Gray Colour Quotes

I take your hand, brother, so that you may go in peace. Will had opened his blue eyes that never lost their colour over all the passing years, and looked at Jem and then Tessa, and smiled, and died, with Tessa's head on his shoulder and and his hand in Jem's.

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, that it is on things like these that our lives depend.

I find him in the curves of certain lines, in the loveliness and subtleties of certain colours.

There seemed to be something tragic in a friendship so coloured by romance.

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.

Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern.

He flushed, the colour dark against his pale skin. 'I mean. Tessa Gray, will you do me the honour of becoming my wife?' Jem...

My shirt is gray,” I pointed out. “You’ve expanded my fashion horizons dramatically. I wear three colours now.

His blue eyes were very dark...Will's were the colour of the sky just on the edge of the night...

the costume of the nineteenth century is detestable. It is so sombre, so depressing. Sin is the only real colour-element left in modern life.

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.

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.

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 sublte memories with it, a line 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.

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.

Gray, the colour of forgetting.

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.

Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are the most insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

Gray. The overcast skies had the colour of deadened stones, and seemed closer than usually, as though they were phlegmatically observing my every movement with their apathetic emptily blue-less eyes; each tiny drop of hazy rain drifting around resembled transparent molten steel, the pavement looked like it was about to burst into disconsolate tears, even the air itself was gray, so ultimate and ubiquitous that colour was everywhere around me. Gray...

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.

It is not he who is revealed by the painter; it is rather the painter, who on the coloured canvas, reveals himself.

There seemed to him to be something tragic in a friendship so coloured by romance.

You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours.

Sin is the only real colour-element left in modern life.' 'You really must not say things like that before Dorian, Harry.' 'Before which Dorian? The one who is pouring out tea for us, or the one in the picture?' 'Before either.' 'I should like to come to the theatre with you, Lord Henry,' said the lad. 'Then you shall come; and you will come, too, Basil, won't you?' 'I can't, really. I would sooner not. I have a lot of work to do.' 'Well, then you and I will go alone, Mr. Gray.' 'I should like that awfully.' The painter bit his lip and walked over, cup in hand, to the picture. 'I shall stay with the real Dorian,' he said, sadly.

There was a silence. The evening darkened in the room. Noiselessly and with silver feet the shadows crept in from the garden. The colours faded wearily out of things.

Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.

Art is always more abstract than we fancy. Form and colour tell us of form and colour - that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him.

Even now I cannot help feeling that it is a mistake to think that the passion one feels in creation is ever really shown in the work one creates. Art is always more abstract than we fancy. Form and colour tell us of form and colour--that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him.

I can sympathize with everything except suffering," said Lord Henry, shrugging his shoulders. "I cannot sympathize with that. It is too ugly, too horrible, too distressing. There is something terribly morbid in the modern sympathy with pain. One should sympathize with the colour, the beauty, the joy of life. The less said about life's sores, the better.

Some people do not really hate aging; they merely love the colour black.

By the way, is there any difference between 'grey' and 'gray'? I believe there is, but I don't know what it is. In one place in the poem Smithers suggests 'gray'. In others he leaves 'grey'. Perhaps he is seeing red. I believe they are sympathetic colours in spectroscope investigations.

There seemed to be something tragic in a friendship so coloured by romance

Was there some subtle affinity between the chemical atoms that shaped themselves into form and colour on the canvas and the soul that was within him? Could it be that what that soul thought, they realized? -- that what it dreamed, they made true?

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.

Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

Alexander Smollett, master; David Livesey, ship's doctor; Abraham Gray, carpenter's mate; John Trelawney, owner; John Hunter and Richard Joyce, owner's servants, landsmen--being all that is left faithful of the ship's company--with stores for ten days at short rations, came ashore this day and flew British colours on the log-house in Treasure Island. Thomas Redruth, owner's servant, landsman, shot by the mutineers; James Hawkins, cabin boy--' And at the same time, I was wondering over poor Jim Hawkins' fate.

I cannot sympathize with that. It is too ugly, too horrible, too distressing. There is something terribly morbid in the modern sympathy with pain. One should sympathize with the colour, the beauty, the joy of life. The less said about life's sores, the better.

One should absorb the colour of life, but one should never remember its detail. Details are always vulgar.

