This site uses cookies to deliver our services, improve performance, for analytics, and (if not signed in) for advertising. By using LibraryThing you acknowledge that you have read and understand our Terms of Service and Privacy Policy. Your use of the site and services is subject to these policies and terms.
Hide this

Results from Google Books

Click on a thumbnail to go to Google Books.

Das Bildnis des Dorian Gray. by Oscar Wilde

Das Bildnis des Dorian Gray. (original 1890; edition 1992)

by Oscar Wilde

MembersReviewsPopularityAverage ratingConversations / Mentions
31,12351960 (4)13 / 1282
An exquisitely beautiful young man in Victorian England retains his youthful and innocent appearance over the years while his portrait reflects both his age and evil soul as he pursues a life of decadence and corruption.
Title:Das Bildnis des Dorian Gray.
Authors:Oscar Wilde
Info:Reclam, Ditzingen (1992), Taschenbuch, 335 pages
Collections:Your library
Tags:schönheit, oscar wilde, dandy, dandytum, englische literatur, britische literatur, ästetik

Work details

The Picture of Dorian Gray by Oscar Wilde (Author) (1890)

  1. 230
    The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (chrisharpe)
  2. 170
    The Importance of Being Earnest by Oscar Wilde (sturlington, Morteana)
    sturlington: Read Oscar Wilde at his finest.
    Morteana: Dorian Grey is Wilde in his darkest of moods, but Earnest is one of his lightest.
  3. 130
    The Tell-Tale Heart and Other Writings [Bantam Classics] by Edgar Allan Poe (WSB7)
  4. 92
    Death in Venice by Thomas Mann (roby72)
  5. 60
    Against Nature by Joris-Karl Huysmans (roby72, Zeeko, JuliaMaria)
    JuliaMaria: Wie in Wikipedia zu 'Gegen den Strich' beschrieben: "Ein französischer Roman, der den Protagonisten in Oscar Wildes Roman Das Bildnis des Dorian Gray zu dekadenten Ausschweifungen inspiriert, wird häufig als Anspielung auf À rebours gedeutet. Wilde war - wie auch Stéphane Mallarmé - ein Bewunderer des Romans."… (more)
  6. 40
    The Secret Life of Oscar Wilde by Neil McKenna (unknown_zoso05)
    unknown_zoso05: McKenna touches upon what influenced Wilde to write "The Picture of Dorian Gray".
  7. 51
    The Stranger by Albert Camus (SanctiSpiritus)
  8. 84
    Perfume: The Story of a Murderer by Patrick Süskind (spiphany)
  9. 41
    Oscar Wilde: A Certain Genius by Barbara Belford (veracity)
    veracity: Belford discusses both editions of Dorian Gray.
  10. 20
    The Man in the Picture by Susan Hill (OneMorePage)
  11. 00
    The Wild Ass's Skin by Honoré de Balzac (Lapsus_Linguae)
    Lapsus_Linguae: Both novels use fantastic elements and focus on the depiction of moral degradation of the main heroes.
  12. 00
    Shadow Dance by Angela Carter (rbtanger)
  13. 11
    A fehér tigris by Ervin Lázár (Lucy_Skywalker)
  14. 00
    Eugene Onegin: A Novel in Verse by Alexander Pushkin (TheLittlePhrase)
  15. 00
    Picture of Evil by Graham Masterton (Scottneumann)
  16. 01
    Aubrey Beardsley Drawings by Aubrey Beardsley (SnootyBaronet)
  17. 12
    Six Characters in Search of an Author by Luigi Pirandello (SandSing7)
  18. 57
    The Scarlet Letter by Nathaniel Hawthorne (chrisharpe)
  19. 03
    Darker Still by Leanna Renee Hieber (Joles)
  20. 58
    Heart of Darkness by Joseph Conrad (lucyknows)
    lucyknows: Heart of Darkness could be paired with Oscar Wilde's The Picture of Dorian Gray or the strange Case of Dr Jekyll and Mr Hyse by Robert Louis Stevenson. In all three novels the authors depict the struggle of people against the forces of evil.

(see all 20 recommendations)

1890s (2)
Read (50)
Romans (26)

Sign up for LibraryThing to find out whether you'll like this book.

» See also 1282 mentions

English (479)  Spanish (14)  French (10)  Italian (4)  German (3)  Swedish (2)  Finnish (1)  Dutch (1)  Portuguese (Portugal) (1)  Catalan (1)  Norwegian (1)  Arabic (1)  Hungarian (1)  All languages (519)
Showing 1-5 of 479 (next | show all)

Over the years in the classic lit community, I have heard so much about The Picture of Dorian Gray. After reading The Picture of Dorian Gray, I can only agree about the book’s beauty and meme-ability.

