Dorian Gray

The preface is a collection of epigrams in praise of art and beauty, and against the notion
that art should be the expression of moral ideas. The epigrams have no direct relationship
to the story that follows.

Chapter 1 - 3
In Chapter 1, the aristocrat Lord Henry Wotton lounges on the divan as he talks with his
friend, the artist Basil Hallward, in Hallward's studio. In the center of the room is Hallward's
portrait of a young man of great beauty. Lord Henry tells him it is his finest work and
encourages him to exhibit it. But Basil says he cannot exhibit it because he put too much
of himself into it. He does not explain what he means by that remark. The two men go
outside to the garden and continue their discussion. When Lord Henry presses him to
explain, Basil replies that he is afraid that in the portrait, which is of a man named Dorian
Gray, he may have shown the secret of his own soul. He tells Henry the story of how he
met Dorian, at a party given by Lady Brandon. When he first saw the young man, he was
fascinated but also terrified. He had some premonition that Dorian's personality was such
that it might exert an undue influence on him, and that he was on the verge of a crisis that
might lead to "exquisite joys and exquisite sorrows." As Henry talks about life with an
amiable cynicism, Basil disagrees with him and also suspects that Henry does not really
mean a word he is saying.
The subject then comes back to Dorian Gray, who now sits as a model for Basil every day.
Basil thinks that because of Dorian, he is now creating the best art of his life. Dorian's
personality has suggested to him a new mode of style in artistic expression that would
attain a perfect harmony of body and soul. Henry tells Basil that at some point he will tire
of Dorian and not find him so inspiring. The butler then announces that Dorian Gray is in
the studio. Henry wants to meet him but Basil worries that Henry will be a bad influence on
him. He fears that he may lose the person on whom his art depends.

In chapter 2, Henry and Dorian meet. Henry thinks there is something in Dorian's face that
makes him appear trustworthy. He then excuses himself, inviting Dorian to visit him at his
home. But Dorian tells Basil that if Henry-to whom he has taken a liking-goes, he will too.
This prompts Basil to persuade Henry to stay.

Dorian steps up on the dais so as to allow Basil to finish the portrait. While Basil paints,
oblivious to the conversation, Henry explains to Dorian his philosophy of life. He advocates
a life in which people are not afraid to live completely, giving expression to all their desires
and their dreams. He sees no point in self-denial of any kind. His words have a strong
effect on Dorian, who is aware that fresh, exciting influences are at work on him. Henry is
aware of the effect of his words on the young man, and he is amazed by it.

Dorian needs a break from posing, so he and Henry go out to the garden. Henry continues
to expound his philosophy, and Dorian is fascinated, even frightened, by what he hears.
Henry talks to him about beauty as the most wonderful thing in the world, and that Dorian
has only a few years in which to enjoy it, since it fades with age. He should take the
opportunity to "live really, perfectly, and fully." He urges Dorian always to seek new
sensations, and he calls this philosophy of life the new Hedonism. Dorian listens intently.
They return to the studio and Basil resumes painting, and finishes the picture. Dorian looks
at it, as if he has recognized himself for the first time. He sees his own beauty, which he
had never felt before. The thought that he will age, and lose his beauty, disturbs him
intensely. He is saddened by the fact that although he will age, the picture will remain
always young. He wishes it could be the other way round. He would give up his whole soul
if that could be the case. He tells Basil that when he finds that he is growing old, he will kill
himself. Upset that his painting has had this effect, Basil goes to rip up the canvas with a
knife, but Dorian restrains him. Basil then says he will give the picture to Dorian. Dorian
and Henry then leave; they have arranged to go together to the theatre that evening,
although Basil does not seem to be happy with that arrangement.

