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The Picture of Dorian Gray by Oscar Wilde (06_the_picture_of_dorian_gray_by_oscar_wilde.doc)

Title:

        The Picture of Dorian Gray by Oscar Wilde

Published:

        New York: The Modern Library, 1998

About the author:

        Oscar Fingal O'Flahertie Wills Wilde (* October 16, 1854 † November 30, 1900) was an Irish playwright, novelist, poet, essayist and short story writer. He was the son of Sir William Wilde, a distinguished doctor, and Jane Francesca Elgee, a poet and journalist who supported the movement for Irish independence.

        Educated at the Portora Royal School, Trinity College in Dublin, and Oxford University, he married Contance Lloyd in 1884 and had two children, Cyril and Vyvyan. Known for his barbed wit, he was one of the most successful playwrights of late Victorian London, and one of the greatest celebrities of his day. As the result of a famous trial, he suffered a dramatic downfall and was imprisoned for two years of hard labour.

        Most of his works had to do with the Aesthetic movement, of which he was one of the most public supporters; he believed that art is useless, and it should be done simply for its own sake. In the literary world of Victorian London, Wilde fell in with an artistic crowd that included W. B. Yeats, the great Irish poet, and Lillie Langtry, mistress to the Prince of Wales. A great conversationalist and a famous wit, Wilde began by publishing poetry like as Ravenna (1878), Poems (1881), The Sphinx (1894) or The Ballad of Reading Gaol (1898) but soon achieved widespread fame for his brilliant, witty comedies. The first, Vera; or, The Nihilists, was published in 1880. Wilde followed this work with The Duchess of Padua (1881), Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895), and his most famous play, The Importance of Being Earnest (1895). Although these plays relied upon relatively simple and familiar plots, they rose well above convention with their brilliant dialogue and biting satire.  

        He is probably best known for his only published novel The Picture of Dorian Gray from 1891. Some other of his prose works are The Canterville Ghost (1887), The Happy Prince and Other Stories (1888), Lord Arthur Savile's Crime and Other Stories (1891), Intentions (1891) or De Profundis (1905).

About the book:        

        The Picture of Dorian Gray is considered one of the last works of classic gothic horror fiction with a strong Faustian theme. The novel deals with the artistic movement of the decadents, and homosexuality, both of which caused some controversy when the book was first published.

        The first edition of the novel was published in 1890 in Lippincott’s Monthly Magazine. Wilde later revised this edition, making several alterations, and adding six new chapters; the amended version was published by Ward, Lock, and Company in April 1891.

        In the second edition Wilde removed all references to the fictitious book "Le Secret de Raoul", and to its fictitious author, Catulle Sarrazin. The book and its author are still referred to in the published versions of the novel, but are unnamed. Wilde also attempted to moderate some of the more homoerotic instances in the book, or instances whereby the intentions of the characters' may be misconstrued.

        In England, the novel was condemned by many reviewers as shocking and immoral, the public was shocked and disgusted by the book and its implicit homosexuality Wilde tried to address some of these criticisms as he worked on an expanded version of the story, along with a preface in which Wilde stated his artistic credo.

        The second published book was given a good review and said to promote the idea that excess was evil and would make a person ugly; Wilde denied that this was his intention; however he did say that the book shows that certain excesses have their own punishments.

        As a variation on the Faust legend, with echoes of the fall of man and the Adonis myth, and as an examination of the relationship between art and life, The Picture of Dorian Gray fascinated readers and gave rise to many different interpretations.

Main topic:

        The novel tells of a young man of great beauty named Dorian Gray who, having promised his soul in order to live a life of perpetual youth, must try to reconcile himself to the bodily decay and dissipation that are recorded in his portrait.

        When Dorian meets Lord Henry Wotton, Lord Henry inspires him with a vision of life in which the pursuit of beauty through sensual pleasure is valued above ethical or moral concerns. Another friend of Dorian, the artist Basil Hallward, awakens Dorian's vanity. After admiring a portrait of him painted by Basil, Dorian declares that he would give his own soul if he could remain eternally young while the portrait grows old. He gets his wish, and the picture shows the gradual disfigurement of his soul as he sinks into a life of degradation and crime.

        Although the theme of homoerotic love is never stated explicitly, it may be present in Basil's feelings for Dorian. He tells Lord Henry that he cannot be happy if he does not see Dorian every day. He is upset when Dorian becomes engaged to Sibyl. Later, he confesses to Dorian that from the first moment they met, he worshipped him. He says, "…I grew 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." (chapter 9, pg.127) He is completely dominated by his feelings for the younger man, which also transfigure his perception of the entire world. Everything becomes wonderful to him because of Dorian. Basil presents what may be homoerotic attraction in different terms, as the lure of an aesthetic ideal.