I will be honest in saying that I did struggle a bit reading this book. At the time I started this book, it had been over a year since I last picked up a book published before 1970 for fun. Trying to enjoy classics instead of studying them like I do for school takes time, but in the end, it was worth it!

Wilde’s prose is vivid and unlike anything I’ve ever read. Every chapter has dozens of quotable lines. Wilde’s work in poetry shines through and adds a lot of feeling to the characters.

The character Dorian Gray is truly what makes this novel. He is such an interesting character study. I liked how the book spans many years to show how much his character stays the same as he ruins the life of those who surround him.

As much as I adored reading The Picture of Dorian Gray, I can’t write this review without acknowledging that there are parts of this book that may not be comfortable for some to read. Overall, I really wanted to write about this because this is far from being the last classic book I talk about on here, and because I think it’s important to highlight problematic elements in old books. While I’m far from saying that I or anyone else can’t adore some elements of The Picture of Dorian Gray, it’s important to acknowledge how other parts of this book perpetuate harmful stereotypes and have the possibility to cause pain.

Overall, I enjoyed the reading experience, and would highly recommend the book, though I would also recommend checking out articles that talk about the problematic elements.

7/10 Since I couldn’t fit everything into this post, the article is up on my blog!
https://readingfromtherock.blogspot.com/2020/10/the-picture-of-dorian-gray-book-... ( )
  Reading.rock | Oct 25, 2020 |
The interesting concept and character and plot development kept me interested even when the soliloquies of Lord Henry bored me into bouts of sleepiness. Overall, I enjoyed the book, which is well-written, and I didn’t quite see the ending coming, but I felt it was appropriate. ( )
  LoriFox | Oct 24, 2020 |
I tried hard to love it. It had everything that generally appeals to me, some of the best quotes that I will continuously recall but it was so painfully boring at parts, it felt like a burden to read. ( )
  Akankshadsh | Oct 1, 2020 |
I knew the story and I've seen several movies about Dorian Gray, but I'd never read the book. I'm glad I finally decided to to do. I love the language and wit that Oscar Wilde uses to tell the story of his doomed friend, Dorian Gray , who gives over his soul to have everlasting youth and beauty. I say friend because it is thought that Mr. Wilde considered himself to be the character of Lord Henry Wootton in real life. And, if Dorian is the vain innocent that chooses a life of debauchery over virtue, then Lord Henry is surely the devil that tempted him along that path. The story is classic and the lesson it teaches is worth reflecting on. Does anything worth having come without a price? Probably not. ( )
  PaulaGalvan | Sep 30, 2020 |
Lord Henry quotes:

"Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful.


"My dear fellow, I am not quite serious. But I can't help detesting my relations. I suppose it comes from the fact that none of us can stand other people having the same faults as ourselves. I quite sympathize with the rage of the English democracy against what they call the vices of the upper orders. The masses feel that drunkenness, stupidity, and immorality should be their own special property, and that if any one of us makes an ass of himself, he is poaching on their preserves. When poor Southwark got into the divorce court, their indignation was quite magnificent. And yet I don't suppose that ten per cent of the proletariat live correctly."


"Days in summer, Basil, are apt to linger," murmured Lord Henry. "Perhaps you will tire sooner than he will. It is a sad thing to think of, but there is no doubt that genius lasts longer than beauty. That accounts for the fact that we all take such pains to over-educate ourselves. In the wild struggle for existence, we want to have something that endures, and so we fill our minds with rubbish and facts, in the silly hope of keeping our place. The thoroughly well-informed man—that is the modern ideal. And the mind of the thoroughly well-informed man is a dreadful thing. It is like a bric-a-brac shop, all monsters and dust, with everything priced above its proper value. I think you will tire first, all the same. Some day you will look at your friend, and he will seem to you to be a little out of drawing, or you won't like his tone of colour, or something. You will bitterly reproach him in your own heart, and seriously think that he has behaved very badly to you. The next time he calls, you will be perfectly cold and indifferent. It will be a great pity, for it will alter you. What you have told me is quite a romance, a romance of art one might call it, and the worst of having a romance of any kind is that it leaves one so unromantic."


"There is no such thing as a good influence, Mr. Gray. All influence is immoral—immoral from the scientific point of view."


