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The Picture of Dorian Gray

Cover of the first edition
Author	Oscar Wilde
Language	English
Genre	Gothic fiction
Publisher	Lippincott's Monthly Magazine
Publication date	1890
Publication place	Ireland
Media type	Print (Hardback & Paperback)
ISBN	ISBN 0-14-143957-2 (Modern paperback edition) Parameter error in {{ISBNT}}: invalid character
OCLC	53071567

The Picture of Dorian Gray is the only published novel by Oscar Wilde, appearing as the lead story in Lippincott's Monthly Magazine on 20 June 1890. Wilde later revised this edition, making several alterations, and adding new chapters; the amended version was published by Ward, Lock, and Company in April 1891. The story is often mistitled The Portrait of Dorian Gray.

The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and becomes infatuated with him, believing his beauty is responsible for a new mode in his art. Talking in Basil's garden, Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enthralled by Lord Henry's world view. Espousing a new hedonism, Lord Henry suggests the only things worth pursuing in life are beauty and fulfilment of the senses. Realising that one day his beauty will fade, Dorian cries out, expressing his desire to sell his soul to ensure the portrait Basil has painted would age rather than himself. Dorian's wish is fulfilled, plunging him into debauched acts. The portrait serves as a reminder of the effect each act has upon his soul, with each sin displayed as a disfigurement of his form, or through a sign of aging.

The Picture of Dorian Gray is considered one of the last works of classic gothic horror fiction with a strong Faustian theme. It deals with the artistic movement of the decadents, and homosexuality, both of which caused controversy when the book was published. However, in recent times, the book has been regarded as one of the modern classics of Western literature.

Plot summary

The novel begins with Lord Henry Wotton, observing the artist Basil Hallward painting the portrait of a handsome young man named Dorian Gray. Dorian arrives later, meeting Wotton. After hearing Lord Henry's world view, Dorian begins to think beauty is the only worthwhile aspect of life, the only thing left to pursue. He wishes that the portrait of himself which Basil is painting would grow old in his place. Under the influence of Lord Henry, Dorian begins to explore his senses. He discovers an actress, Sibyl Vane, who performs Shakespeare in a dingy theatre. Dorian approaches her and soon proposes marriage. Sibyl, who refers to him as "Prince Charming," rushes home to tell her skeptical mother and brother. Her protective brother, James, tells her that if "Prince Charming" harms her, he will kill him.

Dorian invites Basil and Lord Henry to see Sibyl perform in Romeo and Juliet. Sibyl, whose only knowledge of love was love of theatre, loses her acting abilities through the experience of true love with Dorian. Dorian rejects her, saying her beauty was in her art, and he is no longer interested in her if she can no longer act. When he returns home he notices that Basil's portrait of him has changed. Dorian realises his wish has come true - the portrait now bears a subtle sneer and will age with each sin he commits, whilst his own appearance remains unchanged. He decides to reconcile with Sibyl, but Lord Henry arrives in the morning to say Sibyl has killed herself by swallowing prussic acid (hydrogen cyanide). With the persuasion and encouragement of Lord Henry, Dorian realizes that lust and looks is where his life is headed and he needs nothing else. That marked the end of Dorian's last and only true love affair. Over the next 18 years, Dorian experiments with every vice, mostly under the influence of a "poisonous" French novel, a present from Lord Henry. Wilde never reveals the title but his inspiration was possibly drawn from Joris-Karl Huysmans's À rebours (Against Nature) due to the likenesses that exist between the two novels.

One night, before he leaves for Paris, Basil arrives to question Dorian about rumours of his indulgences. Dorian does not deny his debauchery. He takes Basil to the portrait, which is as hideous as Dorian's sins. In anger, Dorian blames the artist for his fate and stabs Basil to death. He then blackmails an old friend named Alan Campbell, who is a chemist, into destroying Basil's body. Wishing to escape his crime, Dorian travels to an opium den. James Vane is nearby and hears someone refer to Dorian as "Prince Charming." He follows Dorian outside and attempts to shoot him, but he is deceived when Dorian asks James to look at him in the light, saying he is too young to have been involved with Sibyl 18 years ago. James releases Dorian but is approached by a woman from the opium den who chastises him for not killing Dorian and tells him Dorian has not aged for 18 years.

