Oscar Wilde, Art and Morality: A Defence of "The Picture of Dorian Gray"
Philosophy
Oscar Wilde, Art and Morality: A Defence of "The Picture of Dorian Gray"
Wilde, Oscar, 1854-1900. Picture of Dorian Gray
The reader may reasonably question the author's good taste in displaying
at such length his knowledge of antique decoration and old-world crime
as in Chapter IX,[30] which, besides being somewhat tiresome, clogs the
dramatic movement of the story. Yet, on the other hand, it must be
admitted that none but an artist and an apostle of the beautiful could
have so sympathetically portrayed the glowing hues and perfumes of the
garden in which Dorian Gray had first presented to his lips the cup of
life, and none other could have so pictured the luxurious surroundings
of his home, for whose embellishment the known world had been searched
for hangings, ornaments and _bric-à-brac_. Amid such an _entourage_ of
modern London life, with its Sybaritic indulgence, its keenness of wit
and its subtle intelligence, Mr. Wilde places his characters and works
out his miracle.
Viewing his own portrait, just completed by an artist friend, Dorian
Gray turns from it filled with envy and dissatisfaction, because it has
been whispered in his ear that youth is the supreme possession in life,
and that when youth and beauty have fled from his face and form this
pictured presentment will live for ever, a perpetual mockery of himself,
whom withering age has overtaken. Under the influence of his evil
genius, Lord Henry Wotton, Dorian Gray utters a prayer that he may
always remain young, and the portrait alone reveal the ravages of time,
sin and sorrow. The realization of this idea is the theory of Mr.
Wilde's romance, and the air of probability with which he has endowed
the absolutely impossible evidences the artistic and dramatic power of
the writer. The portrait of Dorian Gray, painted in days of innocence
and loveliness, when his mere presence symbolized to the artist the
entire harmony between beauty of body and beauty of soul, changes day by
day with the degradation of his nature, while the living Dorian Gray,
after years of sin, remorseless cruelty and corruption of thought and
action, preserves all the grace and fairness of his Antinous-like youth.
Public-domain text, read in full here on John Shaqi.
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