"Because to influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of some one else's music, an actor of a part that has not been written for him. The aim of life is self-development. To realize one's nature perfectly—that is what each of us is here for. People are afraid of themselves, nowadays. They have forgotten the highest of all duties, the duty that one owes to one's self. Of course, they are charitable. They feed the hungry and clothe the beggar. But their own souls starve, and are naked. Courage has gone out of our race. Perhaps we never really had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion—these are the two things that govern us. And yet—"

"It should matter everything to you, Mr. Gray."


"Because you have the most marvellous youth, and youth is the one thing worth having."

"I don't feel that, Lord Henry."

"No, you don't feel it now. Some day, when you are old and wrinkled and ugly, when thought has seared your forehead with its lines, and passion branded your lips with its hideous fires, you will feel it, you will feel it terribly. Now, wherever you go, you charm the world. Will it always be so? ... You have a wonderfully beautiful face, Mr. Gray. Don't frown. You have. And beauty is a form of genius—is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it. You smile? Ah! when you have lost it you won't smile.... People say sometimes that beauty is only superficial. That may be so, but at least it is not so superficial as thought is. To me, beauty is the wonder of wonders. It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible.... Yes, Mr. Gray, the gods have been good to you. But what the gods give they quickly take away. You have only a few years in which to live really, perfectly, and fully. When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you, or have to content yourself with those mean triumphs that the memory of your past will make more bitter than defeats. Every month as it wanes brings you nearer to something dreadful. Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly.... Ah! realize your youth while you have it. Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals, of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing.... A new Hedonism—that is what our century wants. You might be its visible symbol. With your personality there is nothing you could not do. The world belongs to you for a season.... The moment I met you I saw that you were quite unconscious of what you really are, of what you really might be. There was so much in you that charmed me that I felt I must tell you something about yourself. I thought how tragic it would be if you were wasted. For there is such a little time that your youth will last—such a little time. The common hill-flowers wither, but they blossom again. The laburnum will be as yellow next June as it is now. In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to. Youth! Youth! There is absolutely nothing in the world but youth!"


"I adore simple pleasures," said Lord Henry. "They are the last refuge of the complex. But I don't like scenes, except on the stage. What absurd fellows you are, both of you! I wonder who it was defined man as a rational animal. It was the most premature definition ever given. Man is many things, but he is not rational. I am glad he is not, after all—though I wish you chaps would not squabble over the picture. You had much better let me have it, Basil. This silly boy doesn't really want it, and I really do."


"What a fuss people make about fidelity!" exclaimed Lord Henry. "Why, even in love it is purely a question for physiology. It has nothing to do with our own will. Young men want to be faithful, and are not; old men want to be faithless, and cannot: that is all one can say."


Lord Henry laughed. "I don't desire to change anything in England except the weather," he answered. "I am quite content with philosophic contemplation. But, as the nineteenth century has gone bankrupt through an over-expenditure of sympathy, I would suggest that we should appeal to science to put us straight. The advantage of the emotions is that they lead us astray, and the advantage of science is that it is not emotional."


"It is only the sacred things that are worth touching, Dorian," said Lord Henry, with a strange touch of pathos in his voice. "But why should you be annoyed? I suppose she will belong to you some day. When one is in love, one always begins by deceiving one's self, and one always ends by deceiving others. That is what the world calls a romance. You know her, at any rate, I suppose?"


He began to wonder whether we could ever make psychology so absolute a science that each little spring of life would be revealed to us. As it was, we always misunderstood ourselves and rarely understood others. Experience was of no ethical value. It was merely the name men gave to their mistakes. Moralists had, as a rule, regarded it as a mode of warning, had claimed for it a certain ethical efficacy in the formation of character, had praised it as something that taught us what to follow and showed us what to avoid. But there was no motive power in experience. It was as little of an active cause as conscience itself. All that it really demonstrated was that our future would be the same as our past, and that the sin we had done once, and with loathing, we would do many times, and with joy.


Lord Henry laughed. "The reason we all like to think so well of others is that we are all afraid for ourselves. The basis of optimism is sheer terror. We think that we are generous because we credit our neighbour with the possession of those virtues that are likely to be a benefit to us. We praise the banker that we may overdraw our account, and find good qualities in the highwayman in the hope that he may spare our pockets. I mean everything that I have said. I have the greatest contempt for optimism. As for a spoiled life, no life is spoiled but one whose growth is arrested. If you want to mar a nature, you have merely to reform it. As for marriage, of course that would be silly, but there are other and more interesting bonds between men and women. I will certainly encourage them. They have the charm of being fashionable. But here is Dorian himself. He will tell you more than I can."