While at dinner, Dorian sees Sibyl Vane's brother stalking the grounds and fears for his life. However, during a game-shooting party a few days later, a lurking James is accidentally shot and killed by one of the hunters. After returning to London, Dorian informs Lord Henry that he will be good from now on, and has started by not breaking the heart of his latest innocent conquest, a vicar's daughter in a country town, named Hetty Merton. At his apartment, Dorian wonders if the portrait has begun to change back, losing its senile, sinful appearance, now he has changed his immoral ways. He unveils the portrait to find it has become worse. Seeing this, he questions the motives behind his "mercy," whether it was merely vanity, curiosity, or the quest for new emotional excess. Deciding that only full confession will absolve him, but lacking feelings of guilt and fearing the consequences, he decides to destroy the last vestige of his conscience. In a rage, he picks up the knife that killed Basil Hallward and plunges it into the painting. His servants hear a cry from inside the locked room and send for the police. They find Dorian's body, stabbed in the heart and suddenly aged, withered and horrible. It is only through the rings on his hand that the corpse can be identified. Beside him, however, the portrait has reverted to its original form.

Characters

In a letter, Wilde said the main characters are reflections of himself: "Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps".

The main characters are:

• Dorian Gray – a handsome young man who becomes enthralled with Lord Henry's idea of a new hedonism. He begins to indulge in every kind of pleasure, moral and immoral.
• Basil Hallward – an artist who becomes infatuated with Dorian's beauty. Dorian helps Basil to realise his artistic potential, as Basil's portrait of Dorian proves to be his finest work.
• Lord Henry "Harry" Wotton – a nobleman who is a friend to Basil initially, but later becomes more intrigued with Dorian's beauty and naivete. Extremely witty, Lord Henry is seen as a critique of Victorian culture at the end of the century, espousing a view of indulgent hedonism. He conveys to Dorian his world view, and Dorian becomes corrupted as he attempts to emulate him.

The other characters are:

• Sibyl Vane – An exceptionally talented and beautiful (though extremely poor) actress with whom Dorian falls in love. Her love for Dorian destroys her acting ability, as she no longer finds pleasure in portraying fictional love when she is experiencing love in reality.
• James Vane – Sibyl's brother who is to become a sailor and leave for Australia. He is extremely protective of his sister, especially as his mother is useless and concerned only with Dorian's money. He is hesitant to leave his sister, believing Dorian will harm her and promises to be vengeful if any harm should come to her.
• Alan Campbell – a chemist and once a good friend of Dorian; he ended their friendship when Dorian's reputation began to come into question.
• Lord Fermor – Lord Henry's uncle. He informs Lord Henry about Dorian's lineage.
• Victoria, Lady Henry Wotton – Lord Henry's wife, who only appears once in the novel while Dorian waits for Lord Henry; she later divorces Lord Henry in exchange for a pianist.

Themes

Aestheticism and duplicity

Aestheticism is a strong motif and is tied in with the concept of the double life. A major theme is that aestheticism is merely an absurd abstract that only serves to disillusion rather than dignify the concept of beauty. Although Dorian is hedonistic, when Basil accuses him of making Lord Henry's sister's name a "by-word," Dorian replies "Take care, Basil. You go too far" suggesting Dorian still cares about his outward image and standing within Victorian society. Wilde highlights Dorian's pleasure of living a double life, Not only does Dorian enjoy this sensation in private, but he also feels "keenly the terrible pleasure of a double life" when attending a society gathering just 24 hours after committing a murder.

This duplicity and indulgence is most evident in Dorian's visit to the opium dens of London. Wilde conflates the images of the upper class and lower class by having the supposedly upright Dorian visit the impoverished districts of London. Lord Henry asserts that "crime belongs exclusively to the lower orders... I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations", which suggests that Dorian is both the criminal and the aesthete combined in one man. This is perhaps linked to Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde, which Wilde admired. The division that was witnessed in Dr. Jekyll and Mr. Hyde, although extreme, is evident in Dorian Gray, who attempts to contain the two divergent parts of his personality. This is a recurring theme in many Gothic novels, of which The Picture of Dorian Gray is one of the last.

Homoeroticism

The name "Dorian" has connotations of the Dorians, an ancient Greek tribe. Robert Mighall suggests this could be Wilde hinting at a connection to "greek", a euphemism for the homoeroticism accepted as everyday in ancient Greece. Indeed, Dorian is described using the semantic field of the Greek Gods, being likened to Adonis, a person who looks as if "he were made of ivory and rose-leaves." However, Wilde does not mention any homosexual acts explicitly—it would have been inconceivable at the time—and descriptions of Dorian's "sins" are often vague, although there does appear to be an element of homoeroticism in the competition between Lord Henry and Basil, both of whom compete for Dorian's attention. Both of them make comments about Dorian in praise of his good looks and youthful demeanour, Basil going as far to say that "as long as I live, the personality of Dorian Gray will dominate me." However, while Basil is shunned, Dorian wishes to emulate Lord Henry, which in turn, rouses Lord Henry from his "characteristic languor to a desire to influence Dorian, a process that is itself a sublimated expression of homosexuality." Since the only person Dorian claims to have loved is a woman, Sibyl Vane, it is also possible Wilde intended his character to display Greek pansexuality.

