<h2><SPAN name="MR_ROBERT_BUCHANAN_ON_PAGAN_VICIOUSNESS" id="MR_ROBERT_BUCHANAN_ON_PAGAN_VICIOUSNESS"></SPAN>MR. ROBERT BUCHANAN ON PAGAN VICIOUSNESS.</h2>
<p>Mr. Robert Buchanan, the well-known writer, in a letter dated April
23rd, 1895, expressed his own views on this subject in the columns of
<i>The Star</i>. Referring to an anonymous correspondent in the same
newspaper who had accused Mr. Wilde of "pagan viciousness"—this was
more than a month before a verdict of "Guilty" had been returned against
him—Mr. Buchanan asks, "Has even a writer like this no sense of humour?
Does he seriously contend that the paradoxes and absurdities with which
Mr. Wilde once amused us were meant as serious attacks on public
morality? Two thirds of all Mr. Wilde has written is purely ironical,
and it is only because they are now told that the writer is a wicked man
that people begin to consider his writings wicked."</p>
<p>"I think," he adds, "I am as well acquainted as most people with Mr.
Wilde's works, and I fearlessly assert that they are, for the most part,
as innocent as a naked baby. As for the much misunderstood "Dorian
Gray," it would be easy to show that it is a work of the highest
morality, since its whole purpose is to point out the effect of selfish
indulgence and sensuality in destroying the character of a beautiful
human soul. But it is useless to discuss these questions with people who
are colour-blind. I cordially echo the cry that, failing a little
knowledge of literature, a little Christian charity is sorely wanted."</p>
<hr style="width: 65%;" />
<h2><SPAN name="COMPARATIVE_TABLE" id="COMPARATIVE_TABLE"></SPAN>COMPARATIVE TABLE OF CHAPTERS IN THE FIRST TWO EDITIONS OF 'THE PICTURE OF DORIAN GRAY'.</h2>
<div class="center">
<table border="0" cellpadding="4" cellspacing="2" summary="">
<tr><td align="left">1890</td><td align="left">1891</td></tr>
<tr><td align="left">I</td><td align="left">I</td></tr>
<tr><td align="left">II</td><td align="left">II</td></tr>
<tr><td align="left"></td><td align="left">III</td></tr>
<tr><td align="left">III</td><td align="left">IV</td></tr>
<tr><td align="left"></td><td align="left">V</td></tr>
<tr><td align="left">IV</td><td align="left">VI</td></tr>
<tr><td align="left">V</td><td align="left">VII</td></tr>
<tr><td align="left">VI</td><td align="left">VIII</td></tr>
<tr><td align="left">VII</td><td align="left">IX</td></tr>
<tr><td align="left">VIII</td><td align="left">X</td></tr>
<tr><td align="left">IX</td><td align="left">XI</td></tr>
<tr><td align="left">X</td><td align="left">XII</td></tr>
<tr><td align="left">XI</td><td align="left">XIII</td></tr>
<tr><td align="left">XII</td><td align="left">XIV</td></tr>
<tr><td align="left"></td><td align="left">XV</td></tr>
<tr><td align="left"></td><td align="left">XVI</td></tr>
<tr><td align="left"></td><td align="left">XVII</td></tr>
<tr><td align="left"></td><td align="left">XVIII</td></tr>
<tr><td align="left">XIII</td><td align="left">XIX, XX</td></tr>
</table></div>
<hr style="width: 65%;" />
<h2><SPAN name="PASSAGES_WHICH_APPEAR_IN_THE_1890_EDITION_ONLY" id="PASSAGES_WHICH_APPEAR_IN_THE_1890_EDITION_ONLY"></SPAN>PASSAGES WHICH APPEAR IN THE 1890 EDITION ONLY.</h2>
<p>The following are the chief passages in the 1890 edition which are
omitted (or have undergone alteration) in the 1891 edition. (<i>The
figures in brackets refer to the page in the 1891 edition where the
omission or alteration is made</i>.)</p>
<p>LIPPINCOTT'S MONTHLY MAGAZINE, 1890 (Volume xlvi.)</p>
<p>CHAPTER I.</p>
<p>Page</p>
<p>6 "Well, I will tell you what it is."</p>
<p>"Please don't."</p>
<p>"I must. I want you to explain.... (7)</p>
<p>6 "Well, this is incredible," repeated Hallward, rather
bitterly,—"incredible to me at times. I don't know what it means. The
story is simply this....(8)</p>
<p>6 You know yourself, Harry, how independent I am by nature. My father
destined me for the army. I insisted on going to Oxford. Then he made me
enter my name at the Middle Temple. Before I had eaten half a dozen
dinners I gave up the Bar, and announced my intention of becoming a
painter. I have always been my own master.... (9)</p>
<p>7 I knew that if I spoke to Dorian I would become absolutely devoted to
him, and that I ought not to speak to him. I grew afraid.... (9)</p>
<p>7 perfectly audible to everybody in the room, something like, 'Sir
Humpty Dumpty—you know—Afghan frontier. Russian intrigues: very
successful man—wife killed by an elephant—quite inconsolable—wants to
marry a beautiful American widow—everybody does now-a-days—hates Mr.