"To be good is to be in harmony with one's self," he replied, touching the thin stem of his glass with his pale, fine-pointed fingers. "Discord is to be forced to be in harmony with others. One's own life—that is the important thing. As for the lives of one's neighbours, if one wishes to be a prig or a Puritan, one can flaunt one's moral views about them, but they are not one's concern. Besides, individualism has really the higher aim. Modern morality consists in accepting the standard of one's age. I consider that for any man of culture to accept the standard of his age is a form of the grossest immorality."


"But, surely, if one lives merely for one's self, Harry, one pays a terrible price for doing so?" suggested the painter.

"Yes, we are overcharged for everything nowadays. I should fancy that the real tragedy of the poor is that they can afford nothing but self-denial. Beautiful sins, like beautiful things, are the privilege of the rich."

"One has to pay in other ways but money."

"What sort of ways, Basil?"

"Oh! I should fancy in remorse, in suffering, in ... well, in the consciousness of degradation."

Lord Henry shrugged his shoulders. "My dear fellow, mediaeval art is charming, but mediaeval emotions are out of date. One can use them in fiction, of course. But then the only things that one can use in fiction are the things that one has ceased to use in fact. Believe me, no civilized man ever regrets a pleasure, and no uncivilized man ever knows what a pleasure is."

"I know what pleasure is," cried Dorian Gray. "It is to adore some one."

"That is certainly better than being adored," he answered, toying with some fruits. "Being adored is a nuisance. Women treat us just as humanity treats its gods. They worship us, and are always bothering us to do something for them."

"I should have said that whatever they ask for they had first given to us," murmured the lad gravely. "They create love in our natures. They have a right to demand it back."

"That is quite true, Dorian," cried Hallward.

"Nothing is ever quite true," said Lord Henry.

"This is," interrupted Dorian. "You must admit, Harry, that women give to men the very gold of their lives."

"Possibly," he sighed, "but they invariably want it back in such very small change. That is the worry. Women, as some witty Frenchman once put it, inspire us with the desire to do masterpieces and always prevent us from carrying them out."

"Harry, you are dreadful! I don't know why I like you so much."

"My dear Dorian," answered Lord Henry, taking a cigarette from his case and producing a gold-latten matchbox, "the only way a woman can ever reform a man is by boring him so completely that he loses all possible interest in life. If you had married this girl, you would have been wretched. Of course, you would have treated her kindly. One can always be kind to people about whom one cares nothing. But she would have soon found out that you were absolutely indifferent to her. And when a woman finds that out about her husband, she either becomes dreadfully dowdy, or wears very smart bonnets that some other woman's husband has to pay for. I say nothing about the social mistake, which would have been abject—which, of course, I would not have allowed—but I assure you that in any case the whole thing would have been an absolute failure."


"What nonsense people talk about happy marriages!" exclaimed Lord Henry. "A man can be happy with any woman, as long as he does not love her."


"Like all good reputations, Gladys," interrupted Lord Henry. "Every effect that one produces gives one an enemy. To be popular one must be a mediocrity."

"Not with women," said the duchess, shaking her head; "and women rule the world. I assure you we can't bear mediocrities. We women, as some one says, love with our ears, just as you men love with your eyes, if you ever love at all."

"It seems to me that we never do anything else," murmured Dorian.

"Ah! then, you never really love, Mr. Gray," answered the duchess with mock sadness.

"My dear Gladys!" cried Lord Henry. "How can you say that? Romance lives by repetition, and repetition converts an appetite into an art. Besides, each time that one loves is the only time one has ever loved. Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible."

"Even when one has been wounded by it, Harry?" asked the duchess after a pause.

"Especially when one has been wounded by it," answered Lord Henry.
"My dear Dorian, you have the most curiously boyish moods. Do you think this girl will ever be really content now with any one of her own rank? I suppose she will be married some day to a rough carter or a grinning ploughman. Well, the fact of having met you, and loved you, will teach her to despise her husband, and she will be wretched. From a moral point of view, I cannot say that I think much of your great renunciation. Even as a beginning, it is poor. Besides, how do you know that Hetty isn't floating at the present moment in some starlit mill-pond, with lovely water-lilies round her, like Ophelia?"


"What do you think has happened to Basil?" asked Dorian, holding up his Burgundy against the light and wondering how it was that he could discuss the matter so calmly.

"I have not the slightest idea. If Basil chooses to hide himself, it is no business of mine. If he is dead, I don't want to think about him. Death is the only thing that ever terrifies me. I hate it."

"Why?" said the younger man wearily.

