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The Project Gutenberg eBook, Punch, or the London Charivari, Vol. 99, July 19, 1890, by Various, Edited by F. C. Burnand This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Punch, or the London Charivari, Vol. 99, July 19, 1890 Author: Various Release Date: April 6, 2004 [eBook #11919] Language: English Character set encoding: US-ASCII ***START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 99, JULY 19, 1890*** E-text prepared by Malcolm Farmer, William Flis, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 11919-h.htm or 11919-h.zip: (http://www.ibiblio.org/gutenberg/1/1/9/1/11919/11919-h/11919-h.htm) or (http://www.ibiblio.org/gutenberg/1/1/9/1/11919/11919-h.zip) PUNCH, OR THE LONDON CHARIVARI VOL. 99 JULY 19, 1890 OUR BOOKING-OFFICE. [Illustration: PARALLEL. Joe, the Fat Boy in Pickwick, startles the Old Lady; Oscar, the Fad Boy in Lippincott's, startles Mrs. Grundy. _Oscar, the Fad Boy_. "I want to make your flesh creep!"] The Baron has read OSCAR WILDE'S Wildest and Oscarest work, called _Dorian Gray_, a weird sensational romance, complete in one number of _Lippincott's Magazine_. The Baron, recommends anybody who revels in _diablerie_, to begin it about half-past ten, and to finish it at one sitting up; but those who do not so revel he advises either not to read it at all, or to choose the daytime, and take it in homoeopathic doses. The portrait represents the soul of the beautiful Ganymede-like _Dorian Gray_, whose youth and beauty last to the end, while his soul, like JOHN BROWN'S, "goes marching on" into the Wilderness of Sin. It becomes at last a devilled soul. And then _Dorian_ sticks a knife into it, as any ordinary mortal might do, and a fork also, and next morning "Lifeless but 'hideous' he lay," while the portrait has recovered the perfect beauty which it possessed when it first left the artist's easel. If OSCAR intended an allegory, the finish is dreadfully wrong. Does he mean that, by sacrificing his earthly life, _Dorian Gray_ atones for his infer
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