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Dorian Gray was in a fantastic situation: he had eternally youth and loveliness but during the time his portrait was getting old and becoming to be ugly and terrible. Rich and beautiful lad entered the world full of pleasure and luxury. Dorian Gray followed his teacher lord Henry Wotton who predicted the idea of being forever young. The artist, who was astonished by beauty of young Gray, included to his portrait his own dreams, feelings and a part of his soul. His portrait got an ability to influence and conquer other minds. But Dorian Grey was attracted by the idea of Lord Henry Wotton. By Lord Henry Wotton's point of view a man shouldn't believe in art and learn the beauty but try to find it in life. There was a struggle between the artist and the Lord for Dorian's beauty and soul.
"I wish that this portrait would be getting old but I will always stay young! I would give my soul for it!" - these fateful words became fatal for young handsome who called Dorian Gray. Since this moment any wrinkle didn't appear on his forever young face. His portrait was getting old and started to die. But the pay always comes in time...
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.