"Because," said Lord Henry, passing beneath his nostrils the gilt trellis of an open vinaigrette box, "one can survive everything nowadays except that. Death and vulgarity are the only two facts in the nineteenth century that one cannot explain away. Let us have our coffee in the music-room, Dorian. You must play Chopin to me. The man with whom my wife ran away played Chopin exquisitely. Poor Victoria! I was very fond of her. The house is rather lonely without her. Of course, married life is merely a habit, a bad habit. But then one regrets the loss even of one's worst habits. Perhaps one regrets them the most. They are such an essential part of one's personality."

"I forget," said Dorian. "I suppose I did. But I never really liked it. I am sorry I sat for it. The memory of the thing is hateful to me. Why do you talk of it? It used to remind me of those curious lines in some play—Hamlet, I think—how do they run?—

"Like the painting of a sorrow,
A face without a heart."

Yes: that is what it was like."

Lord Henry laughed. "If a man treats life artistically, his brain is his heart," he answered, sinking into an arm-chair.

Dorian Gray shook his head and struck some soft chords on the piano. "'Like the painting of a sorrow,'" he repeated, "'a face without a heart.'"

The elder man lay back and looked at him with half-closed eyes. "By the way, Dorian," he said after a pause, "'what does it profit a man if he gain the whole world and lose—how does the quotation run?—his own soul'?"


"Youth! There is nothing like it. It's absurd to talk of the ignorance of youth. The only people to whose opinions I listen now with any respect are people much younger than myself. They seem in front of me. Life has revealed to them her latest wonder. As for the aged, I always contradict the aged. I do it on principle. If you ask them their opinion on something that happened yesterday, they solemnly give you the opinions current in 1820, when people wore high stocks, believed in everything, and knew absolutely nothing."


"Yes, you are the same. I wonder what the rest of your life will be. Don't spoil it by renunciations. At present you are a perfect type. Don't make yourself incomplete. You are quite flawless now. You need not shake your head: you know you are. Besides, Dorian, don't deceive yourself. Life is not governed by will or intention. Life is a question of nerves, and fibres, and slowly built-up cells in which thought hides itself and passion has its dreams. You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play—I tell you, Dorian, that it is on things like these that our lives depend. Browning writes about that somewhere; but our own senses will imagine them for us. There are moments when the odour of lilas blanc passes suddenly across me, and I have to live the strangest month of my life over again. I wish I could change places with you, Dorian. The world has cried out against us both, but it has always worshipped you. ( )
  runningbeardbooks | Sep 29, 2020 |
Showing 1-5 of 479 (next | show all)

» Add other authors (135 possible)

