pes NULBACKGROUND I Oscar Wilde” 16 October 1854 Dublin, treland ‘AUTHO} DATE OF BIRTH: ‘THE SETTING OF THE NO} ‘The action takes place in London, England, inthe late nineteenth century. The novel was published in 1890 at the height of the decadent artistic movement, known as Aestheticism, which advocated art for at's sake. In essence, aesthetes believed that the purpose of art was fo capture beauty in all its forms. They adopted a lifestyle of pleasure, seeking out experiences that would appeal to the senses. Followers of this philosophy flouted the conventional morality of the time and experimented with drugs and sex in a way that shocked Victorian society. They believed that the conservative morality of the time was repressive and resulted in self-denial. They chose to live frivolous lives, indulging whatever desires came to mind, without any concem for the consequences. They surrounded themselves with beautiful objects and dressed in opulent and ‘extravagant fashions. Victorian society valued virtue, diligence, duty and discretion and viewed aesthetes as .e, immoral and hedonistic because of their self-indulgence and pursuit of pleasure. They would have been regarded as a threat to the moral fabric of Victorian society. hetic lifestyle was an option only for the aristocratic upper class members of society. For the vast majority of the population, the daily struggle to survive meant that there was no time or money to indulge onesett in the beauty of life. Following an aest This is the world in which the characters of the novel find themselves. Dorian Gray inhabits the elegant, decadent world of the privileged class while venturing into the ugly underbelly of the working class world in 30 November 1900_ INFORMATION The Gothic genre contains elements of cruelty, horror and Romanticiam, as well os the supematural. Gothic literature often attempts to unmask the horrific aspects of human nature In The Picture of Dorian Gray, the supernatural element is. introduced in the form of Basil Hallward's portrait of Dorian Gray. Dorian’'s wish to remain forever youthful appears to have been granted when the portrait begins to show signs of age while. his physical appearance remaing unchanged. It becomes a reflection/phyica) representation of Dorian’s depravity ang increasingly cruel and corrupt nature The plot draws on the Ger legend in which the devil avast Faustus to sell his soul for knowledge anj power. Similarly, Dorian is prepared to ‘give {his} soul for that!” (23) in order to remain young. However, it is sinful for the Faustian character to make a pact with a devish figure. Neither Dr Faustus nor Dorian Gray ig able to repent although they experience despair because of their sins. i} | For the Gothic element of the novel to be successful, the reader must suspend hisher| disbelief and believe that it is possble fr Dorian’s portrait to reflect the signs of ageng and sinful behaviour while he remains youy and unblemished. It is this allusion to the Faustian legend tt ‘adds to the suspense and horror inthe noe | pursuit of the sensory experiences he seeks. | ‘© MASTERCLASS ENGLISH bo eee 2PREFACE (Pages 3-4) ART FOR ART'S SAKE GLOSSARY 9) (0) Romantisiom @) (7) an attitude of accepting a situation as it is a literary movement emphasising emotion, inspiration, subjectivity and the importance of the individual Caliban (3) (n.) ‘a savage, beast-lke slave from Shakespeare's The Tempest Ethical (3) (ad).) related to moral principles morbid (4) (adi.) an unhealthy interest in disturbing subjects vice (4) (n.) moral, wicked behaviour virtue (4) (0.) moral behaviour peril (4) (n.) serious danger; risk ‘SUMMARY Oscar Wilde's preface to The Picture of Dorian Gray consists of a series of epigrams or aphorisms (concise, witty, offen paradoxical sayings) in which Wilde expresses his aesthetic philosophy. ‘The Preface deals with the following ideas: © Beauty is in the eye of the beholder. «The way in which artis interpreted is a reflection of the viewer, rather than the artist. + Artists should not try to moralise or Present an ethical view but simply Portray the truth as they see it. * Artists are inspired by ‘vice and virtue’ (4). * Art should be controversial and not. necessarily easy to interpret. © Art should not be practical or used as a means of moral enlightenment; it should simply be beautiful and bring pleasure. ANALYSIS The Preface was not part of the original text. It was added by Wilde after the novel ecelved heavy criticism for being immoral ‘and wicked. The Preface establishes many of the novel's main issues and can possibly be ‘seen as a guide to the story, ‘The statements Wilde makes offer his views on art and artists. As an aesthete, he Supports the idea that art need not serve any moral, political or educational purpose but that art is valuable in and of itself, Despite this, it may be argued that The Picture of Dorian Gray reflects the dangers of such an attitude and, in fact, acts as a cautionary tale. ADDITIONAL NOTES (© MASTERCLASS ENGLISH aCHAPTER 4 (Pages 6-20) THE PORTRAIT ae a GLOSSARY ae divan (6) (n) ‘a box-spring based bed ) bourdon (7) (n.) Snbe bea ie a | tures (7)(n.) opinions on the basis of incomplet aan ma lacking sophistication or good taste "® formation, | fatality (9) (n) helplessness inthe face of fate; inevitabity ensconced (10) (v.)__settled into @ comfortable place’ Perplexity (11) (.) inability to deal with or understand something erush (11) (n.) @ party ‘or gathering dowagers (11) (n.) Widows who have a title or property inheri husbands; wealthy, eldery women, "ne*ted from thi Hionise (12) (v) aive a lot of public attention truculent (13) (adj.) enmity (13) (n.) argue or fight; aggressively a | Basil Hallward's at studio and garden | Basi Halhward Lord Henry Wotton | Dorian Gray i SUMMARY (11) when he sets eyes on Dor Ends Dorian so fascinating. Sines hat fo ‘The novel opens with a sensuous setting : Lord Henry is admiring a painting being done by Basil Hallward of a handsome young man. Lord Henry praises Basil's work and encourages him to exhibit it. This idea is rejected by Basil who does not intend to exhibit it as he ‘has put too much of [himself] into it) The portrait is of a ‘young man of extraordinary personal beauty’ (7). Lord Henry questions Basil about his ‘mysterious young friend’ (8), and, without wanting to, Basil reveals Dorian Gray's name. Basil tells Lord Henry that, when he likes people immensely, he ‘never tells their names to anyone.’ (9) Basil goes on to confess ‘the secret of his] soul (11) to Lord Henry, teling him how he first spotted Dorian at a party held by Lady Brandon, He is intially overcome by ‘terror’ and Dorian have been inseparable, ‘He is all my art to me now. (15) save Basi. Dorian, ‘however, is oblivious te Basils ‘idolatry’ (16). At that moment, the butler announces the arrival of Dorian. Basil does not want Lord Henry to meet Dorian as he is concemed that Lord Henry’ ‘influence would be bac! (19) for Dorian, ANALYSIS The introductory chapter is set in the floweriled room of asl ‘Flare Studio, overlooking his lush garden. The aristocrats are enclosed within a circle of beauty and opulence, Their suroundngs shelter them from the — a tae over jerienced by Bening tie facade and delicate scents (© MASTERCLASS ENGLISH 4exists a ‘laburmum’ tree (6) with poisonous , which hints at the malignant character of Dorlan. The reader is introduced to the portrait of Dorian before meeting Dorian himself. By doing this, Wilde is indicating that Dorian's reputation for physical beauty precedes him and Is more important to his character than any other attribute, The importance ‘and power of beauty in relation to the intellect and the soul, and the fleeting nature of beauty is introduced as one of the main ideas of the novel, Basil states that there is ‘a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings’ (8). Basil's statement indicates that physical and intellectual excellence is often the downfall ‘of those who possess them. It should be noted how Basis statement rings true throughout the novel. The story introduces art as the focal topic with ‘the portrait of the young man of extraordinary personal beauty’ (7). This relates to Aestheticism, which placed much emphasis on beauty. This is why, for Besil, Dorian becomes ‘all my art to me now (15); he views Dorian as his muse or ingpiration. Basil ‘has put much of [himself] into it’ (8) and he is afraid that he has revealed the ‘secret of [his] own sou!’ (11) in his portrayal of Dorian. Basil's depiction ‘of Dorian as an ideal hints at Aestheticism which applies to artificial beauty and cannot be found in nature. Basil met Dorian at a party at Lady Brandon's home, as he was required to show himself in ‘society from time to time’ (11); highlights the role played by the aristocrats 2s patrons of the arts, Basil is immediately fascinated by Dorian’s physical beauty and feels that fate has brought Dorian into his life. Itis this physical admiration of another man that suggests the homoerotic theme inthe novel. Lord Henry describes Dorian as a ‘young Adonis’ (6) and a ‘Narcissus’ (8), emphasising his attractiveness as well as his vanity. In his conversation with Basil, Lord Henry reveals his cynical attitude to marriage. He fools that ‘it makes a life of deception absolutely necessary (9). Throughout the novel, Lord Henry uses epigrams suitable to his supercilious and controversial character. Lord Henry is an intelligent, Sophisticated, confident and manipulative man. He is unorthodox, decadently smoking opium-tainted cigarettes, and he has @ commanding presence no matter where he is or with whom he socialises. Lord Henry enjoys making scandalous ‘statements such as when he says that beauty and intellect cannot be complementary qualities and he describes Dorian as a ‘brainless, beautiful creature’ (8). Basil observes that Lord Henrys Cynicism is ‘simply a pose’ (10). Basil tells Lord Henry that Dorian likes him (Gasil) but Basil is accurate in realising that Dorian treats him like ‘an ornament for a ‘summer's day’ (17). At this point in the novel, Dorian is presented as a pure, innocent young man with a simple and ‘beautiful nature’ (19) and Basil is quite {usted in his fears that Lord Henry's ‘influence would be bad’ (18). The arrival of Dorian after the discussion between Basil ‘and Lord Henry creates an exaggerated picture of the main character. To Basil, Dorian is bigger than art ~ an impossible ideal. The portrait will further capture the ideal which becomes impossible to live up to. The significance of Dorian Gray’s name is vital to an understanding of his character. The unisex name, ‘Dorian’ is of Greek origin and alludes to the ideal of classical beauty. Gray is neither black nor white, indicating that Dorian has the potential for good or for evil, Dorian displays many ambiguities in his character that make his name appropriate. His efforts to be good wil be foiled by his malevolent characteristics. (OMASTERCLASS ENGLISHCHAPTER 2 (Pages 22 - 38) THE PACT GLOSSARY ee a eee, | wilful (22) (@d}.) determined on ¥ ubborn petulant (22) (adj) given to small abu feng . candour (23) (n.) ‘openness and honesty martyr (24) (n.) mouo maladies (25) (".) a person who suffers greatly for a cause/belit ‘a pouting look indicating annoyance; a grimace unhealthy, morbid or desperate conditions revelation (32) (n.) panegyric (32) (n.) Janguorous (27) (adj) dreamy caprice (31) (n.) a lively piece of music vermilion (32) (adj.) _bright red to reddish-orange colour the act of revealing something previously kept secret 2 fomel pubic commendation: speach Sabo brevity (32) (n.) conciseness, uncouth (33) (adi Jacking in refinement ‘SETTING CHARACTERS Basil Hallward’s art studio and garden | Basil Hallward Lord Henry Wotton Dorian Gray ‘SUMMARY Basil threatens to destroy the portrait but Lord Henry is introduced to Dorian by Basil, He asks Lord Henry to leave so that he may finish the portrait but Dorian asks him to stay. Dorian is bewildered by Lord Henry's philosophy of hedonism and he is profoundly affected by Lord Henry's words. Lord Henry and Dorian go into the garden while Basil continues to paint. Lord Henry ‘compliments Dorian’s beauty and advises him to appreciate it while he stil has it as ‘What the gods give they quickly take away’ (29-30). He encourages pleasure and follow the hedonism. Their conversation is interrupted by Basi's caling them back into the studio. The ‘completed portrait mesmerises Dorian who feels that itis sad that he will age while the portrait will ‘remain ‘always young’ (33); he \vishes it was the other way around. He is prepared to give his soul for that to be £0. Dorian prevents him, saying it would be like murder, Lord Henry suggests going to the theatre that evening: Dorian accepts the invitation ut Basil declines. He urges Dorian not to go but his advice is not taken. Lord Henry and Dorian depart, leaving Basil concerned about Lord Henry's influence on Dorian. ANALYSIS. The chapter contains many sensuous images, which reflect the commitment to an aesthetic lifestyle by Basil, Lord Henry and Dorian Basis garden is a reminder of the Garden of Eden where Adam and Eve are by Satan, in the form of a serpent, to ‘commit the original sin. Lord Henry tempts Dorian with his ideas of beauty and © MASTERCLASS ENGLISH zPleasure and this ultimate Dovlan's fel from genoa, en Ott. Dorian is described as a ‘lad’ (22), which Liar that he possesses a certain child- © quality. He is also described as ‘wonderfully handsome’ (23) and pure. Dorian is initially besotted by Basil but later abandons him for the newfound friendship of Lord Henry; his fickle nature may be blamed on his youthfulness and his selfish self-absorption. Lord Henry discusses his ideas about being an influence on others, saying that the person who is influenced is no longer his own person but rather ‘an echo of ‘some one else's music! (25). This, he says, és contrary to the ‘aim of life [which] is sel development’ (25). He believes that the highest duty one has is the “duty that one ‘owes to one's self (25). Lord Henry's selfishness is evident in these words. He also says that man should not be confined by social expectations and that man should not deny himself his desires. This idea challenges the strict and stifing morality of Victorian society, which demands self- denial and the’ repression of natural desires. The danger of this is a heightened desire for that which is denied. The quote, “The only way to give way to temptation is to yield to it’ (28) reflects the extent of the immorality encouraged by Lord Henry's ‘new Hedonism’ (30). The ‘Hellenic ideal’ (25) referred to by Lord Henry alludes to the ancient Greek