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The Picture of Dorian Gray, by Oscar Wilde, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriate All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical
interest. Barnes & Noble Classics pulls together a constellation of influences-biographical, historical, and literary-to enrich each reader's understanding of these enduring works. Oscar Wilde brings his enormous gifts for astute social observation and sparkling prose to The Picture of Dorian Gray, his dreamlike story of a young man who sells his soul for eternal youth and beauty. This dandy, who remains forever unchanged-petulant, hedonistic, vain, and amoral-while a painting of him ages and grows increasingly hideous with the years, has been horrifying, enchanting, obsessing, even corrupting readers for more than a hundred years. Taking the reader in and out of London drawing rooms, to the heights of aestheticism, and to the depths of decadence, The Picture of Dorian Gray is not only a melodrama about moral corruption. Laced with bon mots and vivid depictions of upper-class refinement, it is also a fascinating look at the milieu of Wilde's fin-de-siÃ¨cle world and a manifesto of the creed "Art for Art's Sake." The ever-quotable Wilde, who once delighted London with his scintillating plays, scandalized readers with this, his only novel. Upon publication, Dorian was condemned as dangerous, poisonous, stupid, vulgar, and immoral, and Wilde as a "driveling pedant." The novel, in fact, was used against Wilde at his much-publicized trials for "gross indecency," which led to his imprisonment and exile on the European continent. Even so, The Picture of Dorian Gray firmly established Wilde as one of the great voices of the Aesthetic movement, and endures as a classic that is as timeless as its hero. Camille Cauti, Ph.D., is an editor and literary critic who lives in New York City. She is a specialist in the Catholic conversion trend among members of the avant-garde in London in the 1890s.
About The Author Camille Cauti, Ph.D., is an editor and literary critic who lives in New York City. She is a specialist in the Catholic conversion trend among members of the avant-garde in London in the 1890s.
Biography Oscar Fingal O'Flahertie Wills Wilde was born on October 16, 1854, to an intellectually prominent Dublin family. His father, Sir William Wilde, was a renowned physician who was knighted for his work as medical adviser to the 1841 and 1851 Irish censuses; his mother, Lady Jane Francesca Elgee, was a poet and journalist. Wilde showed himself to be an exceptional student. While at the Royal School in Enniskillen, he took First Prize in Classics. He continued his studies at Trinity College, Dublin, on scholarship, where he won high honors, including the Demyship Scholarship to Magdalen College, Oxford.
At Oxford, Wilde engaged in self-discovery, through both intellectual and personal pursuits. He fell under the influence of the aesthetic philosophy of Walter Pater, a tutor and author who inspired Wilde to create art for the sake of art alone. It was during these years that Wilde developed a reputation as an eccentric and a foppish dresser who always had a flower in his lapel. Wilde won his first recognition as a writer when the university awarded him the Newdigate Prize for his poem "Ravenna." Wilde went from Oxford to London, where he published his first volume of verse, Poems, in 1881. From 1882 to 1884, he toured the United States, Ireland, and England, giving a series of lectures on Aestheticism. In America, between speaking engagements, he met some of the great literary minds of the day, including Henry Wadsworth Longfellow, Oliver Wendell Holmes, and Walt Whitman. His first play, Vera, was staged in New York but did poorly. After his marriage to Constance Lloyd in 1884 and the birth of his two sons, Wilde began to make his way into London's theatrical, literary, and homosexual scenes. He published Intentions, a collection of dialogues on aesthetic philosophy, in 1891, the year he met Lord Alfred Douglas, who became his lover and his ultimate downfall. Wilde soon produced several successful plays, including Lady Windermere's Fan (1892) and A Woman of No Importance (1893). Wilde's popularity was short-lived, however. In 1894, during the concurrent runs of his plays An Ideal