The next day Lord Henry visits his uncle Lord Fermor and asks him for information about
Dorian Gray. Lord Fermor apparently knows or has known almost everyone in London
society. It transpires that Dorian's father died before Dorian was born, and his mother died
before Dorian was one year old. Dorian stands to inherit a lot of money when he comes of
age. Henry then goes to lunch at his Aunt Agatha's. He is still thinking of Dorian, and wants
to influence him with his ideas, to dominate him in the same way that Dorian was
dominating Basil's ideas about art. At the lunch are various members of the aristocracy
and the upper classes, where there is a discussion of the merits or otherwise of America
and Americans, and of the social problems of London, all of which Lord Henry uses as an
opportunity to discharge more of his epigrams (clever sayings). Dorian, who is also at the
lunch, is fascinated by Henry's dazzling talk. As Henry leaves, Dorian asks to come with
him.

Chapter 4 - 6

A month passes. Dorian is in the library of Lord Henry's house, waiting for him to return.
He meets Victoria, Henry's wife, who leaves after Henry arrives. Dorian tells his friend that
he is in love with an unknown actress named Sibyl Vane whom he has known for three
weeks. He fell in love with her after he saw her act in Romeo and Juliet in a small theatre
in a very unfashionable part of London. He met her backstage two nights later and he now
goes to see her perform every night. He invites Basil and Henry to see her act; he is
certain they will think she is a genius.

After Dorian leaves, Henry reflects on how pleased he is that Dorian is in love with Sibyl. It
makes him more interesting. He feels that the young man is awakening and beginning to
fulfil his desire and live more fully. He takes credit for influencing Dorian in this direction.
He sees Dorian as part of a scientific experiment he is conducting. After dinner, Henry
finds a note has been delivered to him from Dorian, announcing that he and Sibyl are
engaged to be married.

Sibyl tells her mother, who is an actress herself, how happy she is to be engaged to
Dorian, whom she calls Prince Charming, but her mother is not pleased. She thinks Sybil
is too young to fall in love, and besides, she knows nothing about her Prince Charming,
not even his name. Mrs. Vane is under a strain because her sixteen-year-old son James is
about to depart for Australia in order to make money. James and Sibyl go out for a walk
together. James is morose at the prospect of leaving home, and he also feels that Sibyl is
in danger. He is suspicious of her new friend and warns her about him, saying that if
Prince Charming ever does her wrong, he, James, will kill him. Sibyl laughs this off; she is
in love, and sees no clouds on her horizon. When they return home, Sybil goes to rest
before her evening performance. James asks his mother whether she was ever married to
his father. She replies that she was not, because he was not free to marry her. But they
loved each other. James says he regrets asking her about a painful subject. He repeats his
threat to kill Sibyl's new love if he wrongs her, and his mother admires the passionate way
he speaks. Then he departs to begin his long journey.

At dinner in a hotel, Henry tells Basil of Dorian's engagement. Basil does not approve, and
hopes it is some short-lived infatuation. Dorian arrives late, full of happiness. The previous
night he saw Sibyl in Shakespeare's As You Like It, and he kissed her for the first time. He
is determined to marry her no matter what anyone else thinks. Basil is disturbed by the
impending marriage, although he does not admit it. The three men go off to theatre to
watch Sibyl perform in Romeo and Juliet.

Analysis
Much has been written about the homoerotic content of the novel. Certainly, Basil and
Henry are extremely attracted to Dorian in part because of his physical beauty. They are
also emotionally drawn to him. Basil openly admits it and Henry, although he hides behind
a veil of detachment, is obviously fascinated by Dorian also. In the beginning of chapter 4,
his wife reveals that Henry possesses seventeen or eighteen photographs of Dorian.
Henry's relationship with his wife is cool (she later leaves him), and throughout the novel,
Henry makes many misogynist remarks, such as "No woman is a genius. Women are a
decorative sex. They never have anything to say, but they say it charmingly" [ch.4]). Since
Henry does not have a high opinion of women, he seems to prefer male company. There is
a deeper emotional charge in the relationship between Dorian and Henry than between
Henry and his wife. This is suggested in a telling moment in chapter 4, when Henry returns
to find his wife talking to Dorian. It is clear that the two men do not want her to stay. After
she says she must leave, there is an awkward silence, broken by her "silly" laugh. Neither
of the men wants to contradict her; they would sooner spend their time just in each other's
company.