Amongst the gray rocks in your head, there’s plenty of room for the colourful gems. Keep digging.

Yes," answered Lord Henry dreamily, "the costume of the nineteenth century is detestable. It is so sombre, so depressing. Sin is the only real colour-element left in modern life.

Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs;

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ.

Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the ocassion. It is not he who is revelead by the painter; it is rather the painter who, on the coloured canvas , reveals himself.

Most kids who don't feel enough love and nurturance carry around this kind of inner rage- a rage that often lasts throughout adulthood. The people who should have cared for them didn't. The lesson to take away: All people are shit. This is why troubled youth walk around with chips on their shoulders and why they are so hard to help. Early on they learn that people can't be trusted. They often spend the rest of their lives embracing this damaging belief. Seeing the world through shit-coloured glasses, they are hypersensitive to every possible slight or judgement, and they believe anyone friendly or kind must have an ulterior motive. Despite all this, wounded people desperately want and need love. But, terrified to trust, they constantly do thing to test and sabotage their relationships. This push-pull dance is well-known to anyone who's ever been close to a victim of abuse, neglect, or abandonment. Those who suffer from BPD are hypersensitive to perceived slights from others and can grow notoriously hostile when they feel dissed.... For survivors of abuse, who you trust is a matter of survival. Its black and white. There can be no apologies. There can be no gray. There are no exceptions.-Scared Selfless

One thing that unites us all, one thing is universal among the human species; the anatomy. Big, small, fat, thin, colour or creed are irrelevant. Under the skin, under the flesh, we are one and the same. We desire the same things; love, money, power. All the things we can not have, not without cost.

Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

She paints a pretty picture, but the story has a twist Her paintbrush is a razor, her canvas is her wrist. She paints a pretty picture in a colour that's blood red. While using her sharp paintbrush, she ends up finally dead. The pretty picture is fading quite slowly on her arm. Blood no longer runs through her, she can no longer do harm. Yes, she painted a pretty picture but the story has a twist, you see, her mind was her razor, and her heart was her wrist.

Dorian Gray frowned and turned his head away. He could not help liking the tall, graceful young man who was standing by him. His romantic, olive-coloured face and worn expression interested him. There was something in his low languid voice that was absolutely fascinating. His cool, white, flowerlike hands, even, had a curious charm. They moved, as he spoke, like music, and seemed to have a language of their own. But he felt afraid of him, and ashamed of being afraid.

He looked at them and saw their faces did not fit. The skin on the skulls crawled and twitched like half-solid paste. All the heads in his angle of vision seemed irregular lumps, like potatoes but without a potato’s repose: potatoes with crawling surfaces punctured by holes which opened and shut, holes blocked with coloured jelly or fringed with bone stumps, elastic holes through which air was sucked or squirted, holes secreting salt, wax, spittle and snot. He grasped a pencil in his trouser pocket, wishing it were a knife he could thrust through his cheek and use to carve his face down to the clean bone. But that was foolish. Nothing clean lay under the face. He thought of sectioned brains, palettes, eyeballs and ears seen in medical diagrams and butcher’s shops. He thought of elastic muscle, pulsing tubes, gland sacks full of lukewarm fluid, the layers of cellular and fibrous and granular tissues inside a head. What was felt as tastes, caresses, dreams and thoughts could be seen as a cleverly articulated mass of garbage.

The gaudy landscape, the dazzling abrupt definition of sight hurt his eyes. He was delighted only by moonlight. Moonlight knew no colours and traced the contours of the terrain only very softly. It covered the land with a dirty gray, strangling life all not only. This world moulded in lead, where nothing moved by the wind that fell sometimes like a shadow over the gray forests, and where nothing lived but the scent of the naked earth, was the only world that he accepted, for it was much like the world of his soul.

He sees his world in black and white: Filthy snow, a hollow sky, the gray cement of the walls - water stains, like giant ink spills, eating into them - and his own skin, an ashy patina enveloping his body. Even the wounds on his feet, hardened and crusted, have lost their red. He has come to think of colour as something fantastic that exists only in his mind - the red of a tomato sliced and salted at the lunch table, the deep blue of a lapis lazuli on Farnaz's finger, the honey hue of his daughter's hair in the sun.

