FOREGROUNDING

 ‘It is not merely that I paint from him, draw from him, model from him.’ (Chapter-I p.13)

 ‘Why did you paint it? It will mock me some day,—mock me horribly!’ (Chapter-II p.35)

 ‘Why had such a soul been given to him? But he had suffered also. During the three terrible hours
that the play had lasted, he had lived centuries of pain, aeon upon aeon of torture.’ (Chapter-V
p.81)

 ‘Perhaps one never seems so much at one’s ease as when one has to play a part. Certainly no one
looking at Dorian Gray that night could have believed that he had passed through a tragedy as
horrible as any tragedy of our age.’ (Chapter-XV p.147)
 DEVIATION

 ‘I remember her bringing me up to a most truculent and red-faced old gentleman covered all over with
orders and ribbons, and hissing into my ear, in a tragic whisper which must have been perfectly audible to
everybody in the room, something like ‘Sir Humpty Dumpty—you know—Afghan frontier—Russian
intrigues: very successful man—wife killed by an elephant—quite inconsolable—wants to marry a
beautiful American widow—everybody does nowadays—hates Mr. Gladstone—but very much
interested in beetles: ask him what he thinks of Schouvaloff.’ (Chapter-I, p.10)

 ‘Charming boy—poor dear mother and I quite inseparable—engaged to be married to the same man—I
mean married on the same day—how very silly of me! Quite forget what he does— afraid he—doesn’t do
anything—oh, yes, plays the piano—or is it the violin, dear Mr. Gray?’ (Chapter-I, p.11)

 ‘What nonsense you talk!’ said Lord Henry. (Chapter-I p.19)

 The written form of the word ‘To-night’ Morphological Deviation

 DEFAMILIARIZATION
 The corruption of the portrait
 From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as
usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the
honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches
seemed hardly able to bear the burden of a beauty so flame-like as theirs; and now and
then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains
that were stretched in front of the huge window, producing a kind of momentary Japanese
effect, and making him think of those pallid jade-faced painters who, in an art that is
necessarily immobile, seek to convey the sense of swiftness and motion. (Chapter-I p.2)
 It was, in its way, a very charming room, with its high panelled wainscoting of olive-
stained oak, its cream-colored frieze and ceiling of raised plaster work, and its brick-dust
felt carpet strewn with long-fringed silk Persian rugs. On a tiny satinwood table stood a
statuette by Clodion, and beside it lay a copy of ‘Les Cent Nouvelles,’ bound for Margaret
of Valois by Clovis Eve, and powdered with the gilt daisies that the queen had selected for
her device. Some large blue china jars, fille with parrottulips, were ranged on the mantel-
shelf, and through the small leaded panes of the window streamed the apricot-colored
light of a summer’s day in London. (The library) Chapter-III (p. 41)
 He has stood as Paris in dainty armor, and as Adonis with huntsman’s cloak
and polished boarspear. Dorian (Chapter-I p.13)

 What nonsense people talk about happy marriages!’ exclaimed Lord Henry. ‘A
man can be happy with any woman, as long as he does not love her.’
(Chapter-XV p.151)