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The artist is the creator of beautiful things.
To reveal art and conceal the artist is art's aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming.
This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written.
That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass.
The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved.
No artist has ethical sympathies.
An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art.
Vice and virtue are to the artist materials for an art.
From the point of view of form, the type of all the arts is the art of the musician.
From the point of view of feeling, the actor's craft is the type.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree, the artist is in accord with himself.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.

The Novel -

The novel begins with Lord Henry Wotton observing the artist Basil Hallward painting the portrait of a handsome young man named Dorian Gray. Dorian arrives later, meeting Lord Henry Wotton. After hearing Lord Henry's world view, Dorian begins to think that beauty is the only worthwhile aspect of life, and the only thing left to pursue. He wishes that the portrait of him which Basil is painting would grow old instead of him. Under the influence of Lord Henry, Dorian begins an exploration of his senses. He discovers an actress, Sibyl Vane, who performs Shakespeare in a dingy theatre. Dorian approaches her, and very soon, proposes marriage. Sibyl, who refers to him as "Prince Charming", rushes home to tell her skeptical mother and brother. Her protective brother, James, tells her that if "Prince Charming" ever harms her, he will kill him.

Dorian then invites Basil and Lord Henry to see Sibyl perform in Romeo and Juliet. Sibyl, whose only previous knowledge of love was through the love of theatre, suddenly loses her acting abilities through the experience of true love with Dorian, and performs very badly. Dorian rejects her, saying that her beauty was in her art, and if she could no longer act, he was no longer interested in her. Once he returns home, Dorian notices that Basil's portrait of him has changed. After examining the painting, Dorian realizes that his wish has come true - the portrait's expression now bears a subtle sneer, and later ages with each grave sin committed, whilst his own outward appearance remains unchanged. He decides to reconcile with Sibyl, but Lord Henry arrives in the morning to say that Sibyl has killed herself by swallowing prussic acid. Over the next eighteen years he experiments with every vice, mostly under the influence of a "poisonous" French novel, a present from Lord Henry. Wilde never reveals the title but his inspiration was likely drawn from Joris-Karl Huysmans's À rebours (Against Nature) due to the likenesses that exist between The Picture of Dorian Gray and À rebours.[5]

One night before he leaves for Paris, Basil arrives to question Dorian about the rumours of his indulgences. Dorian does not deny the debauchery. He takes Basil to the portrait which is revealed to have become ugly under Dorian's sins. In a fit of anger, Dorian blames the artist for his fate, and stabs him to death. He then blackmails an old friend named Alan Cambell, who happened to be a chemist, into destroying the body. Wishing to escape his crime, Dorian travels to an opium den. James Vane happens to be nearby, and hears someone refer to Dorian as "Prince Charming". He follows Dorian out and attempts to shoot him, but he is deceived when Dorian asks James to look at him in the lane, saying that he is too young to have been involved with his sister eighteen years ago. James releases Dorian, but is approached by a woman from the opium den, who chastises him for not killing Dorian and tells him that Dorian has not aged for the past eighteen years.

Whilst at dinner one night, Dorian sees Sibyl Vane's brother stalking the grounds and fears for his life. However, during a game-shooting party the next day James is accidentally shot and killed by one of the hunters. After returning to London, Dorian informs Lord Henry that he will be good from now on, and has started by not breaking the heart of his latest innocent conquest, a vicar's daughter in a country town, named Hetty Merton. At his apartment, he wonders if the portrait would have begun to change back, losing its senile, sinful appearance, now that he has changed his immoral ways. He unveils the portrait to find that it has become worse. Seeing this he begins to question the motives behind his act, whether it was merely vanity, curiosity, or seeking new emotional excess. Deciding that only a full confession would truly absolve him, but lacking any guilt and fearing the consequences, he decides to destroy the last vestige of his conscience. In a fit of rage, he picks up the knife that killed Basil Hallward, and plunges it into the painting. Hearing his cry from inside the locked room, his servants send for the police, who find Dorian's body, suddenly aged and withered, beside the portrait, which has reverted to its original form; it is only through his rings that the corpse can be identified.

The League Of Extraordinary Gentlemen -

Dorian Gray was a character portrayed by Stuart Townsend in Stephen Norrington's The League of Extraordinary Gentlemen, which was based on the graphic novel of the same name, written by Alan Moore. Dorian Gray was not originally included in Moore's graphic novel, and Dorian's inclusion was a decision made by Norrington. A "League of Extraordinary Gentlemen" is assembled in an attempt to stop the villain "The Fantom" from destroying Venice. Dorian Gray is selected for his immortality; however, the film version expands upon the novel by suggesting that not only does the portrait keep Dorian from aging, but also from suffering injuries. In addition, Dorian is unable to look at his own portrait; if he does, then the "spell" will be broken, and his powers will be lost — effectively killing him, as he had already reached an age impossible for any mortal being, as well as suffered numerous injuries. During the film, he is revealed to have had a past relationship with fellow immortal Mina Harker — here a vampire — but it is later revealed that he is actually a double agent, secretly working for the Fantom, who has stolen his portrait to blackmail him into acquiring samples of the other League members so that he can duplicate their powers. At the conclusion of the film, Dorian fights Mina in a duel, which ends when he is pinned to the wall with his own sword and forced to look at his portrait, turning him to dust in a matter of seconds.

The Dorian Grey for this account is based on the character played by Stuart Townsend in the League of Extraordinary Gentlemen. In this incarnation, his 'curse' was altered somewhat; his painting now also took for him the physical damage he may sustain, making him virtually immortal, unless he is forced to look upon the portrait, whereupon his 'curse' would be broken and all the physical deformities from sin, age, and physical damage that had been absorbed by the painting throughout the years would be thrust back on him, killing him instantly. Because of this, he hid the painting not only from others, but himself, as well, so that he could continue to use the 'curse' to his benefit.

Dorian is working on a prompt table and writes ficlets for scifi_muses

The table (stolen from Joss100)

001. Dreams	002. Nightmares	003. Daydreams	004. Emotion	005. Hot
006. Cold	007. Lust	008. Hate	009. Love	010. Anger
011. Jealousy	012. The Start	013. The End	014. The Past	015. The Future
016. Current	017. Illness	018. Health	019. Fight	020. Still
021. Lonely	022. Hunger	023. Vampire	024. Day	025. Night
026. Dark	027. Light	028. Shadow	029. Space	030. Coffin
031. Parent	032. Child	033. Blood	034. Rebirth	035. Life
036. Death	037. Resurrection	038. Dawn	039. Dusk	040. Midnight
041. Watch	042. Monsters	043. Time	044. Seasons	045. Want
046. Need	047. Vengence	048. Direction	049. First Love	050. Weapons
051. Destruction	052. Apocolypse	053. Faded	054. Colorless	055. Colorful
056. Black	057. White	058. Sunshine	059. Puppet	060. Birthday
061. Music	062. Sound	063. Silence	064. Ocean	065. Vast
066. Empty	067. Choices	068. Lost	069. Found	070. Full
071. Fall	072. Myth	073. Secret	074. Truth	075. Lie
076. Terror	077. Betrayal	078. Loyalty	079. Lover	080. Enemy
081. Book	082. Nature	083. Eternal	084. Serenity	085. Gold
086. Silver	087. Hero	088. Villian	089. Soul	090. Food
091.Visions	092. Earth	093. Regret	094. Chains	095. Red
096. Sky	097. Water	098.Nurture	099. Writer's Choice	100. Writer's Choice

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