Gladstone—but very much interested in beetles: ask him what he thinks
of Schouvaloff.' I simply fled....(11)</p>
<p>8 'Charming boy—poor dear mother and I quite inseparable—engaged to be
married to the same man—I mean married on the same day—how very silly
of me! Quite forget what he does....(11)</p>
<p>9 I couldn't be happy if I didn't see him every day. Of course sometimes
it is only for a few minutes. But a few minutes with somebody one
worships mean a great deal."</p>
<p>"But you don't really worship him?"</p>
<p>"I do."</p>
<p>"How extraordinary. I thought you would never care for anything but your
painting,—your art, I should say. Art sounds better, doesn't it?"...
(14)</p>
<p>10 After some time he came back. "You don't understand, Harry," he said.
"Dorian Gray is merely to me a motive in art.... (16)</p>
<p>10 "Because I have put into it all the extraordinary romance of which,
of course, I have never dared to speak to him.... (16)</p>
<p>10 I give myself away. As a rule, he is charming to me, and we walk home
together from the club arm in arm, or sit in the studio.... (17)</p>
<p>11, 12 Don't take away from me the one person that makes life absolutely
lovely to me, and that gives to my art whatever wonder or charm it
possesses. Mind, Harry, I trust you." ... (20, 21)</p>
<p>CHAPTER II.</p>
<p>12 No wonder Basil Hallward worshipped him. He was made to be
worshipped.... (23)</p>
<p>16 You are a wonderful creature. You know more than you think.... (31)</p>
<p>19, 20 "This is your doing, Harry," said Hallward, bitterly.</p>
<p>"My doing?"</p>
<p>"Yes, yours, and you know it." Lord Henry shrugged his shoulders (40)</p>
<p>20 "And you know you have been a little silly, Mr. Gray, and that you
don't really mind being called a boy."</p>
<p>"I should have minded very much this morning, Lord Henry.".... (42)</p>
<p>21 It has nothing to do with our own will. It is either an unfortunate
accident, or an unpleasant result of temperament. Young men want....(44)</p>
<p>CHAPTER III. (IV). 22, 23 I think my husband has got twenty-seven of
them."</p>
<p>"Not twenty-seven, Lady Henry?"</p>
<p>"Well, twenty-six, then.... (66)</p>
<p>23 leaving a faint odor of patchouli behind her. Then he shook hands
with Dorian Gray, lit a cigarette, and flung himself down on the
sofa.... (68)</p>
<p>24 "About three weeks. Not so much. About two weeks and two days."</p>
<p>"How did you come across her?".... (70)</p>
<p>24, 25 Its splendid sinners, and its sordid sins, as you once said....