The later corruption of Dorian seems to make what was once a boyish charm a destructive influence. Basil asks why Dorian's "friendship is so fatal to young men", commenting upon the "shame and sorrow" that the father of one of the disgraced boys displays. Dorian only destroys these men when he becomes "intimate" with them, suggesting that the friendships between Dorian and the men in question become more than simply platonic. The shame associated with these relationships is bipartite: the families of the boys are upset that their sons may have indulged in a homosexual relationship with Dorian Gray, and also feel shame that they have now lost their place in society, their names having been sullied. Moreover, Alan Campbell is blackmailed by Dorian with the threat that the 'secret' held between them will be revealed. The loss of status is encapsulated in Basil's questioning of Dorian: speaking of the Duke of Perth, a disgraced friend of Dorian's, he asks "what gentleman would associate with him?" The novel is considered groundbreaking in the context that, in literature, "Dorian Gray was one of the first in a long list of hedonistic fellows whose homosexual tendencies secured a terrible fate."

Allusions to other works

The Republic

Glaucon and Adeimantus present the myth of Gyges' ring, by which Gyges made himself invisible. They ask Socrates, if one came into possession of such a ring, why should he act justly? Socrates replies that even if no one can see one's physical appearance, the soul is disfigured by the evils one commits. This disfigured (the antithesis of beautiful) and corrupt soul is imbalanced and disordered, and in itself undesirable regardless of other advantages of acting unjustly. Dorian Gray's portrait is the means by which other individuals, such as Dorian's friend Basil, shortly before Dorian kills him, may see Dorian's distorted soul.

Tannhäuser

At one point, Dorian Gray attends a performance of Richard Wagner's opera, Tannhäuser, and is explicitly said to personally identify with the work. Indeed, the opera bears some striking resemblances with the novel, and, in short, tells the story of a medieval (and historically real) singer, whose art is so beautiful that he causes Venus, the goddess of love herself, to fall in love with him, and to offer him eternal life with her in the Venusberg. Tannhäuser becomes dissatisfied with his life there, however, and elects to return to the harsh world of reality, where, after taking part in a song-contest, he is sternly censured for his sensuality, and eventually dies in his search for repentance and the love of a good woman.

Faust

Wilde himself stated that "in every first novel the hero is the author as Christ or Faust." As in Faust, a temptation is placed before the lead character Dorian, the potential for ageless beauty; Dorian indulges in this temptation. In both stories, the lead character entices a beautiful woman to love them and kills not only her, but also that woman's brother, who seeks revenge. Wilde went on to say that the notion behind The Picture of Dorian Gray is "old in the history of literature" but was something to which he had "given a new form".

Unlike Faust, there is no point at which Dorian makes a deal with the devil. However, Lord Henry's cynical outlook on life, and hedonistic nature seems to be in keeping with the idea of the devil's role, that of the temptation of the pure and innocent, qualities which Dorian exemplifies at the beginning of the book. Although Lord Henry takes an interest in Dorian, it does not seem that he is aware of the effect of his actions. However, Lord Henry advises Dorian that "the only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing"; in this sense, Lord Henry can be seen to represent the Devil, "leading Dorian into an unholy pact by manipulating his innocence and insecurity."

Shakespeare

In his preface, Wilde writes about Caliban, a character from Shakespeare's play The Tempest. When Dorian is telling Lord Henry Wotton about his new 'love', Sibyl Vane, he refers to all of the Shakespearean plays she has been in, referring to her as the heroine of each play. At a later time, he speaks of his life by quoting Hamlet, who has similarly driven his girlfriend to suicide and her brother to swear revenge.

Joris-Karl Huysmans

Dorian Gray's "poisonous French novel" that leads to his downfall is believed to be Joris-Karl Huysmans' novel À rebours. Literary critic Richard Ellmann writes:

Wilde does not name the book but at his trial he conceded that it was, or almost, Huysmans's A Rebours...To a correspondent he wrote that he had played a 'fantastic variation' upon A Rebours and some day must write it down. The references in Dorian Gray to specific chapters are deliberately inaccurate.