Husband and The Importance of Being Earnest, he became the subject of a homosexual scandal that led him to withdraw all theater engagements and declare bankruptcy. Urged by many to flee the country rather than face a trial in which he would surely be found guilty, Wilde chose instead to remain in England. Arrested in 1895 and found guilty of "homosexual offenses," Wilde was sentenced to two years hard labor and began serving time in Wandsworth prison. He was later transferred to the detention center in Reading Gaol, where he composed De Profundis, a dramatic monologue written as a letter to Lord Alfred Douglas that was published in 1905. Upon his release, Wilde retreated to the Continent, where he lived out the rest of his life under a pseudonym. He published his last work, The Ballad of Reading Gaol, in 1898 while living in exile. During his lifetime, Wilde was most often the center of controversy. The Picture of Dorian Gray, which was serialized in Lippincott's Monthly Magazine in 1890 and published in book form the next year, is considered to be Wilde's most personal work. Scrutinized by critics who questioned its morality, the novel portrays the author's internal battles and arrives at the disturbing possibility that "ugliness is the only reality." Oscar Wilde died penniless, of cerebral meningitis, in Paris on November 30, 1900. He is buried in Paris's PÃ¨re Lachaise Cemetery. Author biography from the Barnes & Noble Classics edition of The Picture of Dorian Gray.
Good To Know To make ends meet, Wilde edited the popular ladies' periodical Woman's Day from 1887 to 1889. When in exile on the Continent, Wilde was forced to live under the alias Sebastian Melmoth. It is rumored that Wilde's last written words were found in his journal, left behind in the Left Bank flophouse where he died: "My wallpaper and I are fighting a duel to the death. One or the other of us has got to go." Wilde is buried in the Paris cemetery of PÃ¨re Lachaise; there, he keeps company with other famous artists, including Jim Morrison and Edith Piaf.
Reviews Starred Review. First published in 1890 in Lippincott's Monthly Magazine and the following year in novel form, The Picture of Dorian Gray categorically changed Victorian Britain and the landscape of literature. An ostentatious, selfconfessed aesthete, known for his wit and intellect, Wilde not only had to endure his prose being labeled "poisonous" and "vulgar," but also suffer its use as evidence in the ensuing trial, resulting in his eventual imprisonment for crimes of "gross indecency." Frankel's introduction provides a deft preliminary analysis of the novel itself-exploring etymology and extensive editorial alterations (both accidental and deliberate)-and offers valuable insight into the socio-cultural juxtaposition of aristocratic Victorian society and the London underworld. The original typescript provides the unique opportunity to examine what was considered acceptable in both the US and UK at the time. Intriguing annotations allude to Wilde's influences and enterprising range of reference, incorporating art, poetry, literature, Greek mythology, philosophy, and fashion (certain to inspire further reading; an appendix is provided). Comparisons are drawn between Dorian Gray and Wilde's other literary output, as well as to the work of Walter Pater. Numerous illustrations subtly compliment FrankelÃ¿s inferences. A fine contextualization of a major work of fiction profoundly interpreted, ultimately riveting.
I read the 13 chapter version, and then the 20 Chapter version. Never, ever read the 13ch version, it is dull and flat. The 20 version, the version we know now, is so much more provacative. While I would still recommend Frankenstein as a philosophical text of this, Dorian Gray makes you question within yourself the forces of hedonism and puritanism. The continual fight between Hedonism and Puritanism is still one we must struggle with today, and with both sides refusing to take a middle ground, Dorian Gray remains an important text.
This is one of my favorite books. It will keep you wondering and guessing until the very ending. The language might be confusing at first if you're not use to it but it's a very good read. Dorian will get you thinking about alot of things that someone might not realize or one might forget. On that note..pick up the book and see what I mean.
Dorian Gray - an individual who spends his life battling between selfish vanity and a buried desire to be good. Love touches his life on more than one occasion, but each time he denies those feelings. Instead, he pushes himself, over and over, into disgusting behavior and abuse of all those around him. He wants so much to open himself to emotions and love, but is too guarded. Instead, he spirals, ever deeper, into more base behavior. The more he degrades himself and others around him, the more his contempt for life becomes. Finally, this proves too much, even for him, and he gives way to the weight of all his life's sins.