(71)</p>
<p>27 thanks,—tell me what are your relations with Sibyl Vane?".... (76)</p>
<p>27 "I am not surprised."</p>
<p>"I was not surprised either. Then he asked me.... (77)</p>
<p>27 his three bankruptcies were entirely due to the poet, whom he
insisted on calling 'The Bard.' (78)</p>
<p>29 You won't be able to refuse to recognize her genius. (81)</p>
<p>"You don't mean to say that Basil has got any passion or any romance in
him?"</p>
<p>"I don't know whether he has any passion, but he certainly has romance,"
said Lord Henry, with an amused look in his eyes. "Has he never let you
know that?"</p>
<p>"Never. I must ask him about it. I am rather surprised to hear it. He is
the best of fellows, but he seems to me.... (82)</p>
<p>CHAPTER IV. (VI).</p>
<p>32 Hallward turned perfectly pale, and a curious look flashed for a
moment into his eyes, and then passed away, leaving them dull. "Dorian
engaged to be married!" he cried. "Impossible!" (107)</p>
<p>33 If a personality fascinates me, whatever the personality chooses to
do is absolutely delightful to me. (109)</p>
<p>CHAPTER VI. (VIII).</p>
<p>44 we live in age when only unnecessary things are absolutely necessary
to us; (138)</p>
<p>48 all the terrible beauty of a great tragedy....(148)</p>
<p>49 I had buried my romance in a bed of poppies. (150)</p>
<p>49 absolutely true, and it explains everything." (152)</p>
<p>50 "But suppose, Harry I became haggard, and gray, and wrinkled?" What
then?" (153)</p>
<p>CHAPTER VII. (IX).</p>
<p>54 Hallward felt strangely moved. Rugged and straightforward as he was,
there was something in his nature that was purely feminine in its
tenderness. The lad was infinitely dear to him....</p>
<p>56 "Let us sit down, Dorian," said Hallward, looking pale and pained.
"Let us sit down. I will sit in the shadow, and you shall sit in the
sunlight. Our lives are like that. Just answer me one question."....
(169)</p>
<p>56, 57 "I see you did. Don't speak. Wait till you hear what I have to
say. It is quite true that I have worshipped you with far more romance
of feeling than a man usually gives to a friend. Somehow, I had never
loved a woman. I suppose I never had time. Perhaps, as Harry says, a
really '<i>grande passion</i>' is the privilege of those who have nothing to
do, and that is the use of the idle classes in a country. Well, from the
moment I met you, your personality had the most extraordinary influence
over me. I quite admit that I adored you madly, extravagantly, absurdly.
I was jealous of every one to whom you spoke. I wanted to have you all
to myself. I was only happy when I was with you. When I was away from
you, you were still present in my art. It was all wrong and foolish. It
is all wrong and foolish.... I did not understand it myself.... It was
to have been my masterpiece. It is my masterpiece.... But, as I worked
at it, ... (169, 170)</p>
<p>57 "Did you really see it?"</p>
<p>"Of course I did." (172)</p>
<p>58 And now good-by, Dorian. You have been the one person in my life of
whom I have been really fond. I don't suppose I shall often see you
again. You don't know what it cost me to tell you all that I have told
you."(172)</p>
<p>58 But you mustn't talk about not meeting me again, or anything of that
kind. You and I are friends, Basil (173)</p>
<p>CHAPTER VIII (X).</p>
<p>59 Mrs. Leaf, a dear old lady in a black silk dress, with a photograph
of the late Mr. Leaf framed in a large gold brooch at her neck, and
old-fashioned thread mittens on her wrinkled hands, bustled into the
room.</p>
<p>"Well, Master Dorian," she said, "what can I do for you? I beg your
pardon, sir,"—here came a courtsey,—I shouldn't call you Master
Dorian, any more. But, Lord bless you, sir, I have known you since you
were a baby, and many's the tricks you've played on poor old Leaf. Not
that you were not always a good boy, sir; but boys will be boys, Master
Dorian, and jam is a temptation to the young, isn't it, sir?"</p>
<p>He laughed. "You must always call me Master Dorian, Leaf. I will be very
angry with you if you don't. And I assure you I am quite as fond of jam
now as I used to be. Only when I am asked out to tea I am never offered
any. I want you to give me the key of the room at the top of the house."
