themorality of art consists in the perfect use of an imperfectmedium. No artist desires to prove anything. Even thingsthat are true can be proved. No artist has ethical sympathies.An ethical sympathy in an artist is an unpardonable man-nerism of style. No artist is ever morbid. The artist can ex-press everything. Thought and language are to the artist in-struments of an art. Vice and virtue are to the artist materialsfor an art. From the point of view of form, the type of all thearts 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 surfaceand symbol. Those who go beneath the surface do so at theirperil. Those who read the symbol do so at their peril. It is thespectator, and not life, that art really mirrors. Diversity of 

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