philosophy that emphasises the human figure as an object of beauty and that did rot consider the appreciation of the naked male body by other men as taboo. This is in stark contrast to Victorian society's views. Dorian is intrigued — and a lite frightened = by Lord Henry's provocative ideas and he feels that Lord Henry has ‘revealed him [Dorian] to himself (28). This is the start of Dorian's corruption at the hands of Lord Henry. iments _ Dotian’s Seam age ful face’ (29) While beaut jive they Quickly the almost complete emerised BY It ~ the a beauty came on him ike sense of it @. emis, together with Lord Aisnnys earlier comments, makes Dorian lenry’s ew important beauty is in the realite Moto ives. He foes Kis sad wore wil age wine the porta vi t young’ (33) and he says he ee ive his soul for the opposite to be possible. ish to remain forever young cole his portrait reflects the ravages of ‘age is an allusion to the story of Faust who 23ers his soul to the devil in exchange for knowledge and power. He becomes jealous of his own image. This reflects Dorian’s vanity and pre-occupation with his physical appearance. He feels that everything is lost when one’s looks are lost. His temper tantrum when Basil says ‘that he would not want the portrait to reflect the effects of time is an indication that Dorian is spoilt and petulant. It is also a reminder of the fleeting nature of youth and beauty. Dorian regards the portrait as a living thing ~ ‘it is a part of myself (35) ~ and itis a catalyst in his downfall. vn Basil reveals ee Dorian is Dorian's. wit Basil is concerned about the bad infiuence Lord Henry may have on Dorian but Lord Henry says it is simply the real Dorian revealing himself. This introduces one of the central questions in the novel: who influences whom and who is responsible for Dorian's downfall? This chapter reveals how the corruption of Dorian's character is initiated. The question of whether the ‘real Dorian’ (37) is the one in the portrait or the actual person is explored throughout the novel. (© MASTERCLASS ENGLISHCHAPTER 3 (Pages 40 - 62) DORIANGRAY'S BACKGROUND GLOSSARY os we shavic ‘of mood oF bet capricious (40) (adi) given to sudden changes Sod indolenee (40) (n), avoidance of activity oF exertion: I arty in the UK Tory (40) (n.) a membor/supporte ofthe Consett rfrrn Radicals (40) (n.) people who advocate politcal A isn Dandies (41) (n.) ‘men unduly concerned Sal ish army, below captain ‘subaltern (42) (adi) lower status officer in the BF wget of afmation ‘egad (42) (interjection) exclamation expressing surprise, travail (44) (n.) painful or laborious: effort tarry (45) (v.) stay in oe facile (46) (ad) superficial tal importance the Verities (48) (n.) true principles, especially of ea San iridescent (50) (adj showing luminous colours that see! ay ‘SETTING ~T CHARACTERS: | | The Albany and Lady Agatha’s lunch Lord Fermor | : / Lord Henry Wotton | a Lady Agatha and her guests ‘SUMMARY Lord Henry visits his uncle, Lord Fermor, to gain more information about Dorian. His uncle assumes that Lord Henry has come ‘to borrow money. Dorian is the grandson ‘of Lord Kelso. His mother, Lady Margaret Devereux, is described as ‘an extra- ordinarily beautiful girl’ (42) who ran away with ‘a penniless ... nobody’ (42). Lord Kelso disapproved of the match and it is rumoured that he had the ‘poor chap’ (42) killed, His daughter never spoke to him again and died within a year, leaving Dorian an orphan who stands to inherit a large fortune when he comes of age. Lord Henry is intrigued by Dorian's background. The discussion tums to the impending mariage between Dartmoor and an ‘American gil, which is again brought up at Lady Agatha’s lunch. Lord Henry reflects on the previous night's dinner with Dorian and the fact that he can influence Dorian. He likes the idea of being ‘OMASTERCL Dorian’s mentor. He is so lost in thought that he walks past his aunt's home and has to retrace his steps, making him late for lunch, Dorian is present at Lady Agatha’s lunch and is mesmerised by Lord Henry's wit and charm as he shares bis ‘philosophy of pleasure’ (52) with the guests, Lord Henry announces that he is going to the park and Dorian Gray offers to join him although he has promised to see Basil Hallward. ANALYSIS Dorian's background makes him more intriguing to Lord Henry. Lord Fermor’s information about Dorian establishes him as both a tragic and a romantic figure, and contains the Gothic elements of mystery and melodrama: a tyrannical grandfather, his parents’ doomed marriage and the Subsequent murder of his father. Although LASS ENGLISH 10Henry refers to Doria's ‘white pu Lpoynoot (45), Nis chidhood was tae ‘as he was raised by ‘an old and loveless rman’ (44) Lord Henry feels that his interaction with Dorian is ‘ike playing upon an exquisite violin’ (45). This image suggests that he ‘will manipulate Dorian like a musical t. Dorian is impressionable and Lord Henry likes knowing that he can influence Dorian and mould him into a ‘marvellous type’ (45). He intends to become Dorian’s mentor and seeks to ‘dominate him’ (48). Lord Henry is arrogant and vain in thinking that he can project himself onto another person. He views Dorian as a clean slate on which to create a new person. Lord Henry enjoys shooking people with his controversial aphorisms and philosophies, creating the impression that he is bad but there is nothing he does that establishes him as immoral. Instead of ‘acting on his own philosophies, he uses his sly, briliant ways to corupt Dorian Gray. However, at the end of the novel, he does seem oblivious to the damage he has ‘caused and the corrupting influence he has een on Dorian. Lord Henry corrupts the boy's view of himself and changes his setf- image completely, not out of spite, but simply for his own entertainment. Lord Henry's cynicism is reflected in the social commentary that he offers in epigrams such as ‘philanthropic people Jose all sense of humanity’ (44). The ‘statement is paradoxical: a philanthropist is a person who is charitable deeds but, according to Lord Henry, such people become so absorbed in thinking that their good deeds make them better people that they forget about the people they are meant to be helping. The truth is that aristocrats like Lady ‘Agatha believe that they are assisting the poorer classes yet they are responsible for the lack of equality in society. Lord Henry is unafraid to express his views, often making scandalous comments to provoke feaction from people, who Appald and chammed>by his wt The aristocratic guests at ' lunch sre described amine ane to be arrogant, hypocritical, condescending ‘and class conscious. Lord Henry's views ‘on poverty in the East End are rather controversial but the Duchess ironically finds his opinions ‘very comforting’ (48). The __ conversation about Dartmoor's Marriage to the American girl reflects the disdain with which the English aristocrats regard Americans and is a reminder of their social snobbery Lord Henry's comment to the Duchess that ‘to get back one's youth, one has merely to repeat one's folies’ (60) is an example of foreshadowing: Dorian will repeat foly ater folly in his attempts to retain his Yyouthfuiness. He will maintain his physical youth but emotionally he will regress. The idea of sinful pleasure is at the centre of Lord Henry's philosophy. The Duchess regards