Author nameRoleType of authorWork?Status
Wilde, OscarAuthorprimary authorall editionsconfirmed
Ackroyd, PeterIntroductionsecondary authorsome editionsconfirmed
Allen, JerryIntroductionsecondary authorsome editionsconfirmed
Amante, MarcoTranslatorsecondary authorsome editionsconfirmed
Amberg, BillCover designersecondary authorsome editionsconfirmed
Arnold, HansCover artistsecondary authorsome editionsconfirmed
Baeza, RicardoTranslatorsecondary authorsome editionsconfirmed
Baldinucci, LoredanaTranslatorsecondary authorsome editionsconfirmed
Baud, ElisabethTranslatorsecondary authorsome editionsconfirmed
Beardsley, AubreyIllustratorsecondary authorsome editionsconfirmed
Beattie, SusanEditorsecondary authorsome editionsconfirmed
Beraud, JeanCover artistsecondary authorsome editionsconfirmed
Bickford-Smith, CoralieCover artistsecondary authorsome editionsconfirmed
Bini, Benedettatraduzione e curasecondary authorsome editionsconfirmed
Bollinger, MaxIllustratorsecondary authorsome editionsconfirmed
Borger, AstridTranslatorsecondary authorsome editionsconfirmed
Brassinga, AnnekeTranslatorsecondary authorsome editionsconfirmed
Breitkreuz, MeikeÜbersetzersecondary authorsome editionsconfirmed
Bristow, JosephEditorsecondary authorsome editionsconfirmed
Brodzky, HoraceIllustratorsecondary authorsome editionsconfirmed
Burgess, AnthonyIntroductionsecondary authorsome editionsconfirmed
Busby, BrianIntroductionsecondary authorsome editionsconfirmed
Busi, AldoPrefacesecondary authorsome editionsconfirmed
Bustelo, GabrielaTranslatorsecondary authorsome editionsconfirmed
Callow, SimonIntroductionsecondary authorsome editionsconfirmed
Calzini, RaffaeleTranslatorsecondary authorsome editionsconfirmed
Cauti, CamilleEditorsecondary authorsome editionsconfirmed
Chaplin, BenActorsecondary authorsome editionsconfirmed
Chichester Clark, EmmaIllustratorsecondary authorsome editionsconfirmed
Corcos, LucilleIllustratorsecondary authorsome editionsconfirmed
Corvisieri, EnricoTranslatorsecondary authorsome editionsconfirmed
Couperus, Louis (mevrouw)Translatorsecondary authorsome editionsconfirmed
Crevier, RichardTraductionsecondary authorsome editionsconfirmed
Crossley, StevenNarratorsecondary authorsome editionsconfirmed
Crystal, DavidEditorsecondary authorsome editionsconfirmed
Culbard, IanIllustratorsecondary authorsome editionsconfirmed
Cyrino, FabioEditorsecondary authorsome editionsconfirmed
D'Amico, MasolinoIntroductionsecondary authorsome editionsconfirmed
Davis, Robert GorhamIntroductionsecondary authorsome editionsconfirmed
Dettore, UgoTranslatorsecondary authorsome editionsconfirmed
Donaldson, AllanIntroductionsecondary authorsome editionsconfirmed
Drew, John M LIntroductionsecondary authorsome editionsconfirmed
Drewsen, StenTranslatorsecondary authorsome editionsconfirmed
Etienne, MichelTraductionsecondary authorsome editionsconfirmed
Eugenides, JeffreyIntroductionsecondary authorsome editionsconfirmed
Faulkner, PeterEditorsecondary authorsome editionsconfirmed
Fehr, BernhardIntroductionsecondary authorsome editionsconfirmed
Feldmanowa, MariaTł.secondary authorsome editionsconfirmed
Ferrucci, FrancoTranslatorsecondary authorsome editionsconfirmed
Flores, EnriqueIllustratorsecondary authorsome editionsconfirmed
Fry, StephenNarratorsecondary authorsome editionsconfirmed
Gattégno, JeanTraductionsecondary authorsome editionsconfirmed
Gaulke, JohannesTranslatorsecondary authorsome editionsconfirmed
Gómez de la Serna, JulioTranslatorsecondary authorsome editionsconfirmed
Glasauer, WilliIllustratorsecondary authorsome editionsconfirmed
Goettems, DorisTranslatorsecondary authorsome editionsconfirmed
Grazzi, EmanueleTranslatorsecondary authorsome editionsconfirmed
Greenstein, DavidIntroductionsecondary authorsome editionsconfirmed
Gullvåg, HåkonIllustratorsecondary authorsome editionsconfirmed
Hanft, Joshua E.Editorsecondary authorsome editionsconfirmed
Harness, PeterAfterwordsecondary authorsome editionsconfirmed
Heuvelmans, TonAfterwordsecondary authorsome editionsconfirmed
Hoeppener, ChristineTranslatorsecondary authorsome editionsconfirmed
Hoog, ElseTranslatorsecondary authorsome editionsconfirmed
Horstmann, UlrichNachwortsecondary authorsome editionsconfirmed
Στεφανοπού… ΤίναTranslatorsecondary authorsome editionsconfirmed
Jones, GarethDesignersecondary authorsome editionsconfirmed
Joyce, JamesContributorsecondary authorsome editionsconfirmed
Kaila, KaiTranslatorsecondary authorsome editionsconfirmed
König, Eva-MariaEditorsecondary authorsome editionsconfirmed
Keeling, CecilCover artistsecondary authorsome editionsconfirmed
Keen, HenryIllustratorsecondary authorsome editionsconfirmed
