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used in The Picture of Dorian Gray - 20 chapter version

36 uses
  • The consciousness of being hunted, snared, tracked down, had begun to dominate him.
    Chapter 18 (1% in)
  • Well, after I had been in the room about ten minutes, talking to huge over-dressed dowagers and tedious Academicians, I suddenly became conscious that someone was looking at me.
    Chapter 1 (39% in)
  • Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek.
    Chapter 1 (71% in)
  • And Lord Henry struck a light on a dainty silver case, and began to smoke a cigarette with a self-conscious and satisfied air, as if he had summed up the world in a phrase.
    Chapter 1 (89% in)
  • "Just turn your head a little more to the right, Dorian, like a good boy," said the painter, deep in his work, and conscious only that a look had come into the lad's face that he had never seen there before.
    Chapter 2 (20% in)
  • He was dimly conscious that entirely fresh influences were at work within him.
    Chapter 2 (26% in)
  • He was unconscious of the silence.
    Chapter 2 (32% in)
  • The moment I met you I saw that you were quite unconscious of what you really are, of what you really might be.
    Chapter 2 (52% in)
  • He stood there motionless and in wonder, dimly conscious that Hallward was speaking to him, but not catching the meaning of his words.
    Chapter 2 (66% in)
  • The new manner in art, the fresh mode of looking at life, suggested so strangely by the merely visible presence of one who was unconscious of it all; the silent spirit that dwelt in dim woodland, and walked unseen in open field, suddenly showing herself, Dryad-like and not afraid, because in his soul who sought for her there had been wakened that wonderful vision to which alone are wonderful things revealed; the mere shapes and patterns of things becoming, as it were, refined, and...
    Chapter 3 (44% in)
  • 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.
    Chapter 3 (85% in)
  • Her eyes opened wide in exquisite wonder when I told her what I thought of her performance, and she seemed quite unconscious of her power.
    Chapter 4 (60% in)
  • I want a breath of our passion to stir their dust into consciousness, to wake their ashes into pain.
    Chapter 4 (68% in)
  • He was conscious—and the thought brought a gleam of pleasure into his brown agate eyes—that it was through certain words of his, musical words said with musical utterance, that Dorian Gray's soul had turned to this white girl and bowed in worship before her.
    Chapter 4 (85% in)
  • The pulse and passion of youth were in him, but he was becoming self-conscious.
    Chapter 4 (88% in)
  • Our weakest motives were those of whose nature we were conscious.
    Chapter 4 (97% in)
  • Sibyl, however, was quite unconscious of the effect she was producing.
    Chapter 5 (44% in)
  • He was conscious also of the shallowness and vanity of his mother's nature, and in that saw infinite peril for Sibyl and Sibyl's happiness.
    Chapter 5 (55% in)
  • She was conscious that a great opportunity had been wasted.
    Chapter 5 (98% in)
  • I should fancy in remorse, in suffering, in.... well, in the consciousness of degradation.
    Chapter 6 (78% in)
  • To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say.
    Chapter 7 (45% in)
  • He had uttered a mad wish that he himself might remain young, and the portrait grow old; that his own beauty might be untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood.
    Chapter 7 (86% in)
  • It had made him conscious how unjust, how cruel, he had been to Sibyl Vane.
    Chapter 8 (19% in)
  • "It is an interesting question," said Lord Henry, who found an exquisite pleasure in playing on the lad's unconscious egotism—"an extremely interesting question.
    Chapter 8 (55% in)
  • It was conscious of the events of life as they occurred.
    Chapter 8 (85% in)
  • Nay, without thought or conscious desire, might not things external to ourselves vibrate in unison with our moods and passions, atom calling to atom in secret love of strange affinity?
    Chapter 8 (95% in)
  • And it had all been what art should be, unconscious, ideal, and remote.
    Chapter 9 (73% in)
  • The mere cadence of the sentences, the subtle monotony of their music, so full as it was of complex refrains and movements elaborately repeated, produced in the mind of the lad, as he passed from chapter to chapter, a form of reverie, a malady of dreaming, that made him unconscious of the falling day and creeping shadows.
    Chapter 10 (94% in)
  • The worship of the senses has often, and with much justice, been decried, men feeling a natural instinct of terror about passions and sensations that seem stronger than themselves, and that they are conscious of sharing with the less highly organised forms of existence.
    Chapter 11 (16% in)
  • ...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.
    Chapter 11 (25% in)
  • He felt keenly conscious of how barren all intellectual speculation is when separated from action and experiment.
    Chapter 11 (33% in)
  • He was quite conscious that this would tell them nothing.
    Chapter 11 (71% in)
  • Yet one had ancestors in literature, as well as in one's own race, nearer perhaps in type and temperament, many of them, and certainly with an influence of which one was more absolutely conscious.
    Chapter 11 (89% in)
  • In fact, it was music that had first brought him and Dorian Gray together—music and that indefinable attraction that Dorian seemed to be able to exercise whenever he wished, and indeed exercised often without being conscious of it.
    Chapter 14 (32% in)
  • He turned and hurried out, just conscious that the dead man had been thrust back into the chair, and that Campbell was gazing into a glistening yellow face.
    Chapter 14 (97% in)
  • As he drove back to his own house he was conscious that the sense of terror he thought he had strangled had come back to him.
    Chapter 15 (84% in)

There are no more uses of "conscious" in The Picture of Dorian Gray - 20 chapter version.

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