(175)</p>
<p>59 He winced at the mention of his dead uncle's name.... "That does not
matter, Leaf," he replied, "All I want is the key."(176)</p>
<p>59 "No, Leaf, I don't. I merely want to see the place, and perhaps store
something in it,—that is all. Thank you, Leaf. I hope your rheumatism
is better; and mind you send me up jam for breakfast."</p>
<p>Mrs. Leaf shook her head. "Them foreigners doesn't understand jam,
Master Dorian. They call's it 'compot'. But I'll bring it to you myself
some morning, if you lets me."</p>
<p>"That will be very kind of you, Leaf, he answered, looking at the key;
and, having made him an elaborate courtsey, the old lady left the room,
her face wreathed in smiles. She had a strong objection to the French
valet. It was a poor thing, she felt, for any one to be born a
foreigner.</p>
<p>As the door closed, etc. (176)</p>
<p>60 Mr. Ashton, himself, the celebrated frame-maker. (179)</p>
<p>61 "A terrible load to carry," murmured Dorian, (180).</p>
<p>61 built by the last Lord Sherard for the use of the little nephew whom,
being himself childless, and perhaps for other reasons, etc. (181)</p>
<p>64 the French school of <i>D�cadents</i>. (186).</p>
<p>64 "Ah, if you have discovered that, you have discovered a great deal,"
murmured Lord Henry, with his curious smile. "Come, let us go in to
dinner. It is dreadfully late, and I am afraid the champagne will be too
much iced." (188).</p>
<p>CHAPTER X (XII.)</p>
<p>65 no less than five large-paper copies of the first edition, (189).</p>
<p>65 The boyish beauty that had so fascinated Basil Hallward, (190)</p>
<p>65 an age that was at once sordid and sensuous. (190)</p>
<p>66 That curiosity about life that, many years before, Lord Henry had
first stirred in him, (190, 191)</p>
<p>67 driving the anchorite out to herd with the wild animals.... (194)</p>
<p>68 the half-read book that we had been studying, (195)</p>
<p>68 re-fashioned anew for our pleasure in the darkness, (196)</p>
<p>74 the smoking-room of the Carlton,</p>
<p>74 Of all his friends, or so-called friends, Lord Henry Wotton was the
only one who remained loyal to him. (211)</p>
<p>74 rich and charming. (212)</p>
<p>74 the wit and beauty that make such plays charming. (212)</p>
<p>75 Lord Sherard, the companion of the Prince Regent. (214)</p>
<p>76 The hero of the dangerous novel. (215)</p>
<p>76 and the chapter immediately following, in which the hero describes
the curious tapestries that he had had woven for him from Gustave
Moreau's designs. (216)</p>
<p>CHAPTER X. (XII).</p>
<p>77 It was on the 7th of November, the eve of his own thirty-second
birthday. (219)</p>
<p>79 the most dreadful things are being said about you in London,—things
that I could hardly repeat to you." (222)</p>
<p>79 You used to be a friend of Lord Cawdor. (224)</p>
<p>79 Dorian, Dorian, your reputation is infamous. I know you and Harry are
great friends. I say nothing about that now. (226)</p>
<p>81 You know I have been always devoted to you." (228)</p>
<p>81 "My God! don't tell me that you are infamous!" (229)</p>
<p>81 Don't keep me waiting." (229)</p>
<p>CHAPTER XI. (XIII.)</p>
<p>82 some scarlet on the sensual lips. (231)</p>
<p>82 "you met me, devoted yourself to me, flattered me.... (233)</p>
<p>83 "Can't you see your romance in it?" said Dorian bitterly.</p>
<p>"My romance as you call it...." (233)</p>