Kenny, JohnIntroductionsecondary authorsome editionsconfirmed
Kosztolányi, DezsőTranslatorsecondary authorsome editionsconfirmed
Kvam, RagnarOvers.secondary authorsome editionsconfirmed
Larios, JordiTranslatorsecondary authorsome editionsconfirmed
López Muñoz, José LuisTranslatorsecondary authorsome editionsconfirmed
Leite, JanuárioTranslatorsecondary authorsome editionsconfirmed
Magrinya, LuisForewordsecondary authorsome editionsconfirmed
Mann, DavidIllustratorsecondary authorsome editionsconfirmed
Manso, LeoIllustratorsecondary authorsome editionsconfirmed
Marcos, PabloIllustratorsecondary authorsome editionsconfirmed
Marenco, FrancoIntroductionsecondary authorsome editionsconfirmed
Martín Gaite, CarmenForewordsecondary authorsome editionsconfirmed
Mathias, RobertCover designersecondary authorsome editionsconfirmed
Maurois, AndréIntroductionsecondary authorsome editionsconfirmed
Míguez, Manuel FranciscoEditorsecondary authorsome editionsconfirmed
Mendes, OscarTranslatorsecondary authorsome editionsconfirmed
Mighall, RobertIntroductionsecondary authorsome editionsconfirmed
Milanese, CesareIntroductionsecondary authorsome editionsconfirmed
Moffatt, JohnReadersecondary authorsome editionsconfirmed
Montazzoli, PaulIntroductionsecondary authorsome editionsconfirmed
Moretzsohn, José Eduardo RibeiroTranslatorsecondary authorsome editionsconfirmed
Mortier, DanielPréfacesecondary authorsome editionsconfirmed
Moyes, LizCover artistsecondary authorsome editionsconfirmed
Murray, Isobel M.Editorsecondary authorsome editionsconfirmed
Nagy, AndrasEditorsecondary authorsome editionsconfirmed
Naugrette, Jean-PierreIntroductionsecondary authorsome editionsconfirmed
Novák, Jiří ZdeněkTranslatorsecondary authorsome editionsconfirmed
Nuis, AadAfterwordsecondary authorsome editionsconfirmed
Orta Manzano, MarianoTranslatorsecondary authorsome editionsconfirmed
Page, MichaelNarratorsecondary authorsome editionsconfirmed
Pearce, JosephEditorsecondary authorsome editionsconfirmed
Petherbridge, EdwardNarratorsecondary authorsome editionsconfirmed
Petrie, KateNarratorsecondary authorsome editionsconfirmed
Piglia, PaolaIllustratorsecondary authorsome editionsconfirmed
Pire, LucianaPsecondary authorsome editionsconfirmed
Planta, Anna vonÜbersetzersecondary authorsome editionsconfirmed
Podwil, JeromeCover artistsecondary authorsome editionsconfirmed
Prebble, SimonNarratorsecondary authorsome editionsconfirmed
Raby, PeterAfterwordsecondary authorsome editionsconfirmed
Reed, JeremyIntroductionsecondary authorsome editionsconfirmed
Rein, IngridÜbersetzersecondary authorsome editionsconfirmed
Ross, TonyIllustratorsecondary authorsome editionsconfirmed
Sander, ErnstTranslatorsecondary authorsome editionsconfirmed
Sandys, Anthony FrederickCover artistsecondary authorsome editionsconfirmed
Sardelli, GiuseppeTranslatorsecondary authorsome editionsconfirmed
Savine, AlbertTranslatorsecondary authorsome editionsconfirmed
Schmidgall, GaryIntroductionsecondary authorsome editionsconfirmed
Schuchart, MaxTranslatorsecondary authorsome editionsconfirmed
Selander, N.Translatorsecondary authorsome editionsconfirmed
Sheen, MichaelNarratorsecondary authorsome editionsconfirmed
Shefter, HarryEditorsecondary authorsome editionsconfirmed
Shi, YuanIllustratorsecondary authorsome editionsconfirmed
Silverstolpe, VeraTranslatorsecondary authorsome editionsconfirmed
Strange, DerekEditorsecondary authorsome editionsconfirmed
Tasis, RafaelTranslatorsecondary authorsome editionsconfirmed
Toledo, RubenIllustratorsecondary authorsome editionsconfirmed
Torreblanca, BeatrizTranslatorsecondary authorsome editionsconfirmed
Tovey, RussellNarratorsecondary authorsome editionsconfirmed
Trugo, LuiIllustratorsecondary authorsome editionsconfirmed
Vanagienė, LilijaTranslatorsecondary authorsome editionsconfirmed
Vance, SimonNarratorsecondary authorsome editionsconfirmed
Villena, Luis Antonio dePr.secondary authorsome editionsconfirmed
Volkoff, VladimirTranslatorsecondary authorsome editionsconfirmed
Watkins, LiselotteCover artistsecondary authorsome editionsconfirmed
Watkins, SethDesignersecondary authorsome editionsconfirmed
Weales, GeraldForewordsecondary authorsome editionsconfirmed
Welsh, IrvineIntroductionsecondary authorsome editionsconfirmed
White, EdmundIntroductionsecondary authorsome editionsconfirmed
Winwar, FrancesIntroductionsecondary authorsome editionsconfirmed
Wise, GregNarratorsecondary authorsome editionsconfirmed
Wolff, Lutz-W.Übersetzersecondary authorsome editionsconfirmed
Zincone, GiulianoIntroductionsecondary authorsome editionsconfirmed
Zoozmann, RichardTranslatorsecondary authorsome editionsconfirmed