If one puts forward an idea to a true Englishman--always a rash thing to do--he never dreams of considering whether the idea is right or wrong. The only thing he considers of any importance is whether one believes it oneself. Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

It is not he who is revealed by the painter, it is rather the painter who, on coloured canvas, reveals himself.

There seemed to him to be something tragic in a friendship so coloured by romance

Sin is the only real colour-element left in modern life." "You

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

It pulled at him, and he thought of how this world had been cold and wet and gray until he'd come here. It felt like he was seeing in colour for the first time.

Yes," answered Lord Henry, dreamily, "the costume of our day is detestable. It is so sombre, so depressing. Sin is the only colour- element left in modern life.

Sin is the only real colour-element left in modern life.

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.

his dark eyes had turned that same unamable gray that only the very young or the very old possess: the colour of the sea from which one comes, the colour of the sea to which one returns

The sky above them was an intense velvety black, changing to bands of Indian red on the horizon, where the great stars burned like street-lamps. From time to time a greenish wave of the Northern Lights would roll across the hollow of the high heavens, flick like a flag, and disappear; or a meteor would crackle from darkness to darkness, trailing a shower of sparks behind. Then they could see the ridged and furrowed surface of the floe tipped and laced with strange colours—red, copper, and bluish; but in the ordinary starlight everything turned to one frost-bitten gray.

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.

Art is always more abstract than we fancy. Form and colour tell us of form and colour—that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him.

Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.

the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

I fancy that the true explanation is this: It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style. They affect us just as vulgarity affects us. They give us an impression of sheer brute force, and we revolt against that. Sometimes, however, a tragedy that possesses artistic elements of beauty crosses our lives. If these elements of beauty are real, the whole thing simply appeals to our sense of dramatic effect. Suddenly we find that we are no longer the actors, but the spectators of the play. Or rather we are both. We watch ourselves, and the mere wonder of the spectacle enthralls us. In the present case, what is it that has really happened? Some one has killed herself for love of you. I wish that I had ever had such an experience. It would have made me in love with love for the rest of my life. The people who have adored me—there have not been very many, but there have been some—have always insisted on living on, long after I had ceased to care for them, or they to care for me. They have become stout and tedious, and when I meet them, they go in at once for reminiscences. That awful memory of woman! What a fearful thing it is! And what an utter intellectual stagnation it reveals! One should absorb the colour of life, but one should never remember its details. Details are always vulgar.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art

The tulip-beds across the road flamed like throbbing rings of fire. A white dust, tremulous cloud of orris-root it seemed, hung in the panting air. The brightly coloured parasols danced and dipped lik monstrous butterflies.

The tulip-beds across the road flamed like throbbing rings of fire. A white dust tremulous, cloud of orris-root it seemed, hung in the panting air. The brightly coloured parasols danced and dipped like monstrous butterflies.

And in his search for sensations that would be at once new and delightful, and possess that element of strangeness that is essential to romance, he would often adopt certain modes of thought that he knew to be really alien to his nature, abandon himself to their subtle influences, and then, having, as it were, caught their colour and satisfied his intellectual curiosity, leave them with that curious indifference that is not compatible with a real ardour of temperament.

Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been re-fashioned anew for our pleasure in the darkness, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness, and the memories of pleasure their pain.

He asked me, "what were the usual causes or motives that made one country go to war with another?" I answered "they were innumerable; but I should only mention a few of the chief. Sometimes the ambition of princes, who never think they have land or people enough to govern; sometimes the corruption of ministers, who engage their master in a war, in order to stifle or divert the clamour of the subjects against their evil administration. Difference in opinions has cost many millions of lives: for instance, whether flesh be bread, or bread be flesh; whether the juice of a certain berry be blood or wine; whether whistling be a vice or a virtue; whether it be better to kiss a post, or throw it into the fire: what is the best colour for a coat, whether black, white, red, or gray: and whether it should be long or short, narrow or wide, dirty or clean; with many more. Neither are any wars so furious and bloody, or of so long a continuance, especially if it be in things indifferent.

He went towards the little, pearl-coloured octagonal stand that had always looked to him like the work of some strange Egyptian bees that wrought in silver, and taking up the volume, flung himself into an arm-chair and began to turn over the leaves.

To note the curious hard logic of passion, and the emotional coloured life of the intellect- to observe where they met, and where they seperated, at what point they were in unision, and at what point they were at discord- there was a delight in that!

