The Picture of Dorian Gray (Macmillan Collector's Library)

Description

On its first publication The Picture of Dorian Gray was regarded as dangerously modern in its depiction of fin-de-siècle decadence. In this updated version of the Faust story, the tempter is Lord Henry Wotton, who lives selfishly for amoral pleasure; Dorian s good angel is the portrait painter Basil Hallward, whom Dorian murders. The book highlights the tension between the polished surface of high society and the life of secret vice. Although sin is punished in the end the book has a flavour of the elegantly perverse.

With an Afterword by Peter Harness.

Designed to appeal to the book lover, the Macmillan Collector s Library is a series of beautifully bound pocket-sized gift editions of much loved classic titles. Bound in real cloth, printed on high quality paper, and featuring ribbon markers and gilt edges, Macmillan Collector s Library are books to love and treasure.

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man s portrait, his subject s frivolous wish that the picture change and he remain the same comes true. Dorian Gray s picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel s drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde s supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."