Literary significance

The Picture of Dorian Gray began as a short novel submitted to Lippincott's Monthly Magazine. In 1889, J. M. Stoddart, a proprietor for Lippincott, was in London to solicit short novels for the magazine. Wilde submitted the first version of The Picture of Dorian Gray, which was published on 20 June 1890 in the July edition of Lippincott's. There was a delay in getting Wilde's work to press while numerous changes were made to the novel (several manuscripts of which survive). Some of these changes were made at Wilde's instigation, and some at Stoddart's. Wilde removed all references to the fictitious book "Le Secret de Raoul", and to its fictitious author, Catulle Sarrazin. The book and its author are still referred to in the published versions of the novel, but are unnamed.

Wilde also attempted to moderate some of the more homoerotic instances in the book, or instances whereby the intentions of the characters may be misconstrued. In the 1890 edition, Basil tells Henry how he "worships" Dorian, and begs him not to "take away the one person that makes my life absolutely lovely to me." The focus for Basil in the 1890 edition seems to be more towards love, whereas the Basil of the 1891 edition cares more for his art, saying "the one person who gives my art whatever charm it may possess: my life as an artist depends on him." The book was also extended greatly: the original thirteen chapters became twenty, and the final chapter was divided into two new chapters. The additions involved the "fleshing out of Dorian as a character" and also provided details about his ancestry, which helped to make his "psychological collapse more prolonged and more convincing." The character of James Vane was also introduced, which helped to elaborate upon Sibyl Vane's character and background; the addition of the character helped to emphasise and foreshadow Dorian's selfish ways, as James sees through Dorian's character, and guesses upon his future dishonourable actions (the inclusion of James Vane's sub-plot also gives the novel a more typically Victorian tinge, part of Wilde's attempts to decrease the controversy surrounding the book). Another notable change is that in the latter half of the novel events were specified as taking place around Dorian Gray's 32nd birthday, on 7 November. After the changes, they were specified as taking place around Dorian Gray's 38th birthday, on 9 November, thereby extending the period of time over which the story occurs. The former date is also significant in that it coincides with the year in Wilde's life during which he was introduced to homosexual practices.

Preface

The preface to The Picture of Dorian Gray was added, along with other amendments, after the edition published in Lippincott's was criticised. Wilde used it to address the criticism and defend the novel's reputation. It consists of a collection of statements about the role of the artist, art itself, the value of beauty, and serves as an indicator of the way in which Wilde intends the novel to be read, as well as traces of Wilde's exposure to Daoism and the writings of the Chinese Daoist philosopher Zhuangzi. Shortly before writing the preface, Wilde reviewed Herbert A. Giles's translation of the writings of Zhuangzi. In it he writes:

The honest ratepayer and his healthy family have no doubt often mocked at the dome-like forehead of the philosopher, and laughed over the strange perspective of the landscape that lies beneath him. If they really knew who he was, they would tremble. For Chuang Tsǔ spent his life in preaching the great creed of Inaction, and in pointing out the uselessness of all things.

Criticism

Overall, initial critical reception of the book was poor, with the book gaining "certain notoriety for being 'mawkish and nauseous,' 'unclean,' 'effeminate,' and 'contaminating.'" This had much to do with the novel's homoerotic overtones, which caused something of a sensation amongst Victorian critics when first published. A large portion of the criticism was levelled at Wilde's perceived hedonism, and its distorted views of conventional morality. The Daily Chronicle of 30 June 1890 suggests that Wilde's novel contains "one element...which will taint every young mind that comes in contact with it." The Scots Observer of 5 July 1890 asks why Wilde must "go grubbing in muck-heaps?” Wilde responded to such criticisms by curtailing some of the homoerotic overtones, and by adding six chapters to the book in an effort to add background.

Major changes in the 1891 version from the 1890 first edition

The 1891 version was expanded from 13 to 20 chapters, but also toned down, particularly in some of its too overtly homoerotic aspects. Also, chapters 3, 5, and 15 to 18 are entirely new in the 1891 version, and chapter 13 from the first edition is split in two (becoming chapters 19 and 20).

At his 1895 trials Wilde testified that some of these changes were because of letters sent to him by Walter Pater.