Plot summary:

        The novel begins with Lord Henry Wotton observing the artist Basil Hallward painting the portrait of a handsome young man named Dorian Gray. Dorian arrives later, meeting Lord Henry Wotton. After hearing Lord Henry's world view, Dorian begins to think that beauty the only worthwhile aspect of life, and the only thing left to pursue. He wishes that the portrait of him which Basil is painting would grow old instead of him. "How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young. It will never be older than this particular day of June. . . . If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! For that-for that-I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that!" (chapter 2, pg.30)

        Under the influence of Lord Henry, Dorian begins an exploration of his senses. He discovers an actress, Sibyl Vane, who performs Shakespeare in a dingy theatre. Dorian approaches her, and very soon, proposes marriage. "You, who know all the secrets of life, tell me how to charm Sibyl Vane to love me! I want to make Romeo jealous, I want the dead lovers of the world to hear our laughter, and grow sad. I want a breath of our passion to stir their dust into consciousness, to wake their ashes into pain. My God, Harry, how I worship her!" (chapter 4, pg.63)

        Sibyl, who refers to him as "Prince Charming"” … her prince, Prince Charming, was with her. She had called on Memory to remake him. She had sent her soul to search for him, and it had brought him back...“ (chapter 5, pg.70) She rushes home to tell her sceptical mother and brother. Her protective brother, James Vane, tells her that if "Prince Charming" ever harms her, he will kill him.

        Dorian then invites Basil and Lord Henry to see Sibyl perform in Romeo and Juliet. Sibyl, whose only previous knowledge of love was through the love of theatre, suddenly loses her acting abilities through the experience of true love with Dorian, and performs very badly. Dorian rejects her, saying that her beauty was in her art, and if she could no longer act, he was no longer interested in her. Once he returns home, Dorian notices that Basil's portrait of him has changed. After examining the painting, Dorian realises that his wish has come true – the portrait is ageing whilst his own outward appearance remains unchanged. The painting fills him with fear and he has it locked up in an old schoolroom in his house. He decides to reconcile with Sibyl, but Lord Henry arrives in the morning to say that Sibyl has killed herself by swallowing prussic acid. Over the next eighteen years he experiments with every vice, mostly under the influence of a French novel, a present from Lord Henry.

        One night before he leaves for Paris, Basil arrives to question Dorian about the rumours of his indulgences. Dorian does not deny the debauchery. He takes Basil to the portrait which is revealed to have become ugly under Dorian's sins. "I keep a diary of my life from day to day, and it never leaves the room in which it is written. I shall show it to you if you come with me." (chapter 12, pg.174) Basil is horrified and tries to make Dorian repent. In a fit of anger, Dorian blames the artist for his fate, and stabs him to death. He then blackmails an old friend into destroying the body.

        Dorian becomes increasingly anxious and fearful that someone might discover his secret, and goes to an opium den to try to erase his bad feelings. James Vane happens to be nearby, and hears someone refer to Dorian as Prince Charming. He follows Dorian out and attempts to shoot him, but he is deceived when Dorian asks James to look at him in the lane, saying that he is too young to have been involved with his sister eighteen years ago. James releases Dorian, but is approached by the woman from the opium den, who chastises him for not killing Dorian and tells him that Dorian has not aged for the past eighteen years.

        Whilst at dinner one night, Dorian sees Sibyl Vane's brother stalking the grounds and fears for his life. However, during a game-shooting party the next day James is accidentally shot and killed by one of the hunters. After returning to London, Dorian informs Lord Henry that he will be good from now on, and has started by not breaking the heart of his latest innocent conquest, a vicar's daughter in a country town. At his apartment, he wonders if the portrait would have begun to change back, losing its sinful appearance, now that he has changed his ways. He unveils the portrait to find that it has become worse. Seeing this he begins to question the motives behind his act, whether it was merely vanity, curiosity, or seeking new emotional excess. Deciding that only a full confession would truly absolve him, but lacking any guilt and fearing the consequences, he decides to destroy the last vestige of his conscience. "It had brought melancholy across his passions. Its mere memory had marred many moments of joy. It had been like conscience to him. Yes, it had been conscience. He would destroy it." (chapter 20, pg.253) In a fit of rage, he picks up the knife that killed Basil Hallward, and plunges it into the painting. Hearing his cry from inside the locked room, his servants send for the police, who find Dorian's body, suddenly aged and withered, besides the portrait, which has reverted to its original form; it is only through his rings that the corpse can be identified. “When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was.” (chapter 20, pg.255)

Characters:

Dorian Gray -  A radiantly handsome, impressionable, and wealthy young gentleman, whose portrait the artist Basil Hallward paints. Under the influence of Lord Henry Wotton, Dorian becomes extremely concerned with the transience of his beauty and begins to pursue his own pleasure above all else. He devotes himself to having as many experiences as possible, whether moral or immoral, elegant or sordid. Dorian is described as "…wonderfully handsome, with his finely-curved scarlet lips, his frank blue eyes and his crisp gold hair. . . . All the candour of youth was there, as well as all of youth's passionate purity." (chapter 2, pg.17)

Lord Henry Wotton -  A nobleman and a close friend of Basil Hallward. Urbane and witty, Lord Henry is perpetually armed and ready with well-phrased epigrams criticizing the moralism and hypocrisy of Victorian society. His pleasure-seeking philosophy of “new Hedonism,” which espouses garnering experiences that stimulate the senses without regard for conventional morality, plays a vital role in Dorian’s development.

Basil Hallward -  An artist, and a friend of Lord Henry. Basil becomes obsessed with Dorian after meeting him at a party. He claims that Dorian possesses a beauty so rare that it has helped him realize a new kind of art; through Dorian, he finds “the lines of a fresh school.” Dorian also helps Basil realize his artistic potential, as the portrait of Dorian that Basil paints proves to be his masterpiece.

Sibyl Vane -  A poor, beautiful, and talented actress with whom Dorian falls in love. Sibyl’s love for Dorian compromises her ability to act, as her experience of true love in life makes her realize the falseness of affecting emotions onstage.

James Vane -  Sibyl’s brother, a sailor bound for Australia. James cares deeply for his sister and worries about her relationship with Dorian. Distrustful of his mother’s motives, he believes that Mrs. Vane’s interest in Dorian’s wealth disables her from properly protecting Sibyl. As a result, James is hesitant to leave his sister.

Mrs. Vane -  Sibyl and James’s mother. Mrs. Vane is a faded actress who has consigned herself and her daughter to a tawdry theater company, the owner of which has helped her to pay her debts. She conceives of Dorian Gray as a wonderful alliance for her daughter because of his wealth; this ulterior motive, however, clouds her judgment and leaves Sibyl vulnerable.

Alan Campbell -  Once an intimate friend, Alan Campbell is one of many promising young men who have severed ties with Dorian because of Dorian’s sullied reputation.

Lady Agatha -  Lord Henry’s aunt. Lady Agatha is active in charity work in the London slums.

Lord Fermor  - Lord Henry’s irascible uncle. Lord Fermor tells Henry the story of Dorian’s parentage.

Duchess of Monmouth -  A pretty, bored young noblewoman who flirts with Dorian at his country estate.

Victoria Wotton -  Lord Henry’s wife. Victoria appears only once in the novel, greeting Dorian as he waits for Lord Henry. She is described as an untidy, foolishly romantic woman with “a perfect mania for going to church.”

Victor -  Dorian’s servant. Although Victor is a trustworthy servant, Dorian becomes suspicious of him and sends him out on needless errands to ensure that he does not attempt to steal a glance at Dorian’s portrait.

Narrator:

        The narrator is anonymous. “From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.“ (chapter 1, pg. 8) The point of view is third person, omniscient. The narrator chronicles both the objective or external world and the subjective or internal thoughts and feelings of the characters. „Yes, perhaps Basil, too, had his secret. He would ask him and try.“ (chapter 9, pg.101)

Books, chapters:

        The novel contains twenty chapters and a preface. The preface was added, along with other amendments, after the edition published in Lippincott's received criticism. Wilde used it to address these criticisms and defend the novel's reputation. It consists of a collection of statements about the role of the artist, art itself, the value of beauty, and serves as an indicator of the way in which Wilde intends the novel to be read, as well as traces of Wilde's exposure to Daoism and the writings of Zhuangzi.

Bibliography

McKenna, Neil: The Secret Life of Oscar Wilde. New York: Random House, 2004.

Raby, Peter: The Cambridge Companion to Oscar Wilde.                                                                           Cambridge: Cambridge University Press, 1997.

Silvanová, Barbara: Angličtina – prehľad stredoškolského učiva pre maturantov a uchádzačov o štúdium na vysokých školách.

Bratislava: Enigma, 1994.

Thornley, G.C.; Roberts, Gwyneth: An Outline of English Literature.

Essex: Longman Group, 2001.

Wilde, Oscar: The Picture of Dorian Gray. New York: The Modern Library, 1998.

Wilde, Oscar: Portrét Doriana Graya.

Bratislava: Slovenské vydavateľstvo krásnej literatúry, 1964.

Edícia Svetoví klasici. Preloža Taťjana Ruppeldtová.

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