Oscar Wilde: Art and Morality. A Defence of The Picture of Dorian Gray cover

Oscar Wilde: Art and Morality. A Defence of The Picture of Dorian Gray

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1. 01 – Art and Morality
2. 02 – A Study in Puppydom
3. 03 – Mr Wilde’s Bad Case
4. 04 – Mr Oscar Wilde Again
5. 05 – Mr Oscar Wilde’s Defence
6. 06 – 06 – Letter from “A London Editor”
7. 07 – Mr Oscar Wilde’s Defence
8. 08 – The Daily Chronicle” on “Dorian Gray”
9. 09 – “The Scots Observer’s” Review. Oscar Wilde’s Replies
10. 10 – Further Correspondence
11. 11 – Profuse and Perfervid
12. 12 – 12 – A Spiritualistic Review. By “NIZIDA”
13. 13 – Punch on “Dorian Gray”
14. 14 – A Revulsion from Realism. By Anne H. Wharton
15. 15 – The Romance of the Impossible. By Julian Hawthorne
16. 16 – Walter Pater on “Dorian Gray”
17. 17 – The Morality of “Dorian Gray”
18. 18 – Mr Robert Buchanan on Pagan Viciousness

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Summary

“Who can help laughing when an ordinary journalist seriously proposes to limit the subject-matter at the disposal of the artist?”“We are dominated by journalism…. Journalism governs for ever and ever.”One of the nastiest of the British tabloids was founded a year too late to join in the moral panic generated to accompany Oscar Wilde’s court appearances in 1895. Yet there was no shortage of hypocritical journalists posing as moral arbiters to the nation, then as now.This compendium work – skilfully assembled by the editor, Stuart Mason – ends with transcript of Wilde’s first appearance in the Old Bailey, when he was cross-examined on the alleged immorality of his novel The Picture of Dorian Gray. The disastrous outcome of these trials provides an ironic conclusion to the earlier knockabout exchanges between Oscar and his reviewers. In these he is at his flamboyant best, revelling in the publicity he pretends to disdain. His brave performances in the dock did nothing, however, to save him from hard labour, the treadmill and complete physical and moral breakdown which the law found it necessary to inflict on him.In contrast to the hacks and lawyers, two refreshingly open-minded Americans write perceptively about the novel, as does Walter Pater, the grand old man of Aestheticism.