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This Norton Critical Edition is the only edition available that includes both the 1890 Lippincott’s and the 1891 book versions of The Picture of Dorian Gray, allowing students to compare the two published versions with the editorial guidance of Michael Patrick Gillespie.
“Backgrounds” and “Reviews and Reactions” allow readers to gauge the novel’s sensational reception and to consider the heated public debate over art and morality that the novel engendered.“Criticism” includes seven new essays on the novel that reflect key changes in interpretive theory in recent years and reveal the broad range of interpretive perspectives on Wilde and The Picture of Dorian Gray.� Michael Patrick Gillespie, Simon Joyce, Donald L. Lawler, Sheldon W. Liebman, Maureen O’Connor, Elli Ragland-Sullivan, and John Paul Riquelme provide their varied assessments.
A Chronology and Selected Bibliography are also included.
- Sales Rank: #190065 in Books
- Published on: 2006-08-29
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x 1.20" w x 5.20" l,
- Binding: Paperback
- 544 pages
Amazon.com Review
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."
From Publishers Weekly
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, self-confessed 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 Frankel�s inferences. A fine contextualization of a major work of fiction profoundly interpreted, ultimately riveting. (Mar.)
From School Library Journal
Grade 10 Up-"The Whole Story" format provides illustrations and annotations to the classic text. Ross's lively and sophisticated cartoons add interest, and historical information helps readers place the novel in proper context and gives insight into its characters. The problem with this attractive, glossy layout, however, is that the text and the quotes pulled from it are not always on the same page. Further, some illustrations and notations visually cut into the narrative and may distract readers. For example, a drawing appears on the first page along with the passage, "In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty," but that quote does not appear until the second page of the story. Useful as a supplement to the original novel, but not a replacement for it.
Karen Hoth, Marathon Middle/High School, FL
Copyright 2001 Reed Business Information, Inc.
Most helpful customer reviews
136 of 148 people found the following review helpful.
A Thrilling Read
By Ellen
I first was introduced to Dorian Gray through a book club, and I thought 'Oh no, Oscar Wilde, here I go, another hard to read boring society book". I was wrong. Within the first two chapters of Dorian Gray I was intrigued and fascinated. This book deals with several issues that are as important now as they are today: the way our culture worships beauty and youth, an admiration that boarders on homosexual love, virtues, the differences between men and women, and what art is and what makes it truly art. Dorian Gray is a beautiful young man, who sees a portrait of himself and says "How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young...If only it were the other way! If it were I who was to be always young, and the portrait to grow old...I would give my soul for that!" The book takes off from there, leading you from a small theater to great parties. While younger readers may find some of the wording as tough as an old gym shoe, anyone older than 13 with an interest in mystery, romance, and how society runs, will find this a pleasurable and haunting read.
55 of 60 people found the following review helpful.
What Makes Makes Oscar Wild(e)? Annotated New Dorian Gray Sparks Interest
By Alan W. Petrucelli
What made Oscar Wild(e)?
The Belknap Press of Harvard University Press has published a new edition of Oscar Wilde's The Picture of Dorian Gray. While there is no burning need for such a volume in the day of Lady Gaga and marriage equality, it's important to remember that Wilde spent two years in prison for being gay and for having the guts (stupidity?) to flaunt his sexuality. In many ways, it was the flaunting rather than the act themselves that so angered his persecutors.
And Dorian Gray, his first and only novel, was certainly a shot fired directly into the heart of Victorian prudery.
And in this day of Kindles, e-books and tweets, this is truly a magnificent job of bookmaking. Oversized, lavishly illustrated and gorgeously presented, Oscar would have loved it. The text is examined minutely, with a variety of comparisons from various publications of the novel, as well as Wilde's original manuscript. While there's nothing particularly new to discover in the emendations from the sources, merely a reinforcement of the outrageousness inherent in the piece, the scholarship is both astounding and informative.
The annotator and editor, Nicholas Frankel, easily and effortlessly places the modern reader in Wilde's time and place, London's late Victorian Age in London. There is still a tingle to Dorian's story of endless debauchery while he remains looking pure and innocent for decades and the painting ages and grows monstrous, reflecting his sins and crimes.
Strangely, the book seems more modern than one would imagine. Rather than merely a potboiler from two centuries back, WIlde's genius imbues the story with a strange and haunting immediacy, and a cautionary tale for us all: Be careful what you wish for.
One could hardly wish for a more beautifully accoutered book.
0 of 0 people found the following review helpful.
Soft in the middle, sharp at both ends.
By DeLarme Landes
Wilde's philosophical novel remains a compelling parable about outsourced guilt, and nearly every page has at least one eminently quotable line. Nevertheless, the lengthy middle section, which frames Gray's mounting debauchery in a detailed and prolonged discussion of Victorian tastes, grows quickly tedious. The passages are interesting in the abstract as a record of Wilde's apparently obsessive fascination with tapestries and ornament in general, but the novel wouldn't suffer much without them.
Still, though, Dorian Gray's predicament and the choices it enables are provocative, and he himself is a character with possibilities that extend far beyond the four walls of Wilde's short novel.
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