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Dorian Gray

Dorian Gray

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Published by: Nicolai on Feb 02, 2011
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11/14/2011

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The Picture of Dorian Gray
by
Oscar Wilde
 A P
ENN
S
TATE
E
LECTRONIC
C
LASSICS
S
ERIES
P
UBLICATION
 
The Picture of Dorian Gray 
by Oscar Wilde
 
is a publication of the Pennsylvania State University. ThisPortable Document file is furnished free and without any charge of any kind. Any person using thisdocument file, for any purpose, and in any way does so at his or her own risk. Neither the PennsylvaniaState University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State Uni-versity assumes any responsibility for the material contained within the document or for the file as anelectronic transmission, in any way.
The Picture of Dorian Gray 
by Oscar Wilde
,
the Pennsylvania State University,
Electronic Classics Series 
, Jim Manis, Faculty Editor, Hazleton, PA 18202-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them.Cover Design: Jim ManisCopyright © 2006 The Pennsylvania State University 
The Pennsylvania State University is an equal opportunity university.
 
3
Oscar Wilde 
The Picture of Dorian Gray 
by 
Oscar Wilde
THE PREFTHE PREFTHE PREFTHE PREFTHE PREF A  A  A  A  A CECECECECE
T
HE
 
 ARTIST
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 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 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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