Chapter 4 reveals that Henry has started to have the desired influence on Dorian. He now
has a "wild desire to know everything about life." He says he has a "passion for sensation,"
exactly what Henry told him to seek out. Even danger gives him a sense of delight.

What lies behind Dorian's love of Sibyl is that she is able to create the beauty of art, which
is in contrast with the sordid reality of life. This is why Dorian falls in love with her. Under
Henry's tutelage, he has become a lover of art. The contrast between art and life is clearly
delineated in chapter 4. The theatre where Sibyl performs is located in an ugly part of
London; Dorian describes the "labyrinth of grimy streets and black, grassless squares" that
he walks to get there. The whole atmosphere in and around the theatre is squalid, but
Sibyl rises above it because she is able to give life to the great Shakespearean heroines
such as Imogen, Rosalind and Cordelia. Dorian admits that ordinary women do not interest
him; he loves Sibyl because she is an actress and becomes interesting through the roles
she creates on the stage. The underlying idea is that art imposes a form on the chaos and
ugliness of life. As Lord Henry says in chapter 6, "I love acting, It is so much more real
than life."
Chapter 7-9

The theatre is crowded and hot, with a lower-class audience. The play begins and Sibyl
makes her entrance. Lord Henry acknowledges that she is beautiful. But then Sibyl
performs very poorly, and Henry and Basil are disappointed. Sibyl gets even worse in the
second act; she speaks as if the words have no meaning to her. The audience starts to
lose interest in the play, and there are hisses at the end of the act. Dorian admits that Sibyl
is acting badly, but insists that the previous evening, she was superb. Henry and Basil
leave. The last act is played to an almost empty theater. When Dorian goes backstage, he
finds Sibyl very happy, even though she knows she acted badly. She explains that since
she met him, she has learned what real love is, and now the characters in the play seem
hollow and silly. Everything about it is false. Dorian is disillusioned by her words, which
destroy his love for her. He loved her because she was able to bring great art to life. Now
he thinks she is only shallow and stupid. He says he will never see her again. Sibyl is
shattered. She begs him not to leave her, but he takes no notice and leaves the theater.
He walks around London all night and returns home at dawn. His eye falls on the portrait
of himself that Basil had presented him with. He notices that the expression on the face
seemed to have changed, and taken on a cruel look around the mouth. He remembers
how he had wished that he could remain eternally youthful and unblemished while the
portrait grew old and reflected all his sins. He now realizes with alarm that the portrait
holds the secret of his life. He resolves not to sin any more, to resist Lord Henry's
influence. He decides to go back to Sibyl and try to make amends.

It is past noon when he awakes. There is a letter from Henry, hand delivered that morning,
but Dorian does not open it. He has breakfast and feels perfectly happy until he
remembers the picture. He wonders whether it really has changed, but one glance at it
confirms that it has. He realizes he has been cruel to Sibyl, and in the afternoon he writes
her a passionate letter, begging her forgiveness. Henry arrives, concerned about how
Dorian has reacted to his letter. He does not know that Dorian has not read it. When
Dorian says he is going to marry Sibyl, Henry realizes he has not read the letter, which
informed Dorian that Sibyl was dead. She killed herself by drinking acid. Dorian feels as if
he is guilty of murder, but soon decides that he is not upset by it. He thinks she was selfish
to commit suicide. Henry tells him that his marriage to Sibyl would have been an absolute
failure.

Dorian sees the whole incident as like a Greek tragedy, something he has witnessed but
which has not hurt him in any way. Henry confirms that this is the right attitude (although
he uses Jacobean drama as an example) and tells him not to shed any tears over Sibyl.
He says she was not as real as the characters in great art.