Deleted or moved passages

• (Basil about Dorian) He has stood as Paris in dainty armor, and as Adonis with huntsman's cloak and polished boar-spear. Crowned with heavy lotus-blossoms, he has sat on the prow of Adrian's barge, looking into the green, turbid Nile. He has leaned over the still pool of some Greek woodland, and seen in the water's silent silver the wonder of his own beauty. (This passage turns up in Basil's speech to Dorian in the 1891 version.)
• (Lord Henry about fidelity) It has nothing to do with our own will. It is either an unfortunate accident, or an unpleasant result of temperament.
• "You don't mean to say that Basil has got any passion or any romance in him?" / "I don't know whether he has any passion, but he certainly has romance," said Lord Henry, with an amused look in his eyes. / "Has he never let you know that?" / "Never. I must ask him about it. I am rather surprised to hear it.
• (describing Basil Hallward) Rugged and straightforward as he was, there was something in his nature that was purely feminine in its tenderness.
• (Basil to Dorian) It is quite true that I have worshipped you with far more romance of feeling than a man usually gives to a friend. Somehow, I had never loved a woman. I suppose I never had time. Perhaps, as Harry says, a really grande passion is the privilege of those who have nothing to do, and that is the use of the idle classes in a country. (the latter remark being part of Lord Henry's dialogue in the 1891 version)
• Some dialogue between Mrs Leaf and Dorian has been cut, which mentions Dorian's fondness for "jam" (which might have been used metaphorically for his sexuality).
• When Basil confronts Dorian: Dorian, Dorian, your reputation is infamous. I know you and Harry are great friends. I say nothing about that now, but surely you need not have made his sister's name a by-word. (That part has been deleted in the 1891 version, and the passage after that has been added.)

Added passages

• Each class would have preached the importance of those virtues, for whose exercise there was no necessity in their own lives. The rich would have spoken on the value of thrift, and the idle grown eloquent over the dignity of labour.
• A grande passion is the privilege of people who have nothing to do. That is the one use of the idle classes of a country. Don't be afraid.
• Faithfulness! I must analyze it some day. The passion for property is in it. There are many things that we would throw away if we were not afraid that others might pick them up.

Adaptations and allusions

The Picture of Dorian Gray has been the subject of a great number of adaptations on television, film, and the stage. In addition to full adaptations, it has also been the subject of a number of other allusions.

• Dorian Gray was mentioned in the chorus of the song "Tears and Rain" by singer/songwriter James Blunt.
• British show Blake's 7, in the episode Rescue in season 4 features a plot loosely based on Dorian Gray
• Star Trek: The Next Generation used the novel as inspiration for its 129th episode Man of the People, where a diplomat exorcises his own negative feelings by transferring them into others, although this process causes them to rapidly age to death.
• Get Smart episode "Age Before Duty," features a plot to murder agents by applying "Dorian Gray Paint on their photographs.
• Dark Shadows, an ABC daytime drama (1966-1971), featured a storyline clearly inspired by Wilde's novel but renaming the main character Quentin Collins.
• It has been a favorite spoof of Gary Larson in The Far Side including "The Picture of Dorian Cow" and "The Picture of Dorian Gray and his dog."
• Dorian Gray was featured as a character in the 2003 film The League of Extraordinary Gentlemen as an eventual villian, having been blackmailed by the villain- revealed to be Professor Moriarty- to join the League and acquire samples from them that would allow Moriarty to replicate their abilities for his army. Dorian is eventually killed by the vampiric Mina Harker in a duel, when she pins him to the wall and shows him his portrait, thus negating the spell that made the picture age and causing him to disintegrate in front of her.
• The 1994-2001 DC Comics series, Starman, created by James Robinson, featured a storyline based on Dorian Gray. In the story, "Hell and Back," Jack Knight, a.k.a. Starman, is recruited by his immortal friend, The Shade, to fight a supernatural villain named Merritt. The Shade tells Jack that many centuries ago, Merritt made a deal with the devil. In exchange for immortality, Merritt would murder people and send their mortal souls into Hell through a portal disguised as a carnival poster. Jack and The Shade enter the poster to free the souls trapped inside it. Later, The Shade tells Jack that Merritt and the carnival poster were the inspiration for Oscar Wilde's novel. (In a flashback story, Oscar Wilde visits his friend The Shade in 19th century Opal City, and witnesses The Shade's first battle with Merritt.)