Read An Excerpt From Camille Cauti's Introduction to The Picture of Dorian Gray Perhaps the most salient episode of Wilde's life involved his three infamous court trials in spring 1895. They captivated the London press, much of which was only too happy to see Wilde, of whom it had long been jealously suspicious, debased and finally punished for his alleged crimes and for daring to live outside Victorian social convention. The first trial, in early April 1895, involved the author's libel suit against his lover Douglas's father, the Marquess of Queensbury (before the trials, he was most famous for formulating the Queensbury rules of boxing). Angry over Wilde's alleged influence upon his son, Queensbury accused Wilde in a note of being a "posing somdomite" (sic). Queensbury's defense attorney even presented The Picture of Dorian Gray as an immoral, perverted book and as one of the fifteen pleas for justification of his client's claim (although the justice at Wilde's next trial chose not to rule Dorian Gray as evidence of Wilde's crimes). Thus the novel took on yet another role: involuntary accomplice to Wilde's accuser. The libel suit was not resolved in Wilde's favor, and during the proceedings Queensbury's defense provided enough potential evidence of homosexuality to have Wilde tried under the Criminal Law Amendment Act. Friends and associates urged Wilde to flee the country, as other homosexuals on the verge of being outed had done, but whether from stubbornness of his position or in denial of his vulnerability, he remained in London and was arrested on April 5, 1895. After two trials on charges of "committing acts of gross indecency with male persons," Wilde ultimately was found guilty and sentenced to the maximum penalty of two years in prison with hard labor. He gave eloquent testimony on the stand to the legitimacy of, as he called it, "the love that dare not speak its name," which in large part drives The Picture of Dorian Gray. Among many other definitions, Wilde declared it "that deep spiritual affection that is as pure as it is perfect. It dictates and pervades great works of art like those of Shakespeare and Michaelangelo. . . . It is the noblest form of affection." His words were rewarded, really too late, with spontaneous courtroom applause. Yet the press exulted in Wilde's demise: "The aesthetic cult," the News of the World proclaimed, "in its nasty form, is over." The details of Wilde's final five years, spent in prison and in lonely exile, are tragic. The prison labor, which at first primarily involved operating a treadmill for the equivalent of a daily 6,000-foot ascent, physically broke Wilde. His creditors and Queensbury had forced a bankruptcy sale of his property, and his valuable, carefully collected possessions were sold and disbursed. His wife, who had sought a divorce, died in 1898. He would never again see his sons. From prison, Wilde composed, in the form of a letter to Douglas, his apologia De Profundis (posthumously published in 1905), whose Latin title means "Out of the Depths," and which takes its name and religious tenor from Psalm 130, which reads, in part: "If thou, Lord, shouldest mark iniquities, O Lord, who shall stand? But there is forgiveness with thee, that thou mayest be feared." The probing, deeply religious nature of this last work still did not
bring about Wilde's Catholic conversion, however. (Douglas would convert in 1911.) Unlike John Gray, Wilde could not bring himself to use religion as a refuge from his earthly problems. Wilde's conversion instead took place within the last two days of his life, when desperate friends, the Catholic Robbie Ross among them, who had long thought Wilde insincere when he mentioned his desire to convert, brought in a local priest to gauge Wilde's assent to the conversion and to administer Last Rites. Appropriately, Wilde's last act was an assent to a final ritual-in this case, one that symbolically sealed the senses that had dictated his life-long self-creation. Wilde's only novel, over the years many things to many people, continues to serve as a symbol of its era. After experiencing it, a reader may want nothing more than to override questions of genre and influence, when The Picture of Dorian Gray itself tells us what it has been: "the type of what the age is searching for, and what it is afraid it has found."
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