After he goes home, Dorian checks to see that the picture has not changed again. It has
not, but Dorian knows that it will in the future, as he lives out his life dedicated to pleasure
and passion. For a moment he thinks of praying that the strange relationship between
himself and the picture might change. But then he realizes there will be pleasure in
watching it, since the picture will reveal to him the state of his own soul. That evening he
goes to the opera with Henry.

Basil calls on Dorian, wanting to commiserate with him over Sibyl's death. But Dorian tells
him not to talk about it. Basil is shocked at his callous attitude. He blames it on Henry's
influence. But Dorian explains that he has simply grown up now. He has new passions,
new thoughts and new ideas. Basil agrees not to speak of Sibyl's death again. He then
says he wants Dorian to sit for him again, and he asks to see the portrait he gave him,
which Dorian has hidden behind a screen. Dorian angrily refuses to let him see it. Basil
protests, saying he plans to exhibit the picture in Paris in the autumn. Dorian reminds him
that he promised he would never exhibit it. Basil explains why he made this promise. He
confesses to Dorian that he has had an extraordinary influence over him. He worshiped
Dorian because he saw in him the embodiment of the image of perfection, the memory of
which the artist holds in his mind, and which transfigures everything in the world. He
thought that the picture of Dorian he painted revealed too much of his personal feelings
about his subject, and he feared others would discover his secret, which he had not
admitted to anyone. But now he thinks that the painting does not reveal his feelings. He
believes that art conceals more than it reveals, so he feels free to exhibit it. Dorian thinks
this a strange confession, but he still does not allow Basil to see the picture. After Basil
leaves, Dorian decides he must hide the picture.

Analysis
In these chapters Dorian takes the first steps toward his own corruption. Not only does he
behave in a cruel way towards Sibyl, he soon learns to reject any remorse over it. He tries
to have an attitude of detachment to his experience, drawing on Henry's ideal that one
should be spectator of one's life. The ideal is to maintain an aesthetic distance at the same
time that one is experiencing something to the full. This is the experience that art
produces, and Dorian want to replicate this in life. He rejects Sibyl because she is valuable
only as only as long as she is a vessel for pure art. In herself, she is nothing; she cannot
transfigure life for Dorian, and as an ordinary human being she is not worth any
consideration. Sibyl's mistake in his eyes is to reject art for life. As a result, she makes
herself vulnerable and suffers emotional pain and physical death.

Cruelty and selfishness has now become a part of Dorian's nature, perhaps under the
influence of Henry, although it may have been part of his character before, since in chapter
1 Basil complains that sometimes Dorian is charming but at other times he can be cruel
and he seems to enjoy causing Basil pain.

The views expressed by Lord Henry are clarified in Wilde's essay "The Critic as Artist," in
which he wrote, "Art does not hurt us. The tears that we shed at a play are a type of the
exquisite sterile emotions that it is the function of Art to awaken. We weep, but we are not
wounded. We grieve, but our grief is not bitter." In other words, art is superior to life, which
does hurt us. Life lacks the form of art, as Wilde argues earlier in the same essay: "Its
catastrophes happen in the wrong way and to the wrong people. There is a grotesque
horror about its comedies, and its tragedies seem to culminate in farce. One is always
wounded when one approaches it."

Chapter 9 reveals the difference between the amoral Henry and Basil, the artist. Basil
does not believe that the artist, or anyone else, can absolve themselves of moral
responsibilities, which is why he is horrified by Dorian's cold reaction to Sibyl's death.

Chapters 10-12

After looking at the painting one more time, and loathing what he sees, Dorian wraps it in a
coverlet and gets two men to carry it to a large room at the top of the house that has not
been opened for five years. He plans to keep the room locked so that no one will be able
to observe the corruption of his soul.