The sunset had smitten into scarlet gold the upper windows of the houses opposite. The panes glowed like plates of heated metal. The sky above was like a faded rose. He thought of his friend's young fiery-coloured life and wondered how it was all going to end.

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.

Chief Gray of the Osage Nation said, “Today, our neighbors are beginning to understand that when tribes are strong, everyone benefits. A rising tide lifts all boats. This has been done, not on the white man’s terms, but on our own. It’s not revenge, it’s rebirth, and as our elders say, it is good.” This

Most kids who don't feel enough love and nurturance carry around this kind of inner rage- a rage that often lasts throughout adulthood. The people who should have cared for them didn't. The lesson to take away: All people are shit. This is why troubled youth walk around with chips on their shoulders and why they are so hard to help. Early on they learn that people can't be trusted. They often spend the rest of their lives embracing this damaging belief. Seeing the world through shit-coloured glasses, they are hypersensitive to every possible slight or judgement, and they believe anyone friendly or kind must have an ulterior motive. Despite all this, wounded people desperately want and need love. But, terrified to trust, they constantly do things to test and sabotage their relationships. This push-pull dance is well-known to anyone who's ever been close to a victim of abuse, neglect, or abandonment. Those who suffer from BPD are hypersensitive to perceived slights from others and can grow notoriously hostile when they feel dissed.... For survivors of abuse, who you trust is a matter of survival. Its black and white. There can be no apologies. There can be no gray. There are no exceptions.-Scared Selfless

How English you are, Basil! That is the second time you have made that observation. If one puts forward an idea to a true Englishman—always a rash thing to do—he never dreams of considering whether the idea is right or wrong. The only thing he considers of any importance is whether one believes it oneself. Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices. However,

Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern.

Shrill flaring gas-jets, dulled and distorted in the fly-blown mirrors that faced them, were ranged round the walls. Greasy reflectors of ribbed tin backed them, making quivering disks of light. The floor was covered with ochre-coloured sawdust, trampled here and there into mud, and stained with dark rings of spilled liquor. Some

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.

Even now I cannot help feeling that it is a mistake to think that the passion one feels in creation is ever really shown in the work one creates. Art is always more abstract than we fancy. Form and colour tell us of form and colour—that is all. It often seems to me that art conceals the artist far more completely than it ever reveals him.

It was the creation of such worlds as these that seemed to Dorian Gray to be the true object, or amongst the true objects, of life; and in his search for sensations that would be at once new and delightful, and possess that element of strangeness that is so essential to romance, he would often adopt certain modes of thought that he knew to be really alien to his nature, abandon himself to their subtle influences, and then, having, as it were, caught their colour and satisfied his intellectual curiosity, leave them with that curious indifference that is not incompatible with a real ardour of temperament, and that, indeed, according to certain modern psychologists, is often a condition of it.

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

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. a

Harry, 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.

Dorian Gray frowned and turned his head away. He could not help liking the tall, graceful young man who was standing by him. His romantic, olive-coloured face and worn expression interested him. There was something in his low languid voice that was absolutely fascinating. His cool, white, flower-like hands, even, had a curious charm. They moved, as he spoke, like music, and seemed to have a language of their own. But he felt afraid of him, and ashamed of being afraid. Why had it been left for a stranger to reveal him to himself ? He had known Basil Hallward for months, but the friendship between them had never altered him. Suddenly there had come some one across his life who seemed to have disclosed to him life's mystery. And, yet, what was there to be afraid of ? He was not a schoolboy or a girl. It was absurd to be frightened.

As he left the room, Lord Henry's heavy eyelids drooped, and he began to think. Certainly few people had ever interested him so much as Dorian Gray, and yet the lad's mad adoration of some one else caused him not the slightest pang of annoyance or jealousy. He was pleased by it. It made him a more interesting study. He had been always enthralled by the methods of natural science, but the ordinary subject-matter of that science had seemed to him trivial and of no import. And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life—that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect—to observe where they met, and where they separated, at what point they were in unison, and at what point they were at discord—there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

He would often spend a whole day settling and resettling in their cases the various stones that he had collected, such as the olive-green chrysoberyl that turns red by lamplight, the cymophane with its wirelike line of silver, the pistachio-coloured peridot, rose-pink and wine-yellow topazes, carbuncles of fiery scarlet with tremulous, four-rayed stars, flame-red cinnamon-stones, orange and violet spinels, and amethysts with their alternate layers of ruby and sapphire. He loved the red gold of the sunstone, and the moonstone’s pearly whiteness, and the broken rainbow of the milky opal.