this as a ‘delightful theory’ but Sir Thomas is justified when he interprets it as a ‘dangerous theory (50). This chapter highlights the relationship between life and art. Lord Henry sees life in artistic terms and Mr Erskine's suggestion that Lord Henry write @ book is a reminder that art has literary value. QUESTIONS 3.1 What does the opening paragraph of this chapter suggest about Lord Fermor? Refer to Lord Fermor's greeting of Lord Henry: ‘Well, Hany’... | never pay mine." (41) What is suggested about the relationship between the two men? 32 Explain fully what Lord Henry learns 33 ‘about Dorian’s background. ‘© MASTERCLASS ENGLISH "CHAPTER 4 (Pages 64-69) DORIAN IS INFATUATED WITH SIBYL VANE GLOSSARY 54) (ad) golden covering struse (57) (adi) not easy to understand tawdry (58) (ad}.) cheap, of poor quality, showy palmy hay prosperous; luxurious: thos (60) (n. a quality that evokes Frunificent (tech) generous ee vivisecting (67) (v.) experimenting on the living; dissect turbid (67) (adj.) muddy; opaque; cloudy Sot" efficacy (68) (n.) effectiveness; success SETTING CHARACTERS ‘One month later. Dorian Gi The library of Lord Henry's Mayfair home | Lady Vietona Henry Lord Henry Wotton {Sibyl Vane — through Dorian’s descriptions} ‘SUMMARY Dorian is visiting the home of Lord Henry where he meets Lord Henry's wife. She reveals that Lord Henry has numerous photos of Dorian. Lady Henry leaves shortly after Lord Henry's arrival. Dotian reveals that he is in love with an actress named Sibyl Vane. He explains that, after his first conversation with Lord Henry, he had been filled ‘with a wild desire to know everything about Ife’ (58) and a ‘passion for sensations’ (58) and that he had decided to go out one evening looking for adventure. He had wandered into a grimy, poorer area where he had ‘come across ‘an absurd little theatre’ (58). On entering, he discovered that Romeo and Juliet was being performed. He tells Lord Henry that everything about the play had been dreadful but, despite this, he had fallen in love with the aciress playing Juliet, He confesses to having retumed numerous times since then to see her. After the third performance he had watched, he was invited to meet the actress, who gave him the nickname, ‘Prince Charming’ (83). Dorian is determined to make Sibyl love him and asks Lord Henry for advice. He also wants to buy her out of her contract with the Jewish owner of the theatre so that she may have the opportunity of performing in the West End. Dorian invites Lord Henry to join him the following evening to watch Sibyl perform a Juliet. He asks Lord Henry to extend the invitation to Basil. Dorian also reveals that Basil has had his portrait framed and sent to him. Dorian says that he is jealous that the image in the portrait is already younger that he is. After Dorian leaves, Lord Henry muses on his feelings for Dorian, considering him ‘an interesting study’ (67). He goes out to dinner and on his retum some hours later, he finds a telegram from Dorian, informing him that he is engaged to Sibyl. (© MASTERCLASS ENGLISH 3ANALYSIS. ‘The description of Lord Henry's library indicates how he surrounds himself with beautiful, expensive objects. This is an outward sign of his devotion to an aesthetic lifestyle Lord Henty’s wife, Victoria, is described as a ‘cutious woman’ (65), who is ‘usualy in love with somebody’ (55) and whose appearance is dishevelled. She seems an Unlikely partner for Lord Henry, who is obsessed with beauty and physical attractiveness. Lord Henry reveals his sexist views when he comments that ‘no woman is a genius. Women are @ decorative sex (67). Lord Henry's influence on Dorian is already apparent: Dorian comments. on how bad music should be drowned out by conversation and Lady Henry remarks that ‘that is one of Harry's views" (55). Later, Dorian tells Lord Henty that he does everything he [Lord Henry} says. Dorian’s Visit to the dingy theatre is a result of his being intrigued by Lord Henry's hedonistic philosophy and his desite for new adventures and experiences. Lord Henry's character is developed in this chapter. He is a keen observer of human rnature and behaviour, He is fascinated by the paradox of life: the ‘pain and pleasure’ (67). He reveals his pride in having had a profound influence on Dorian, saying that ‘the lad was his own creature’ (67) and a ‘real work of art’ (68). He looks on Dorian almost as his experimental subject, reflecting on what may lie beneath Dorian's infatuation with Sibyl. The rigid class structure of Vietorian England is evident in Dorian's seeing his venturing into a poorer, grimy part of London as an adventure, as well as in his distaste of the theatre, which he describes asa ‘wretched hole of a place’ (60), that is shabby and decorated in poor taste. . 0 evidence oF the theatre owner, iS held by Victorian preci a escrbes Mr Isaacs as 4 sociey. Doth" (ga) and @ ‘most offensive thee), necting his dedain for him, «intrigued by 17-Year-old Sip Dotan ie scribes a5 ‘Sacred (6) Vane, wrautey and entirely dvine" (4 Hor ability to transform herself as she Her am” number of | Shakespearean Play nes captivates him. He is attracted penthealling performances but he knows nething about Sibyl herself. His love for har Me cuperticial and based on the characters fhe plays rather than who she is. Siby appears to be devoid of a personality of Perum, instead taking on the persona Of the role she 1s playing. Lord Hen’, suggests that Dorian is intrigued by sin because of ‘curiosity and the deste new experiences’ (67). mer is. als ‘The name ‘Sibyl is significant alludes to the oracle at Depa Greece who was said to reveal tuthe those who sought her prophetic wisdom Her motto was ‘know thysel? which might be seen as an invitation — ora waning Dorian. = Siby’s awarding of the nickname, ‘Prin Charming’, to Dorian is both appropriate and ironic. Dorian creates the impression of being charming and she may hope thet he wil rescue her from her Ife of pov however, he is anything but charting and will, In fact, cause her death. This tage outcome of her relationship with Dovian'is foreshadowed in the fact that Sibyl is fit sean pertorming as Jui! in Rone and ule QUESTIONS 44 Comment on Wilde's attention to detail in the description of Lod Henry's library. ki. i in 42 Explain the. si of Sityl ‘An anti-Semitic atitude toward the Jewish une 4 OMASTERCLASS ENGLISH 14CHAPTER 5 (Pagos 74 - 83) SIBYL'S BACKGROUND GLOSSARY quorulously (71) (edi) espial (72) (n.) placid (75) (ad) affectations (76) (n) dogma (79) (n.) victoria (80) (n.) scoundrel (82) (0. SETTING Sibyl's home in Euston Road ‘SUMMARY Siby\ tells her mother of her love for ‘Prince Charming’. Her mother wams her to concentrate on her acting as the family ‘owes Mr Isaacs fifty pounds. Siby! says they no longer need to feel indebted to him as ‘Prince Charming rules life for us now’ (7%). Although she cautions Sibyl to be Cautious, Mrs Vane cynically realises that if Siby’s suitor is wealthy, marriage to, him might be advantageous forthe family. Sibyl ‘wonders why Dorian is attracted to her. James Vane, who is leaving for ‘Australia the next day, enters the room and ‘cautions his mother to ‘watch over Sibyl (75) as he is concerned about the man ‘who comes to the theatre every night to see his sister. Despite knowing nothing about Dorian ~ including his name — Mrs Vane suggests that he is a ‘perfect gentleman’ (75) and they would make a charming couple’ (75). As Sibyl and James walk in the park, he tells her that he is ‘heart-sick at leaving home’ (77). He expresses his fear for Sibyl since he knows that his mother's ‘shallowness and vanity’ (77) will not protect his sister. While watching ‘the CHARACTERS and the park | Sibyl Vane Mrs Vane, Sibyl's mother complaining in a whining manner watching or catching sight of someone calm, tranquil, even-tempered behaviour or speech that is pretentious a set of principles laid down by an authority as true horse-drawn carriage for two passengers a dishonest and unscrupulous person James Vane, Siby''s brother (nicknam, ames Vane, Siby!s brother ed cknamed Jim) | smart people go by’ (78), Sit slimpse of Dorian in an SPM aes a before she can point him out io her Sot the carriage has passed by, nthe, threatens to kill Prince Charming: 4a he wrongs Sibyl. 