At five in the evening, he reads an account in the newspaper of the inquest on Sibyl, which
reached the verdict of death by misadventure. The newspaper was sent to him by Henry.
Henry also sent him a book, and Dorian reads it immediately. It is a novel in the French
Symbolist school, about the sensual life of a young man in Paris who loves virtue and sin
alike and seems to taste them both to the full. Dorian is fascinated by the book even as he
is repelled by it.

Dorian is influenced by this book for years. He sees himself in the life of the hero, whose
life seems to be his own. As the years go by, rumors about Dorian's sensually indulgent
lifestyle circulate in London clubs, and people fall silent when he enters a room. But his
physical appearance remains unchanged; he still looks innocent and charming. However,
the face in the picture now looks evil and aging. Dorian occasionally feels pity for the
ruination of his soul, but more usually he remains curious about life and wants to
continually add to the pleasure and knowledge he seeks through his worship of the
senses. He sees his search for beauty as the key element in a new spirituality that Lord
Henry had called a new Hedonism, focused on passionate experience. For a while,
attracted by the mystical ritual, he thinks of joining the Roman Catholic church; then he is
attracted to the materialism of Darwinism; but theories of life seem unimportant to him
when compared with life itself. He devotes himself to studying perfumes, and then to
music, collecting instruments from all over the world; he studies jewels and tapestries. For
a year he collects textiles and embroidered work. He hints at sins he has committed,
although he does not name them. But all the time he is haunted by the picture, and what
the face must now look like. He fears it may be discovered by someone else when he is
away. Many people are fascinated by him, but others do not trust him. Stories circulate
about him, that he had been seen brawling with foreign sailors in a rough area of London,
or that he consorted with thieves. Sometimes former friends shun him. But the whispered
scandals only increase his charm for many people.

On the eve of his thirty-eighth birthday, Dorian meets Basil in the street. They have not met
for some while, and Basil is about to depart for Paris for six months. He wants to talk to
Dorian, so they go to Dorian's house. Basil confronts him about the dreadful rumors that
are circulating about him. Why do so many people refuse to have anything to do with him?
Why does his friendship have such disastrous effects on young men? Basil explains how
some of Dorian's friends commit suicide, are forced to leave the country, or ruin their
careers. Dorian denies that he is to blame for any of this, but Basil is not satisfied by his
explanation. Basil urges him to reform, to use his influence for good rather than evil. He
urges Dorian to deny all the rumors. But Dorian merely smiles. He plans to take Basil
upstairs and show him the picture. Then he will know the state of Dorian's soul.

Analysis
The fact that Dorian hides the picture away shows that he does not want to be reminded of
the consequences of his actions. He wants to live for the moment and take no
responsibility for what he is doing to his soul, or to anyone else's. He lives apparently
without ethical scruples.

Readers of A Picture of Dorian Gray are often puzzled by the oblique references to
Dorian's supposedly sinful and dissolute conduct. Just what does he do that is so sinful?
After all, studying perfumes, collecting jewels and tapestries and musical instruments, all
of which are detailed in chapter 11, might establish his reputation as an aesthete but not
much else. Dorian continually searches for new and delightful sensations, but Wilde
seems deliberately to veil the nature of what some of those "delightful sensations" might
be. And the statement that concludes chapter 11, "There were moments when he looked
on evil simply as a mode through which he could realize his conception of the beautiful"
gives no clue at all about what is meant by evil.

And yet Dorian is shunned by former friends, and young men come to grief after their
encounters with him. Perhaps a clue is provided by Basil, when he confronts Dorian in
chapter 12. Basil talks about "stories that you have been seen creeping at dawn out of
dreadful houses and slinking in disguise into the foulest dens in London."

Many readers at the time, and since, have taken these cryptic references to imply that
Dorian indulged in homosexual activities. These activities were illegal at the time in
England, and were thought to be shameful. Discovery could lead to prosecution and/or
public disgrace. Wilde himself was later convicted of "gross indecency" and sentenced to
prison.