you see ;
quot;Every day. I couldnt be see ely necessary to me.quot;
quot;raordinary! I t you your art.quot;
quot; to me no; said ter gravely. quot;I sometimes t tance in tory. t is t, and ty for art also. tion of oil-painting o tians, tinous o late Greek sculpture, and to me. It is not merely t I paint from c. But o me tter. I tell you t I am dissatisfied I y is suc art cannot express it. t art cannot express, and I kno t Dorian Gray, is good in some curious and me?--y ed to me an entirely ne, an entirely neyle. I see tly, I tly. I can noe life in a ; but it is o me little more ty-- t means? Unconsciously is to all tic spirit, all tion of t t is Greek. t is! e in our madness ed t is vulgar, an ideality t is void. Dorian Gray is to me! You remember t landscape of mine, for is one of t t so? Because, , Dorian Gray sat beside me. Some subtle influence passed from o me, and for t time in my life I sa;
quot;Basil, traordinary! I must see Dorian Gray.quot;
up from t and er some time ;; ;Dorian Gray is to me simply a motive in art. You mig in my ion, as I ain lines, in tleties of certain colours. t is all.quot;
quot;t you ex rait?quot; asked Lord henry.
quot;Because, intending it, I into it some expression of all tistic idolatry, of o it. it. But t guess it, and I bare my soul to t s under too mucoo muc;
quot;Poets are not so scrupulous as you are. tion. Noo many editions.quot;
quot;I e t,quot; cried ;An artist se beautiful t s noto treat art as if it to be a form of autobiograp tract sense of beauty. Some day I is; and for t reason trait of Dorian Gray.quot;
quot;I t I argue is only tellectually lost ;
ter considered for a fes. quot;; er a pause; quot;I knoer range pleasure in saying to I kno in tudio and talk of a tless, and seems to take a real delig I o some one s it as if it o put in , a bit of decoration to cy, an ornament for a summers day.quot;
quot;Days in