19 Hf ever James has suspected that his a secrel and, afer dinner, he sake get she was marred to his father. She adi that they were not married but reveals try his father was a. ‘gentleman and highy connected’ (82). James regrets opening | painful secret but reiterates his threat o Dorian if he hurts Sibyl ANALYSIS This chapter introduces three characters who appear only briefly but who have a profound impact on events that will be developed later in the novel Mrs Vane reflects the complex relationship between life and art. She lives her life ike a play and there is a theatricality fo the way in which she behaves. Her mannerisms are pretentious and exaggerated. James hates his mothers affectations. Ironically, for Mrs Vane, ‘@ MASTERCLASS ENGLISH 6sivyl's expressions of love are a theatrical performance. iby!’ love for Dorian is pure and innocent hd Is a melancholic contrast to Doran's fove that is superficial and manipulative, She is nalve and her love represents a reality that goes beyond the artistic performance. This chapter reveals the vast inequalities that exist between the aristocracy and the working class in Victorian London. The Vanes live in a dingy, poorly furnished home in one of London's poorer areas. This Is in stark contrast to the opulently furnished homes that are described in the earlier chapters of the novel. The ‘meagre meet’ (61) shared by the Vane family is juxtaposed with the gourmet cuisine that the upper crust of society take for granted, The borrowing of fify pounds and the obligation Siby's mother feels to Mr Isaacs also indicate their poverty. James's leaving for Australia in search of a better life and his admission that he will be glad if he never has to ‘see this horrid London again’ (73) is an indication of the shabby treatment of, and lack of opportunities for the lower class citizens. It is possible that Siby! falls in love so easily with Dorian to escape being poor and it is clear that Mrs Vane sees Dorian as a means to escape their current lifestyle. Despite the fact that James is a year younger than Sibyl, he feels protective of her and it is clear that they share a close bond. His threatening nature and the fear Mrs Vane feels in his company foreshadows his determination for vengeance later. Although Sibyl and her mother view these threats as endearing, they are sinister. James's suspicions of Dorian’s motives with his sister, his hatred of him because of his wealth and class and the fact that he threatens to kill him if he harms Sibyl are ‘ominous. This, coupled with the fact that he does not know Dorian’s name or what he looks like creates a sense of mystery and foreboding, QUESTIONS 5.1 Explain why Mrs Vane discoura Siby''s love for Dorian. ba 5.2 Throughout the chapter, references are made to Sibyl as a ‘rose’ (71). Explain the significance of this description. 53 ‘The joy of a caged bird was in her voice.’ (72) Discuss the effectiveness of the ‘above image in characterising Sibyl. 5 & ‘She was free in her prison of passion. (72) Comment on the paradox in the above line. 5.5.1 Explain James Vane's attitude to ‘society’ (74), Do you think his attitude is justified? Motivate your answer with reference to chapters 1-5, 552 5.6 Contrast Sibyl's love with Dorian's view of love as presented in the previous chapter. 5.7 Describe the relationship between Mrs Vane and her son, ADDITIONAL NOTES (© MASTERCLASS ENGLISH 7CHAPTER 6 (Pages 85-83) DORIAN'S EXCITEMENT ABOUT GETTING MARRIED incorrigible (90) (adi.) irrevocable (90) (adj.) prig (91) (n.) than other people ‘SETTING The Bristol - a luxury hotel in West London iim we a Pe Ge AE ie ae badly behaved: unchangeable (bad behaviour) impossible to change or stop ‘someone who is selfrighteous and who thinks he is bette someone with strict moral views who does not approve of sey ey Puritan (91) (r.) indulgence and pleasure = age A CHARACTERS = Basil Hallward =a Lord Henry Wotton Dorian Gray ‘SUMMARY Basil meets Lord Henry for dinner. They are later to be joined by Dorian. Basil reacts with disbelief to Lord Henry's breaking the news of _Dorian’s engagement. He expresses the hope that Sibyl is not ‘some vile creature’ (86) who will ruin Dorian. Lord Henry responds by saying that Dorian has a heightened appreciation of the appearance of others since Basis portrait of Dorian was completed. He also tells Basil that Dorian has assured him that his beloved is beautiful. Basil is concemed that it is simply a ‘silly infatuation’ (86). Dorian joins Basil and Lord Henry and calls for his friends to congratulate him, saying that he has ‘never been so happy’ (87). His excitement makes him look even more handsome than usual, Dorian tells his friends how he came to be engaged to Sibyl: having been enthralled by her performance, he visited her backstage where he felt drawn to kiss her and tell her that he loves her; Sibyl’s response makes it clear that she sees this gesture as a proposal of marriage. Dorian says that he wants to ‘place [Sibyl] on a pedestal of gold’ (90) and th; makes him ‘regret all that [L = ae taught [himy’ (60). ord Hemy has At the end of the meal, Lord Dorian leave together to go to followed by Basil in a separate Henry ang the theatre, carriage, ANALYSIS: Basi's unease with Dorian’ beneath his. social postion is ae’ reminder of the rigid class structure of the times. He also expresses the concem tha Dorian’s betrothed be ‘good’ and not ‘sone vile creature, who might degrade he nature’ (86). Lord Henry's response that ‘she is better than good ~ she is beautful (86) reflects the different natures ofthese two men. Basil is worried about Doran's welkbeing and personal development while Lord Henry is. simply concerned about people's physical attractiveness, Basil is genuinely concemed about Doren and is shocked by Lord Henrys detached and artistic interest in Doran's lie, Lord Henry says that he does not judge what others say and do. He expresses the idea that people should be free to express themselves and explore new experiences. ‘© MASTERCLASS ENGLISH 18This focus on individualism is one of the main ideas of Aestheticism, Ho says that even unpleasant experiences are valuable in the development of an individual and that marriage is not the only bond that should be explored between men and women. The idea of sexual permissiveness would have shocked many virtuous Victorians, although the inherent hypocrisy in such a reaction is made clear