Art and Morality A Defence of the Picture of Dorian Gray Oscar Wilde Edited by Stuart Mason On the whole, an artist in England gains something by being attacked. His individuality is intensified. He becomes more completely himself. Of course, the attacks are very gross, very impertinent, and very contemptible. But then no artist expects grace from the vulgar mind, or style from the suburban intellect.

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"Why do you always write poetry? Why do you not write prose? Prose is so much more difficult."These were the words of Walter Pater to Oscar Wilde on the occasion of their first meeting during the latter's undergraduate days at Oxford. Those were "days of lyrical ardours and of studious sonnet-writing," wrote Wilde, in reviewing one of Pater's books some years later, "days when one loved the exquisite intricacy and musical repetitions of the ballade, and the vilanelle with its linked long-drawn echoes and its curious completeness; days when one solemnly sought to discover the proper temper in which a triolet should be written; delightful days, in which, I am glad to say, there was far more rhyme than reason."Oscar Wilde was never a voluminous writer—"writing bores me so," he once said to André Gide—and at the time of which he speaks he had published little except some occasional verses in his University magazines. Then, in 1881, came his volume of collected poems, followed at intervals during the next nine or ten years by a collection of fairy stories and some essays in the leading reviews."I did not quite understand what Mr. Pater meant," he continues, "and it was not till I had carefully studied his beautiful and suggestive essays on the Renaissance that I fully realised what a wonderful self-conscious art the art of English prose-writing really is, or may be made to be."