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.

Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left

And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life—that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one’s face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured

I had drawn you as Paris in dainty armour, and as Adonis with huntsman's cloak and polished boar-spear. Crowned with heavy lotus-blossoms you had sat on the prow of Adrian's barge, gazing across the green turbid Nile. You had leaned over the still pool of some Greek woodland and seen in the water's silent silver the marvel of your own face. And it had all been what art should be—unconscious, ideal, and remote. One day, a fatal day I sometimes think, I determined to paint a wonderful portrait of you as you actually are, not in the costume of dead ages, but in your own dress and in your own time. Whether it was the realism of the method, or the mere wonder of your own personality, thus directly presented to me without mist or veil, I cannot tell. But I know that as I worked at it, every flake and film and colour seemed to me to reveal my secret. I grew afraid that others would know of my idolatry.

Human life - that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain, and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect - to observe where they met, and where they separated, at what point where they in unison, and at what point they were at discord - there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation.

Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret,

He played with the idea and grew wilful; 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.

Every special human being strives instinctively for his own castle and secrecy, where he is saved from the crowd, the many, the majority—where he can forget the rule-bound "people," for he is an exception to them;—but for the single case where he is pushed by an even stronger instinct straight against these rules, as a person who seeks knowledge in a great and exceptional sense. Anyone who, in his intercourse with human beings, does not, at one time or another, shimmer with all the colours of distress—green and gray with disgust, surfeit, sympathy, gloom, and loneliness—is certainly not a man of higher taste. But provided he does not take all this weight and lack of enthusiasm freely upon himself, always keeps away from it, and stays, as mentioned, hidden, quiet, and proud in his castle, well, one thing is certain: he is not made for, not destined for, knowledge. For if he were, he would one day have to say to himself, "The devil take my good taste! The rule-bound man is more interesting than the exception—than I am, the exception!"— and he would make his way down , above all, "inside." The study of the average man—long, serious, and requiring much disguise, self-control, familiarity, bad company - (all company is bad company except with one’s peers):—that constitutes a necessary part of the life story of every philosopher, perhaps the most unpleasant, foul-smelling part, the richest in disappointments. But if he’s lucky, as is appropriate for a fortunate child of knowledge, he encounters real shortcuts and ways of making his task easier; I’m referring to the so-called cynics, those who, as cynics, simply recognize the animal, the meanness, the "rule-bound man" in themselves and, in the process, still possess that degree of intellectual quality and urge to have to talk about themselves and people like them before witnesses;—now and then they even wallow in books, as if in their very own dung. Cynicism is the single form in which common souls touch upon what honesty is, and the higher man should open his ears to every cruder and more refined cynicism and think himself lucky every time a shameless clown or a scientific satyr announces himself directly in front of him. There are even cases where enchantment gets mixed into the disgust—for example, in those places where, by some vagary of nature, genius is bound up with such an indiscreet billy-goat and ape; as in the Abbé Galiani, the most profound, sharp-sighted, and perhaps also the foulest man of his century—he was much deeper than Voltaire and consequently a good deal quieter. More frequently it happens that, as I’ve intimated, the scientific head is set on an ape’s body, a refined and exceptional understanding in a common soul; among doctors and moral physiologists, for example, that’s not an uncommon occurrence. And where anyone speaks without bitterness and quite harmlessly of men as a belly with two different needs and a head with one, everywhere someone constantly sees, looks for, and wants to see only hunger, sexual desires, and vanity, as if these were the real and only motivating forces in human actions, in short, wherever people speak "badly" of human beings—not even in a nasty way—there the lover of knowledge should pay fine and diligent attention; he should, in general, direct his ears to wherever people talk without indignation. For the indignant man and whoever is always using his own teeth to tear himself apart or lacerate himself (or, as a substitute for that, the world, or God, or society) may indeed, speaking morally, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, the more trivial, the more uninstructive case. And no one lies as much as the indignant man.

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room, and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills, and wandering round the silent house, as though it feared to wake the sleepers, and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness, and the memories of pleasure their pain.