En cours de chargement...
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.
All art is quite useless.
Everlasting beauty has its price...
The story happens during the Victorian era, around the figure of the young and very handsome lad Dorian Gray. After becoming the model and muse of Basil Hallward, a sensitive painter, Gray is so enthralled by his portrait that he implicitly makes a deal with the devil ; he wished for the picture to grow old in his place so he can remain untouched by the marks of time. But every pact has a catch... Influenced by his mentor Lord Henry and his hedonistic world view, Dorian basks in a decadent lifestyle for years while his picture takes all the blames and gets uglier... to a point of no-return.
By portraying a cruel, narcissistic and amoral character, Wilde offers his readers a still contemporary critique of hedonistic behaviors and the superficiality and blindness of those who adopt this way of living.