Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 11919-h.htm or 11919-h.zip: (http://www.ibiblio.org/gutenberg/1/1/9/1/11919/11919-h/11919-h.htm) or (http://www.ibiblio.org/gutenberg/1/1/9/1/11919/11919-h.zip) PUNCH, OR THE LONDON CHARIVARI VOL. 99 JULY 19, 1890 OUR BOOKING-OFFICE. [Illustration: PARALLEL. Joe, the Fat Boy in Pickwick, startles the Old Lady; Oscar, the Fad Boy in Lippincott's, startles Mrs. Grundy. _Oscar, the Fad Boy_. "I want to make your flesh creep!"] The Baron has read OSCAR WILDE'S Wildest and Oscarest work, called _Dorian Gray_, a weird sensational romance, complete in one number of _Lippincott's Magazine_. The Baron, recommends anybody who revels in _diablerie_, to begin it about half-past ten, and to finish it at one sitting up; but those who do not so revel he advises either not to read it at all, or to choose the daytime, and take it in homoeopathic doses. The portrait represents the soul of the beautiful Ganymede-like _Dorian Gray_, whose youth and beauty last to the end, while his soul, like JOHN BROWN'S, "goes marching on" into the Wilderness of Sin. It becomes at last a devilled soul. And then _Dorian_ sticks a knife into it, as any ordinary mortal might do, and a fork also, and next morning "Lifeless but 'hideous' he lay," while the portrait has recovered the perfect beauty which it possessed when it first left the artist's easel. If OSCAR intended an allegory, the finish is dreadfully wrong. Does he mean that, by sacrificing his earthly life, _Dorian Gray_ atones for his infernal sins, and so purifies his soul by suicide? "Heavens! I am no preacher," says the Baron, "and perhaps OSCAR didn't mean anything at all, except to give us a sensation, to show how like BULWER LYTTON'S old-world style he could make his descriptions and his dialogue, and what an easy thing it is to frighten the respectable _Mrs. Grundy_ with a Bogie." The style is decidedly Lyttonerary. His aphorisms are Wilde, yet forced. Mr. OSCAR WILDE says of his story, "it is poisonous if you like, but you cannot deny that it is also perfect, and perfection is what we artists aim at." Perhaps; but "we artists" do not always hit what we aim at, and, despite his confident claim to unerring artistic marksmanship, one must hazard the opinion, that in this case Mr. WILDE has "shot wide." There is indeed more of "poison" than of "perfection" in _Dorian Gray_. The central idea is an excellent, if not exactly novel, one; and a finer art, say that of NATHANIEL HAWTHORNE, would have made a striking and satisfying story of it. _Dorian Gray_ is striking enough, in a sense, but it is not "satisfying" artistically, any more than it is so ethically. Mr. WILDE has preferred the sensuous and hyperdecorative manner of "Mademoiselle DE MAUPIN," and without GAUTIER'S power, has spoilt a promising conception by clumsy unideal treatment.