Is contained in

Is retold in

Has the adaptation

Is abridged in

Is an expanded version of

Is parodied in

Is replied to in


Has as a student's study guide

You must log in to edit Common Knowledge data.
For more help see the Common Knowledge help page.
Canonical title
Original title
Alternative titles
Original publication date
Important places
Important events
Related movies
Awards and honors
First words
The studio was filled with the rich odor of roses, and when the light summer wind stirred amid the trees of the garden, there came through the open door the heavy scent of lilac, or the more delicate perfume of the pink flowering thorn.
'Your rank and wealth, Harry; my brains, such as they are—my art, whatever it may be worth; Dorian Gray's good looks—we shall all suffer for what the gods have given us, suffer terribly.'
'Harry,' said Basil Hallward, looking him straight in the face, 'every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul.'
He played with the idea and grew willful; tossed it into the air and transformed it; let it escape and recaptured it; made it iridescent with fancy and winged it with paradox. The praise of folly, as he went on, soared into a philosophy, and Philosophy herself became young, and catching the mad music of pleasure, wearing, one might fancy, her wine-stained robe and wreath of ivy, danced like a Bacchante over the hills of life, and mocked the slow Silenus for being sober. Facts fled before her like frightened forest things. Her white feet trod the huge press at which wise Omar sits, till the seething grape-juice rose round her bare limbs in waves of purple bubbles, or crawled in red foam over the vat's black, dripping, sloping sides. It was an extraordinary improvisation. He felt that the eyes of Dorian Gray were fixed on him, and the consciousness that amongst his audience there was one whose temperament he wished to fascinate seemed to give his wit keenness and to lend colour to his imagination. He was brilliant, fantastic, irresponsible. He charmed his listeners out of themselves, and they followed his pipe, laughing. Dorian Gray never took his gaze off him, but sat like one under a spell, smiles chasing each other over his lips and wonder growing grave in his darkening eyes.
Children begin by loving their parents; as they grow older they judge them; sometimes they forgive them.
The only thing worse than being talked about is not being talked about.
Last words
(Click to show. Warning: May contain spoilers.)
Disambiguation notice
This is the main work for The Picture of Dorian Gray by Oscar Wilde. Please do not combine with any adaptation, abridgement, etc.
Publisher's editors
Original language
Canonical DDC/MDS

References to this work on external resources.

Wikipedia in English (3)

An exquisitely beautiful young man in Victorian England retains his youthful and innocent appearance over the years while his portrait reflects both his age and evil soul as he pursues a life of decadence and corruption.

No library descriptions found.

Book description
Dorian Gray, un giovane di straordinaria bellezza, si è fatto fare un ritratto da un pittore. Ossessionato dalla paura della vecchiaia, ottiene, con un sortilegio, che ogni segno che il tempo dovrebbe lasciare sul suo viso, compaia invece solo sul ritratto. Avido di piacere, si abbandona agli eccessi più sfrenati, mantenendo intatta la freschezza e la perfezione del suo viso. Poiché Hallward, il pittore, gli rimprovera tanta vergogna, lo uccide. A questo punto il ritratto diventa per Dorian un atto d'accusa e in un impeto di disperazione lo squarcia con una pugnalata. Ma è lui a cadere morto: il ritratto torna a raffigurare il giovane bello e puro di un tempo e a terra giace un vecchio segnato dal vizio.
Haiku summary
Miroir, oh, miroir.
Dis-moi qui est le plus beau!
Je sais le plus laid.
L'âme en ce portrait. Miroir d'hier et du jour. Choc et élégance.

Quick Links

Popular covers


Average: (4)
0.5 10
1 89
1.5 20
2 315
2.5 92
3 1323
3.5 331
4 2684
4.5 345
5 2419

Penguin Australia

6 editions of this book were published by Penguin Australia.

Editions: 0141439572, 0141037687, 0141442468, 014119264X, 0143106147, 0141199490

Urban Romantics

2 editions of this book were published by Urban Romantics.

Editions: 1907832335, 1907832378

Tantor Media

An edition of this book was published by Tantor Media.

» Publisher information page

Recorded Books

An edition of this book was published by Recorded Books.

» Publisher information page

Is this you?

Become a LibraryThing Author.


About | Contact | Privacy/Terms | Help/FAQs | Blog | Store | APIs | TinyCat | Legacy Libraries | Early Reviewers | Common Knowledge | 151,690,208 books! | Top bar: Always visible