<p>CHAPTER XIII. (XX.)</p>
<p>100 He seized it, and stabbed the canvas with it, ripping the thing
right up from top to bottom. (333)</p>
<hr style="width: 65%;" />
<h2><SPAN name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></SPAN>BIBLIOGRAPHY.</h2>
<p>(a) ORIGINAL EDITIONS.<br/>
(b) UNAUTHORISED EDITIONS.<br/>
(c) TRANSLATIONS:—<br/>
<span style="margin-left: 2em;">(i.) Dutch.</span><br/>
<span style="margin-left: 2em;">(ii.) French.</span><br/>
<span style="margin-left: 2em;">(iii.) German.</span><br/>
<span style="margin-left: 2em;">(iv.) Italian.</span><br/>
<span style="margin-left: 2em;">(v.) Polish.</span><br/>
<span style="margin-left: 2em;">(vi.) Russian.</span><br/>
<span style="margin-left: 2em;">(vi.) Swedish.</span><br/>
<br/></p>
<p>THE PICTURE OF DORIAN GRAY.</p>
<p class="caption">(<SPAN name="a_Original_Editions" id="a_Original_Editions"></SPAN>a) Original Editions.</p>
<p>* I. i. LIPPINCOTT'S MONTHLY MAGAZINE. July, 1890. London: Ward, Lock &
Co. Price 1/-. Size 9 by 6 in. The cover, printed in red and black, is
inscribed: This Number contains a Complete Novel,/THE PICTURE OF DORIAN
GRAY./By OSCAR WILDE./ The story occupies pages 3 to 100.</p>
<p>* ii. LIPPINCOTT'S MONTHLY MAGAZINE. July, 1890. Philadelphia: J.B.
Lippincott & Co. Price 25 cents. Similar to above, but cover inscribed:
This Number contains THE PICTURE OF DORIAN GRAY./By OSCAR
WILDE./Complete./It contains also a title-page with THE PICTURE/OF/
DORIAN GRAY,/by OSCAR WILDE./ Philadelphia:/J.B. Lippincott Company./</p>
<p>* iii. FOUR COMPLETE NOVELS/BY FAMOUS AUTHORS,/FROM/
LIPPINCOTT'S/MONTHLY MAGAZINE. /With/Short Stories,/Essays (Critical and
Biographical), Poetry, and/Articles on Miscellaneous Subjects. /Ward,
Lock, Bowden & Co.,/ London: Warwick House, Salisbury Square, E.C./New
York: Bond Street./Melbourne: St. James's Street. Sydney: York Street./
(Half-title) THE COMPLETE NOVELS IN THIS VOLUME/ Comprise the following/</p>
<p>THE PICTURE OF DORIAN GRAY. By Oscar Wilde./</p>
<p>WHAT GOLD CANNOT BUY. By Mrs. Alexander./</p>
<p>THE MARK OF THE BEAST. By Katharine Pearson Woods./</p>
<p>A MARRIAGE AT SEA. By W. Clark Russell./</p>
<p>Pp. 578. Containing the monthly parts (without wrappers or
advertisements), for July to October, 1890.</p>
<p>Covers of pale blue, brown, or drab, lettered in red on front:—FOUR
COMPLETE/STORIES/FROM LIPPINCOTT/and in gold on back in five lines; with
WARD, LOCK & CO./London, New York Melbourne/at bottom. All edges cut and
plain.</p>
<p>Page 409 (September) contains "A Revulsion from Realism," by Anne H.
Wharton, and 412 "The Romance of the Impossible," by Julian Hawthorne,
these being reviews of "Dorian Gray."</p>
<p>iv. THE FORTNIGHTLY REVIEW. March 1891. London: Chapman & Hall. Price
2/6. This number contains on pages 480-1 "A PREFACE TO 'DORIAN GRAY,'"
consisting of 23 aphorisms and epigrams. In the novel, as it appeared in
book form in the following</p>
<p>July, another, the 13th, was added making 24 in all. It is as follows:
<i>No artist is ever morbid. The artist can express everything.</i></p>
<blockquote><p>In the 15th paragraph the author altered his words, <i>his art</i> to
<i>an art</i>, and in the 16th paragraph the words <i>form</i> and <i>feeling</i>
are no longer spelt with capital initial letters. The last word in
the 23rd paragraph is changed from <i>inordinately</i> to <i>intensely</i>.