by the sinful acts that are ignored by society. Lord Henry's referring to Dorian as a ‘boy and to Sibyl as a ‘git! throughout the ‘chapter is a reminder of Dorian’s youth and inexperience when it comes to matters of love. It is also a reminder of how impressionable and easily influenced Dorian is. There is a certain naivety to Dorian. Dorian’s attraction to Sibyl is presented in terms of her performances on stage. He is enthralled by her abilty to portray a range of theatrical characters. Art and life become blurred as a result of his inability to separate Sibyl from the roles that she plays. Dorian would appear to agree with Lord Henry’s comment, ‘I love acting. It is 80 much more real than life’ (2). Dorian is upset by Lord Henry’s cynical reaction to the news that Dorian did not actually propose to Sibyl. Lord Henry responds by saying that ‘women are wonderfully practical’ (89), implying that Sibyl is taking advantage of Dorian, seeing him as an opportunity to better herself This attitude, together with the other comments he makes about women and marriage in the chapter reinforce Lord Henry's sexism. The three men debate what it means to be good. According to Lord Henry, ‘To be good is to be in harmony with one's self (00), that the only important thing is ‘one's own life! (91) and that self-denial is a ‘real tragedy’ (81). Basil, on the other hand, says that there is a huge price to pay for living @ selfish iife. The novel bears out Basifs viewpoint. QUESTIONS 8.1 Brlefy explain, in your own words, what Lord Henry's hopes are for Dorian, as expressed on page 87 8.2 What are the implications of Lord Henry's assertion that Dorian ‘would make @ wonderful study’ (en? 83 ‘You don't mean ... pretend to be’ (7) Discuss the validity of Basil's assessment of Lord Henry. 64 Explain the significance of Dorian's teferring to Sibyl as a ‘white Narcissus’ (89). 8.5 Comment on Basil reaction to Dorian's impending marriage. ADDITIONAL NOTES (© MASTERGLASS ENGLISH .CHAPTER 7 (Cages 95-107) oppressive (95) (a4) foured (104) (n.) Callousnoss (106) (n.) insensitivity, indifference marred (108) (v. impaired the quality or af 5 POOR ACTING AND THE CHANGE IN THE PORTRap, aL “<5 it i ther) and stifling (referring to the wea potaing immoral or dishonourable actions and motives sordid (96) (@d)) ing energy or enthusiasm ; istess @7) (2d) ) (aetftomed into something more beauttul tanafigued (0) basphemous behaviour, degrading something worty profanation (101) (1) _blaspvers anode 10 (0) ied or waited without apparent purpose loiter ) ie riband (104) (n) Oe ctcea colour arance of; spoilt SETTING ‘CHARACTERS = , is ing | Mr Isaacs, the theatre owner | Tete whet Sty Var peroming | Mr sas, | Basil Hallvell | Lord Henry Wotton —] ‘SUMMARY Lord Henry, Basil and Dorian arrive at the theatre to witness Siby!’s performance of Juliet. Lord Henry is condescending toward the other theatre-goers and Dorian ‘admits they are ‘common, rough people’ {@5) who become different when Sibyl is on stage. Dorian warns his guests that the show is readful with the exception of Sibyl. When. she appears on stage, Lord Henry thinks ‘she is one of the loveliest creatures’ (96) but her acting is ‘istless’ (97) and her ‘words are spoken in an ‘artificial manner’ (97). Dorian is embarrassed as her acting {is unbearable and only grows worse, Disappointed, Lord Henry and Basil leave at interval but Dorian insists on ‘seefing] the play through (98). When he sees her backstage, Dorian is shocked to find Siby! ‘tansfigured with joy’ (100); she admits {hat she hates the stage and can no longer ‘ct, as she has found true love, Dorian callously tells her that she has ‘ile (hi) love’ (102) and that she is ‘shallow and stupid’ (102). Siby"'s pleading for Dotian not to leave is met with disdain and he tes her that he cannot see her again, After wandering the streets aimlessly for hours, Dorian arrives home. He notices his portrait and is struck by the difference he sees in the facial expression. He is reminded of his ‘mad wish’ (105) for the Portrait to ‘bear the burdens of ‘nis passions and his sins’ (108), Although he feels some remorse, he justifies his cruelly by blaming Sibyl for making him endure three hours of terrible acting, He resolves to make amends with Sibyl and to stay away from Lord Henry. ANALYSIS This chapter begins with Dorian as a commitied lover but he quickly rejects Sibyl (OMASTERCLASS ENGLISH 20iders Siby’s acting ‘bad art Darian comete faire’ (08). Her aesthetic and eFatetetl to him as he is intialy et by the ilusion of Sibyl found in capes periorming. His admiration of her the a on her artistic talent and, onoe is ate not exist, Doran loses interest in that eran acouses Sibyl of spoing the har ice of (is) Ife (102). This indcates vorspesbity that he will ned to choose the hover at. He confuses his love for Sis acting with the act of loving. It Fecomes impossible for him to seperate Reresthetic ftom the realty. Ironically, ‘Sbyl says that Dorian has ‘taught {her} ort realy relly i’ (101). His rejection of arend the love she has for him wil lead fo his degradation. He is harsh in his Gatcsm, caling Soy ‘shallow and ‘stupid’ (402) and teling her that she is ‘nothing to {rim} now’ (102). His cruelty toward her is the fst sign of his comuption. Sibyl i the fist vicim of Doran's. devotion: to. an aesthetic lifestyle. ‘The altered state of his portrait, which shows a ‘touch of cruelty in the: mouth’ (106), mirors the cruelty of his behaviour toward Sibyl. When conffonted by the ‘dreadful thing’ (106) he has done, he feels, shame and resolves not to give in to future temptation, and to avoid Lord Henry and fis ‘poisonous theories’ (107). This awareness suggests the possibilty that Dorian will reject Lord Henry's corrupting influence and choose love and reality over att and sel-indulgence. The portrait becomes the visible embodiment of his conscience and symbolises Dorian’s soul and spirit. The alteration of the portrait can be seen as a manifestation of _Dorian’s shameful behaviour. He is willing to return to Sibyl ‘and make amends, not with honourable intentions but out of selfishness. He feels that Sibyl has ‘disappointed’ (108) him and ‘ttwas the gifs fault, not his’ (106). This chapter once again highlights the prejudicial views that the aristocracy had toward the working class. The society's judgemental, prejudicial views are also seen in Dorian’s anti-Semitic attitude toward the Jewish manager as he feels nothing but Joathing for the ‘fat Jew manager (25) QUESTIONS 7.4 Discuss the changes that take place in Doran's character in the chapter. Account for Lord Henry's and Basil's departure from the theatre, 72 7.3 Explain the significance of Siby!'s Playing the character of Juliet In your view, does the character of Lord Henry ‘develop at all in this chapter? Justify your answer by referring to examples from this chapter, "You have freed my soul from prison.’ (101) 74 75 7.5.1 Discuss the effectiveness of the imagery used in Sibyt's response. 7.52. Explain why her response is ironic. 7.6 ‘Would it teach him to loathe his ‘own soul?’ (107) Discuss the extent to which this line foreshadows Dorian's perceptions of himself. 