Patrick Duggan states that "Wilde uses Dorian Gray not as an advertisement foraestheticism, but rather, he uses Dorian’s life to warn against aestheticism’s hostilitytoward morality when uncontrolled."Analyse the extent to which Duggan's interpretation is supported by the novel.Duggan, R ( 2008) 'The Conflict Between Aestheticism and Morality in Oscar Wilde’sVolume 1 Issue 1, 2008/2009, PP61-69, BostonThe Picture of Dorian Gray', WR, ,University.

The following text is from Oscar Wilde’s 1890 novel The Picture of Dorian Gray. Dorian is seeing his portrait, painted by Basil Hallward, for the first time.Dorian made no answer, but passed listlessly in front of his picture and turned towards it. When he saw it he drew back, and his cheeks flushed for a moment with pleasure. A look of joy came into his eyes, as if he had recognized himself for the first time. He stood there motionless and in wonder, dimly conscious that Hallward was speaking to him, but not catching the meaning of his words. The sense of his own beauty came on him like a revelation. He had never felt it before.According to the text, what is true about Dorian?*A. Dorian is distracted by the beauty of the painting.B. Dorian believes that what Hallward is saying is unimportant.C. Dorian does not recognize his own image.D. Dorian is prone to embarrassment.

The Picture of Dorian Gray is an 1890 novel by Oscar Wilde. In the novel, Lord Henry sees art venues, like Grosvenor and Academy, mainly as useful for keeping current with society. 13 Mark For Review13Which quotation from The Picture of Dorian Gray most effectively illustrates the claim?A) “You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar”B) “Whenever I have gone there, there have been either so many people that I have not been able to see the pictures, which was dreadful, or so many pictures that I have not been able to see the people, which was worse.”C) “‘I don’t think I shall send it anywhere,’ he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford.”D) “Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are!”

The following text is adapted from Oscar Wilde’s 1890 novel The Picture of Dorian Gray. Lord Henry looked at Dorian Gray. Yes, he was certainly wonderfully handsome, with his finely curved scarlet lips, his frank blue eyes, his crisp gold hair. There was something in his face that made one trust him at once. All the candour of youth was there, as well as all youth’s passionate purity. One felt that he had kept himself unspotted from the world.“You are too charming to go in for philanthropy, Mr. Gray—far too charming.” And Lord Henry flung himself down on the divan and opened his cigarette-case.Dorian Gray, a painter, had been busy mixing his colours and getting his brushes ready. He was looking worried, and when he heard Lord Henry’s last remark, he glanced at him, hesitated for a moment, and then said, “Harry, I want to finish this picture to-day. Would you think it awfully rude of me if I asked you to go away?”Which choice best states the main idea of the text?Dorian Gray’s main passion in life is his philanthropy.eliminateDorian Gray is an unlikeable figure who is too absorbed in his artwork.eliminateDorian Gray is considered rude and overly blunt by all of his peers.eliminateDorian Gray is handsome, talented, and well-liked by those around him.e

Oscar Wilde (1854-1900) was an Irish-born playwright who wrote some of the most popular plays performed in London in the 1890s. He was a devout believer in Aestheticism, which is the principle that fine arts such as music and literature should be made for beauty rather than have an underlying allegorical purpose. Even so, many of his most famous works include moral precepts: _____

excerpt from Art and the HandicraftsmanBy Oscar WildePeople often talk as if there was an opposition between what is beautiful and what is useful. There is no opposition to beauty except ugliness. All things are either beautiful or ugly. Utility will always be on the side of the beautiful thing, because beautiful decoration is always an expression of the use you put a thing to and the value placed on it.No workman will beautifully decorate bad work, nor can you possibly get good handicraftsmen or workmen without having beautiful designs. You should be quite sure of that. If you have poor and worthless designs in any craft or trade, you will get poor and worthless workmen only. However, the minute you have noble and beautiful designs, then you get men of power and intellect and feeling to work for you. By having good designs, you will have workmen who work not merely with their hands but with their hearts and heads, too.Shoppers can often find handcrafted, painted dishware at a market..That the beauty of life is unimportant, I suppose few people would try to argue. And yet most civilized people act as if beauty were insignificant. In doing so, they wrong both themselves and those that are to come after them. For the beauty of art is no mere accident of human life which people can take or leave. It is an absolute necessity of life if we are meant to live as nature meant us—that is, unless we are content to be less than men.19Select the correct answer.Which statement best expresses how the author connects art and craftsmanship in this text? A. The author describes why it is important that artists make mistakes when learning craftsmanship. B. The author suggests that functional craftsmanship requires beautiful artwork. C. The author demonstrates how craftsmanship can be useful without being beautiful. D. The author insists that craftsmanship, and not beauty, is most significant in life.