The Preface as revised appears in all editions of the book, which
contain twenty chapters.</p>
</blockquote>
<p>II. i. THE PICTURE OF/DORIAN GRAY./By/OSCAR WILDE./Ward, Lock and Co.,
London, New York and Melbourne./1891./</p>
<blockquote><p>The edition was limited to 250 copies (signed by the author) on
large sized (8-1/2 by 7 in.) Van Gelder hand-made paper, top edges
gilt, sides uncut. With gilt lettering, and outside wrappers,
designed by Charles Ricketts. Pp. vii., 334. Price 21/-.</p>
</blockquote>
<p>ii. The same on small paper (7-1/2 by 5 in.) all edges uncut. Binding
similar to the last, but with less elaborate gilt tooling. Undated.
Price 6/-.</p>
<blockquote><p>The date of this edition is given in the <i>English Catalogue</i> as
May, 1891, but Messrs. Ward, Lock & Co., consider July 1st as the
actual day of publication, though the <i>Athen�um</i> reviewed the book
under "Novels of the Week," on June 27. (see page 125).</p>
</blockquote>
<p>iii. New Edition of the same (1894). Ward, Lock and Bowden. Undated.
Price 6/-.</p>
<blockquote><p>This edition was prepared for publication towards the end of 1894,
but it was not issued. About a year later it was sold off to the
booksellers as a "remainder," the date of his publication being
according to the <i>English Catalogue</i>, October, 1895.</p>
</blockquote>
<p class="caption">(<SPAN name="b_Unauthorised_Editions" id="b_Unauthorised_Editions"></SPAN>b) Unauthorised Editions.</p>
<p>* III. THE PICTURE/OF/DORIAN GRAY./By/OSCAR WILDE./New York: M.J. Ivers
and Co "American Series," No. 195. Size, 7 by 4-3/4 in. Blue and white
ornamental wrappers. Dated June 22, 1890. Price 25 cents. Several
impressions have been issued.</p>
<p>* IV. i. THE PICTURE OF/DORIAN GRAY./By OSCAR WILDE./New York: Geo.
Munro's Sons. "Seaside Library," No. 2143. Pocket Edition. Size 7-1/4 by
5 in. Yellow wrappers. Dated May 11, 1895, pp. 125. Price 25 cents.
Several impressions have been issued.</p>
<p>* ii. The same. Later editions, from September, 1898, in blue and white
ornamental wrappers. The 4th impression was issued in December, 1905.
All are printed from stereotyped plates on coarse paper. Covers all
dated May 11, 1895.</p>
<p>* iii. The same. "Savoy Series," No. 221. White wrappers with picture
and lettering in brown. Cover dated 1900. The second impression was
issued in January, 1905, but all reprints bear date 1900.</p>
<p>* V. The same. A Novel. "Arrow Library," No. 166. 12mo. Pictorial
wrappers. New York: Street & Smith. Undated (1901).</p>
<p>* VI. THE PICTURE/OF/DORIAN GRAY./BY/OSCAR WILDE./Privately
Printed/1890. Size 8-3/4 by 5-3/4 in. Light blue-grey boards, label on
back. Uncut edges. This is an unauthorised reprint published in London
about 1903-4. Price from 10/6 to 21/-. Pp. 249.</p>
<p>VII. THE PICTURE OF/DORIAN GRAY/by/OSCAR WILDE./New York: Charterhouse
Press, 1904. Size 8-3/4 by 6-1/4 in. Limited to 800 numbered copies. Top
edges gilt, sides uncut. Contains Publisher's note, Artist's preface,
