Oscar Wilde: Art and Morality. A Defence of The Picture of Dorian Gray is a compelling and thought-provoking exploration of the relationship between art and morality in the context of Wilde's groundbreaking novel, The Picture of Dorian Gray. The author delves into the philosophical and aesthetic implications of the novel, arguing that it serves as a powerful defense of the importance of art as a force for individual expression and social critique.

The book offers a detailed analysis of the characters, themes, and symbolism in The Picture of Dorian Gray, shedding new light on Wilde's complex exploration of beauty, morality, and the corrupting influence of society. The author skillfully demonstrates how the novel challenges conventional notions of morality and suggests that art has the power to both reflect and shape our understanding of the world.

Throughout the book, the author provides insightful commentary on Wilde's life and literary legacy, highlighting the ways in which his personal experiences and artistic vision influenced his work. Overall, Oscar Wilde: Art and Morality. A Defence of The Picture of Dorian Gray is a compelling and illuminating read for anyone interested in the intersection of art, morality, and society.

Book Description:

“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.