Over 120 years after it was condemned and censored for its ‘unclean’ nature, I read ‘The Picture of Dorian Gray’ on a sun lounger in Greece. Children squealed as they ran past me into the sunlit pool. I can think of few moments where my outside environment, and the internal one of a book, have clashed so horrendously. I read greedily but guiltily, concerned that in witnessing Gray’s depravities, I too would reflect the evils Wilde concocted. Occasionally i’d shut the book to ensure return to the Grecian pool side remained possible.
Reading a tale that illustrated humanities potential for depravity, whilst innocent children danced about me, was inappropriate. Which is why I could’t have read the most influential book of my life in a more fitting setting.
If you haven’t had the pleasure of reading Wilde’s masterpiece yet, I hope that you read the following, (the books preface) in an appropriately inappropriate setting.
‘The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.’
Oscar Wilde, The Picture of Dorian Gray
Thank you Oscar Wilde for your witty, wise and thought provoking words.