Editions

• The Picture of Dorian Gray, Oneworld Classics 2008, ISBN 978-1-84749-018-6
• The Picture of Dorian Gray, Penguin Classics 1988, ISBN 978-0140433187-X
• The Picture of Dorian Gray, Penguin Classics 2006, ISBN 978-0141442037
• The Picture of Dorian Gray, Oxford World's Classics 2006, ISBN 978-0192807298
• The Picture of Dorian Gray, Barnes and Noble Classics 2003, ISBN 978-1-59308-025-9
• The Picture of Dorian Gray, Tor 1999, ISBN 0-812-56711-0
• The Picture of Dorian Gray, Wordsworth Classics 1992, ISBN 1853260150
• The Picture of Dorian Gray, Modern Library 1992, ISBN 978-0-679-60001-5

Footnotes and references

1. ^ The Picture of Dorian Gray (Penguin Classics) - Introduction
2. Notes on The Picture of Dorian Gray - An overview of the text, sources, influences, themes and a summary of The Picture of Dorian Gray
3. The Picture of Dorian Gray (Project Gutenberg 20-chapter version), line 3479 et seq in plain text (chapter VII).
4. glbtq >> literature >> Ghost and Horror Fiction - a website which discusses ghost and horror fiction from the 19th century onwards (retrieved 30 July 2006)
5. Books of the poet: Oscar Wilde - a website which gives synopses for several books, including The Picture of Dorian Gray (retrieved 27 August 2006
6. "Wilde's The Picture of Dorian Gray". Highbeam Research. Retrieved 2007-04-26.
7. The Modern Library - a synopsis of the book coupled with a short biography of Oscar Wilde (retrieved 6 July 2006)
8. name="DorianGray Chapter XII">holaThe Picture of Dorian Gray (Penguin Classics) - Chapter XII
9. name="DorianGray Chapter XI">The Picture of Dorian Gray (Penguin Classics) - Chapter XI
10. The Picture of Dorian Gray (Penguin Classics) - Chapter I
11. glbtq >> literature >> Wilde, Oscar - an analysis of the works of Oscar Wilde, from an encyclopedia of gay, lesbian, bisexual, transgender and queer culture (retrieved 29 July 2006)
12. The Picture of Dorian Gray (Penguin Classics) - Chapter XII
13. Meloy, Kilian (2007-09-24). ""Influential Gay Characters in Literature"". AfterElton.com. Retrieved 2007-10-09.
14. Oscar Wilde Quotes - a quote from Oscar Wilde about The Picture of Dorian Gray and its likeness to Faust (retrieved 7 July 2006)
15. 'The Picture of Dorian Gray (Penguin Classics) - Preface
16. The Picture of Dorian Gray (Penguin Classics) - Chapter II
17. The Picture of Dorian Gray - a summary and commentary of Chapter II of The Picture of Dorian Gray (retrieved 29 July 2006)
18. Ellmann, Oscar Wilde (Vintage, 1988) p.316
19. The Picture of Dorian Gray (Penguin Classics) - A Note on the Text
20. GraderSave: ClassicNote - a summary and analysis of the book and its preface (retrieved 5 July 2006)
21. The Preface first appeared with the publication of the novel in 1891. But by June of 1890 Wilde was defending his book (see The Letters of Oscar Wilde], Merlin Holland and Rupert Hart-Davis eds., Henry Holt (2000), ISBN 0-8050-5915-6 and The Artist as Critic, ed. Richard Ellmann, University of Chicago (1968), ISBN 0-226-89764-8 — where Wilde's review of Giles's translation is incorrectly identified with Confucius.) Wilde's review of Giles's translation was published in The Speaker of 8 February 1890.
22. Ellmann, The Artist as Critic, 222.
23. The Modern Library - a synopsis of the book coupled with a short biography of Oscar Wilde (retrieved 6 July 2006)
24. CliffsNotes::The Picture of Dorian Gray - an introduction and overview the book (retrieved 5 July 2006)
25. Lawler, Donald L., An Inquiry into Oscar Wilde's Revisions of 'The Picture of Dorian Gray' (New York: Garland, 1988)

See also

Template:Oscar Wilde portal

• List of cultural references in The Picture of Dorian Gray
• Adaptations of The Picture of Dorian Gray
• Dorian Gray syndrome

External links

• Replica of the 1890 Edition at University of Victoria
• The Picture of Dorian Gray (13-chapter version) at Project Gutenberg
• The Picture of Dorian Gray (20-chapter version) at Project Gutenberg
• The Picture of Dorian Gray at IMDb
• Audioversion at Librivox

• Misplaced Pages articles needing words, phrases or quotes attributed from September 2008
• Works by Oscar Wilde
• 1890 novels
• Irish novels
• Works based on the Faust legend
• Gothic novels
• Fictional immortals