and a short Biography of the Author. Facing title is a full-length
portrait of "Dorian Gray," by "Basil Hallward," which inspired the
story. Pp. xv., 334. Price $3.50c. With loose outside wrapper. The
publisher was Donald Bruce Wallace. The edition was transferred to
Brentano's of New York, in 1905. Price $3.00 net.</p>
<blockquote><p>The English Copyright of <i>Dorian Gray</i> was purchased from Ward,
Lock and Bowden, in January, 1905, by Charles Carrington, of Paris,
who has issued the following editions.</p>
</blockquote>
<p>VIII. THE PICTURE/OF/DORIAN GRAY/BY/OSCAR WILDE./Paris: Charles
Carrington. Cr. 8vo, Pp. vii., 334. Blue boards, gilt lettering with
title DORIAN GREY. Price 12/6. 1901.</p>
<p>IX. i. Same Publisher. New Edition. Size 7-1/2 by 5-1/2 in. Top edges
gilt, sides uncut. Shot green silk boards, with water-lily design in
black on front. Pp. vii., 327. 1905. Price 10/6.</p>
<p>ii. The same. An edition, strictly limited to 100 copies, on hand-made
paper, from the same plates. Issued in various forms of binding. Price
15s. No. IX. is now the "Sole Authorised Edition."</p>
<p>Mr. Charles Carrington has in preparation a new edition which will
contain some twenty-five illustrations (seven of which will be
full-page) most of them engraved on wood. The artist is M. Paul Thiriat.
The edition, each copy of which will be numbered, Will consist of:—</p>
<p>X. i. Library Edition. 100 copies on English antique paper, cloth bound,
21/-.</p>
<p>ii. Seventy-five copies on English hand-made paper, bound in
water-coloured silk, 31/6.</p>
<p>iii. Fifty copies on Imperial Japanese vellum, with an extra set of the
illustrations printed on China paper, �3/3/-.</p>
<p>The size of the paper will be sm. 4to.</p>
<p class="caption"><SPAN name="c_Translations" id="c_Translations"></SPAN>(c) Translations.</p>
<p>(i) <SPAN name="Dutch" id="Dutch"></SPAN>Dutch.</p>
<p>XI. HET PORTRET VAN/DORIAN GRAY/DOOR/OSCAR WILDE/VERTAALD DOOR/ MEVROUW
LOUIS COUPERUS /EERSTE (<i>& Tweede</i>) DEEL (<i>fleuron</i>)/AMSTERDAM L.J.
VEEN./</p>
<p>2 vols., 8vo size, 7-7/8 by 5-1/2 in. Grey wove paper wrappers,
decorated with bands and printed in blue on front, back and ends.
Printed on wove paper with edges untrimmed.</p>
<p>Vol. I., pages 1-159 (Chapters I.-VIII.), Vol. II., pages 1-160
(Chapters numbered I.-XI.). Last page is dated "Den Haag, Febr., '93."
The Preface is omitted. In wrappers, price <i>fl</i>.3.25, cloth <i>fl</i>.3.90.</p>
<p>(ii) <SPAN name="French" id="French"></SPAN>French</p>
<p>XII. i. LE PORTRAIT/DE/DORIAN GRAY./ (Traduit de l'Anglais). Paris
Albert Savine, �diteur, 12, rue des Pyramides, 12, 1895. Size 7-1/4 by
4-1/2 in. Yellow wrappers, Pp. 316. Price 3fr. 50c. (June 1895).</p>
<blockquote><p>The translators were Eugene Tardieu and Georges Maurevert.</p>
</blockquote>
<p>ii. The same. Second Edition. July 1895.</p>
<p>XIII. i. The same. Type re-set. Pp. vii., 325. Price 3fr. 50c. Yellow
