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Descripción de editorial
Wilde’s only novel, first published in 1890, is a brilliantly designed puzzle, intended to tease conventional minds with its exploration of the myriad interrelationships between art, life and consequence. From its provocative Preface, challenging the reader to belief in ‘art for art’s sake’, to its sensational conclusion, the story self-consciously experiments with the notion of sin as an element of design. Yet Wilde himself underestimated the consequences of his experiment, and its capacity to outrage the Victorian establishment. Its words returned to haunt him in his court appearances in 1895, and he later recalled the ‘note of doom’ which runs like ‘a purple thread’ through its carefully crafted prose.
A wonderful book! —W. B. Yeats
While in one sense “The Picture of Dorian Gray” is as transparent as a medieval allegory and its structure as workmanlike as that of Marlowe’s “Dr. Faustus”… in another sense it remains a puzzle: knotted, convoluted, brilliantly enigmatic. —Joyce Carol Oates
A story strange in conception, strong in interest, and fitted with a tragic and ghastly climax… A remarkable book. —Julian Hawthorne
Mr. Wilde’s work may fairly claim to go with that of Edgar Poe. —Walter Pater
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.