wrappers. Paris: P.V. Stock, Editeur, 27, rue de Richelieu. 1904.</p>
<p>ii. The same. Second Edition. 1904.</p>
<p>iii. The same. Third Edition. 1904 (July).</p>
<p>(iii) <SPAN name="German" id="German"></SPAN>German.</p>
<p>* XIV. DORIAN GRAY./Von/OSCAR WILDE./Aus dem Englischen �bersetzt und
mit einem Vorwort verschehen von Johannes Gaulke. Leipzig: Verlag von
Max Spohr. Not dated (September 1901). Size 8-1/2 by 5-3/4 in. Pale
green wrappers, uncut edges. Pp. 203. Price 3 marks; Bound 4 marks.</p>
<p>XV. i. OSCAR WILDE/DAS BILDNIS DORIAN GRAYS./Deutsch von Felix Paul
Greve. Minden in Westf: J.C.C. Bruns' Verlag. No date (1902). Size 7-3/4
by 5 in. Ribbed grey wrappers. Uncut edges. Pp. vi., 367. Price 3 marks
50 pf. Bound 4 marks 50 pf.</p>
<p>ii. The same. New Edition. DORIAN GRAYS BILDNIS, etc. (1903).</p>
<p>iii. The same (1904).</p>
<p>This edition has been reprinted several times.</p>
<p>XVI. DAS BILDNIS DER DORIAN GRAY.</p>
<p>This is Volume II. of an edition of the Works of Oscar Wilde, in six
volumes, published by the Wiener Verlag; (Vienna,) 1906, under the
general title of "Samtliche werke in Deutsche Sprache."</p>
<p>Grey paper wrappers, uncut edges, 2 marks. Edition de luxe, on hand-made
paper, limited to 100 copies, bound in crimson roan, top edges crimson,
sides uncut, 6 marks.</p>
<p>(iv) <SPAN name="Italian" id="Italian"></SPAN>Italian.</p>
<p>XVII. i. IL RITRATTO DI DORIAN GRAY, ROMANZO DI OSCAR WILDE. Appeared in
<i>Varietas</i>, Milan, June, 1905, to May, 1906 (Nos. 14-25). Complete
version, without preface.</p>
<p>ii. DORIANO GRAY DIPINTO. VERSIONE DALL' INGLESE CON PREFAZIONE DI B.
CHIARA. NAPOLI LIBRERIA EDITRICE BIDERI S. PIETRO A MAJELLA 17.</p>
<p>16mo, Biblioteca Varia Bideri, No. 31. Price 2 lire.</p>
<p>iii. IL RITRATTO DI DORIANO GRAY. Romanzo. Publicato par la Ditta Remo
Sandron. Palermo, 1907.</p>
<p>16mo. Pp. 262. Price 1 lira.</p>
<p>(v) <SPAN name="Polish" id="Polish"></SPAN>Polish.</p>
<p>XVIII. OSCAR WILDE PORTRET DORIANA GRAY 'A Przeklad M. Kreczowska.
Wydanie "Przeglada Tygodniowy." Warszawa. 1906.</p>
<p>8vo. Pp. 327. Cena 1 rb.</p>
<p>(vi) <SPAN name="Russian" id="Russian"></SPAN>Russian.</p>
<p>XIX. i. PORTRET DORIANA GREYA./ perevod S.Z. Izdanie W.M.
Sablina./Moskwa, 1905. 1 r. 50 c.</p>
<p>ii. New Edition, 1907</p>
<p>* XX. PORTRET DORIANA GREYA/ perevod A. Mintzlowoi Srysoonkami M.
Durnowa/Knigoizdatelstwo "Griff"/Moskwa 1906. 3 roub.</p>
<p>(vii) <SPAN name="Swedish" id="Swedish"></SPAN>Swedish.</p>
<p>XXI. i. DORIAN GRAYS PORTRATT/ Af/OSCAR WILDE./Ofversattning fran
Engelskan. af N. Selander. Stockholm: Albert Bonniers Forlag. 1905.
Size 7-1/4 by 4-3/4 in. White wrappers (bearing etching of Wilde, by
Kelly). Pp. 307. Price 3kr.</p>
<p>ii. The same. Second Edition. 1905.</p>
<p>iii. The same. Third Edition, 1906.</p>
<p>NOTE.—Editions marked with an asterisk(*) contain the thirteen chapters
as originally contributed to <i>Lippincott's Monthly Magazine</i>.</p>
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