7.7 ‘The picture changed or . ‘emblem of conscience,’ (107) visible Discuss why the portrait has become the mirror of Dorian's ‘conscience, 7.8 Referto page 4 of the Preface: “Those who go beneath the surface do so at their own peri.” © MASTERCLASS ENGLISH 2CHAPTER 8 (Pagos 109 - 423) DORIAN’S REACTION TO SIBYL’S DEATH yn (112)(n.) the process of changing to a worse condition degra (ad;) confident and hopeful about what might happen gulfion (112) (.) forgiveness : 16) (2d) not attractive or fashionable bic) a) complete; severe (ir g)(ad).) ‘related to mariage ono) (.) great happiness re (119) ad.) free; having the same rights as others lea 121) (1) act ofrecognising/understanding something ognize i2i)(n.) something of mysterious or sacred significance rod (121) (W) apologised; made amends atonod (77 1) (ed})_attractvelappealing appearance or manner ving (121)(@dj) nt serous or sensible tromulous (2) } Gu comersis ac coal somata jal or ho H21)(n.) the del ing something special or holy; seooeston | disrespectful treatment of the sacred feigned (121) ¥) pretended Sremoured (122) (2d) Impressed with or enthusiastic about something SETTING Dorian Gray's home CHARACTERS Dorian Gray Lord Henry Wotton SUMMARY Dorian wakes after sleeping until long past noon, The previous night's events seem fixe @ dream to him. After dressing, he goes downstairs to have breakfast, a latter from Lord Henry awaits him but he does not open it. His eyes fall on the screen that he placed in front of the portrait the previous evening and he is reminded of the events that occurred. He avoids looking at the portrait, as he is afraid of confirming his recollection of the changed appearance of the portrait. After locking the door, he exposes the portrait and sees that the portrait has, in fact, changed. He tries to think of a scientific explanation of how it might be possible for the portrait to have been altered. He looks at the portrait in ‘sickened horror’ (111), seeing its cruel sneer and he realises that he was unfair and cruel in his treatment of Sibyl, He spends hours contemplating what to do and eventually writes a letter to Sibyl, begging for her forgiveness. Lord Henry arrives at Dorian’s home and breaks the news that Siby! has committed suicide. intially Dorian cannot believe the news and blames himself but he is not overly upset. Lord Henry's main concer is what this might do to Dorian’s reputation and advises Dorian not to get involved. He tells Dorian that he is lucky that Sibyl was prepared to sacrifice herself for him and that marriage to her would have been a failure. After Lord Henry leaves, Dorian looks at the portrait again. He realises that the portrait will ‘bear the burden of his shame’ (121) for the rest of his life, and that he ean (OMASTERCLASS ENGLISH 2Wu ‘a life of ‘eternal youth, infinite passion, pleasures subtle and secret, wd Joys and wilder sins’ (121), He consid praying for a reversal of the ‘curso! Wor decides against it, although he says he wi not tempt fate again. He is intrigued by the it’ his soul thought of the portraits revealing to him and the thought of eternal youth, ANALYSIS Dorian considers the possibilty that the portrait could be his moral guide or conscience. It has the potential to remind Dorian of ‘the ruin men brought upon their souls’ (112) and thus save him from future corruption. At the end of the chapter, Dorian realises that the portrait will bear the signs of his sins and that he can enjoy a guilt-free life, He is saddened by the thought that the portrait will deteriorate while he pursues a hedonistic lifestyle but he is not prepared to alter the path to which he has committed himself. Dorian takes pleasure in writing his confession to Sibyl; he sees it as a selfless act and something that will absolve him of any guilt. This is, however, an indication of his selfishness. There is something redeeming about Dorian when he admits to Lord Henry that he had been cruel in his treatment of Sibyl but he vows to be good. Unfortunately, Dorian does not sustain any of his good intentions. When Dorian learns of Sibyls death, he blames himself and is amazed that life continues unaffected around him. He is struck by the tragic wonder of his response to Sibyr's death but also by the fact that he does not ‘feel this tragedy as much as (he wants] to! (116). He is afraid that people will think that he is heartless. He responds to her death as he would to the death of a character in a play but he does not feel personally affected by it. He is more death, showing that he jg egotistical, Vain His reaction Is suppor who says that really ie on ae death has spared Dorian free" and Sibyl as he predicts the mama have failed. Lord Henry telly Dou° Wout lucky that Sibyl was prepared on e herself for him and he encoura : to appreciate the dramatic rags © death, saying itis lke a scene fo’ © These comments show that Sibyi teal to the men as the charaggs 0a portrayed. She is not valued ag a" the but rather as an artistic representanre"™" When he hears about Siby's a wants to sow poppies : his ‘eee responds to this tragedy in an een He manner, wanting to surround himeese the sensory beauty of flowers. py with response is also melodramatic i tis Poppies are flowers associated with ge and the remembrance of the dead “2th He is obsessed with the chai portrayed and is disappointed eet tries to be herself, Her death allows hiss view her as a character in a play. Art holds more value for Dorian and Lord Henry they life. Sibyt's death highlights the dangers of following aestheticism too closely. At the end of this chapter, it is clear cruelty and selfishness "are devine, aspects of Dorian’s nature, QUESTIONS 81 ‘We live in an age when unnecessary things are our only necessities,’ (109) Using what you know of the novel to this point, comment on what this paradox suggests about the lifestyle of the Victorian aristocracy. concemed about his response than her 8.2 ‘You cut life to pieces with your epigrams.’ (113) © MASTERCLASS ENGLISH 24HAPTER 9 pages 15-138) 1g SECRET AND THE CHANGE IN DORIAN aw tf seriously; sombrely ' 8) 8) ) Comfort someone at a time of orief constmope (126) (n) person who dislikes humankind : Incarnation (132) (n.). person ho embodies, inthe flesh a deity or spirit Ship of idols idolatry (133) (n.) the wors! roticences (135)(n.)_the sual ofbeing pce Oe | SETTING CHARACTERS Dorian Gray's home BASIL’ GLOSSARY Basil Hallward Dorian Gray ——__| RY finally admits that he feared exh ee portrait because he did not ae i Basil arrives at Dorian’s house to extend ‘idolatry’ (133) of Dorian to be revealed, his condolences on Siby's death. He finds Dorian now has the perfect excuse to ke it hard to believe that Dorian had been at the portrait hidden, J the opera the previous night Basil is distressed about Sibyl's death and ‘concerned about the Vane family. Basil is ANALYSIS hortfied when he leams that Sibyl killed herself.He is concemed that Dorian willbe In this chapter, Basil shows genuine called to an inquest into her death but concern for Siby's family, His reaction sp, Dorian is convinced that their association contrast to that of Lord Henry in the is not known as Sibyl only knew his first previous chapter. He is also worried about name and always refered to him as the impact that Sibyi's death will have on ‘Prince Charming” Dorian. He is shocked by Dorian’s callous attitude and suggests that it is a resul of Dorian tells Basil that he does not want to Lord Henrys influence on Dorian, talk about ‘horrid subjects’ (126) and that he has ‘suffered immensely’ (128) but he Dorian remarks that if, an unpleasant admits ‘then it passed away’ (128). experience is not acknowledged, then it is as if it did not even happen. This sounds Basil recognises the change in Dorian from like the sort of remark that Lord Henry the ‘simple, natural and affectionate’ (126) would make. Dorian chooses to ignore the boy who used fo come to his studio, Dorian reality that Sibyls death represents. accuses Basil of teaching him to ‘be vain’ Repeating what Lord Henry had said (127) earlier, Dorian tells Basi that her death is y ‘one of the great romantic tragedies of the Basil is surprised to see that Dorian has age’ (127) and responds as he would toa hidden his portrait behind a screen and theatrical performance. He consoles asks to see it but Dorian threatens never to himself by thinking that her suicide is speak to him again if he uncovers it. Basil heroic. His reaction to Sibyl's death tells Dorian that he wants to exhibit the demonstrates his self-centred and fickle Portrait in Paris. This terrifies Dorian, Basil nature. He is unmoved by the suffering of (© MASTERCLASS ENGLISH 6others. fi Basil is surprised by the changes Althrmesses in Dorian, he also believes {hat there is 's0 much in him that fis] good’ (129). esil acknowledges Dorian’s positive influence on his artistic output and admits that the portrait he did of Dorian is the ‘best thing the has) ever done’ (129), He is disappointed that the. portrait has been concealed and he asks for it to be uncovered. Dorian’s extreme reaction confuses Basil, who is then persuaded to confess that it is his admiration and ‘dolatry’ (133) of Dorian that is revealed in the portrait. He mourns the loss of his muse and is envious of the friendship Dorian shares with Lord Henry. This, fogether with his comparison of Dorian to a series of mythological heroes, might be perceived as part of the homoerotic clement in the novel. tronically, it is Basil who has turned Dorian into art and now cannot get Dorian to live in reality. ony is also evident in Dorian’s reason for refusing to pose for Basil again, when he says that ‘there is something fatal about a portrait. It has a life of its own’ (138). Dorian’s decision to hide the portrait is a sign that he is becoming irrationally anxious. It also is a vain attempt to deny his own shame by removing it from his sight. QUESTIONS 9.1 Refer to page 125. Why does Basil believe that it is impossible for Dorian to have gone to the Opera? 92 Explain what Basil's reaction to Siby's death suggests about his character. 93 94 95 96 Account for Dorian’ Siyte dae, Cans atituds to (Refer to page 126.) ‘It is only. shallow People who fequire years to get ri emotion."(iz6) °°" "of an Comment on the signif above line. emer the ‘Something has changed completely.’ (126) ates According to Basil, how has Dorian changed? “You only tatight me to be vain.’ (127) lug! @ vain. Explain the foreshadowing in the above line, How does Dorian respond to Basil's Fequest to exhibit the portrait? Account for his response, Read page 134: ‘Lord Henry had the charm of being very dangerous.’ Explain why Basil would be a better influence for Dorian than Lord Henry. Use your own words to outline Basit’s secret, Comment on Dorian's reaction ‘when Basil makes his confession. ADDITIONAL NOTES (© MASTERCLASS ENGLISH aGLOSSARY impassive (137) (adj not showing any obey senvilty a 3 i) i ‘an extreme willingness f© serve Of garrulous (138) (ad).) excessively talkalive | crag petulantly (138) (adv.) childishly sulky ‘or bad-t eit completely annihilated (139) (v.) destroyeaifeated an oppo! severe ofilicist ropa ¢h 30) Ma ‘an expression of| disapproval inveterate (139) (adj.) ingen, oP ey i jiousity (139) (n.) having little or innit) Py ress ones raiment (144) (0.) clothing . renunciations (144) (n) formal rejections of something ie argot (144) (n.) Jargon or slang of a particular a p arate (144) (n.) __ob-fashioned words or phrases no longer in use (145) rhythm/modulation , eee eas) oe , daydream; being lost in one’s own thoughts ‘SETTING CHARACTERS Gray's home Dorian Gray cee? Victor (Dorian’s valet) The morning room of Lord Henry's gentlemen's club Mrs Leaf (Dorian’s housekeeper) ‘Mr Hubbard, the frame maker, and his assistant Lord Henry Wotton SUMMARY Dorian calls his servant, Victor, to tell him to find someone to help him move the portrait, He then asks Mrs Leaf for the key to his old schoolroom. He thinks that maybe he should have confided in Basil and that Basil might have given him the strength to resist Lord Henry's influence and his own negative impulses. He acknowledges that the love expressed for him by Basil was sincere and genuine and that it ‘could have saved him’ (139). He admits that he is filed with evil thoughts that must be expressed. Looking at the portrait, Dorian sees the cruelty in the expression and feels that his own soul is judging him. This, he feels, is far worse than anything that Basil said about hs response to Siby!'s death, After returning with Mr Hubbard and his assistant, Victor is sent on an errand to Lord Henry. The two men help Dorian move the covered portrait up to his old schoolroom. Dorian then returns to his library where his tea has been served. Vietor has retuned from Lord Henry with a letter and a book the letter containing a newspaper clipping about Siby's death angers him while he is intrigued by the litle yellow book which he reads ‘til he could read no more’ (145). Vietor has to remind him of the time, whereafter he dresses for dinner and joins (©MASTERCLASS ENGLISH 8Lord Henty at the club, ANALYSIS This chapter reveals Dorian’s increasing paranoia, He becomes suspicious of jeople around him, Including his valet, and fe worries that they may know his secret This is a sign of his guilty conscience, although he quickly allays these concerns by hiding the portrait. This is also his way ‘of trying to deny responsibility for his heartless treatment of Sibyl. Dorian refers to the purple bedspread used to conceal the portrait as @ ‘pall’ (141), thus conifying the portrait. This act of Concealment is Dorian’s attempt to cover tp his moral degradation, He is unconcerned about the future degradation ‘of the portrait and he considers. the possiollty that his ‘nature (might) grow fner (141). This suggests that Dorian’s questionable behaviour might be fedeemable, although he also admits that there is a charm and appeal to those ‘curious unpictured sins’ (141). He is intrigued by the thought of the sins that he might stil commit and that are not yet teflected in the portrait, Dorian briefly ppearanco decir conceals the portrait, he hee ade ‘concealing the less. vn jonerts ot his nature from aie " be people. As he Dorian is intrigued by the little yer I low boot he receives asa gif from Lord Henry. Ths in 0k alludes to a French book entitled, A ‘ebours (‘Against Nature’), in which the protagonist devotes himself to a hedonistic, decadent lifestyle. It describes the sensual life of a young man in Paris who loves both virtue and sin, and who experiences both fully. Dorian’s reading of this book leads to his moral downfall as it becomes his guidebook to a life of self- gratification and decadence. Dorian is increasingly controlled by his facinien wi his desire to live according principles outtined in the ‘poisonous’ (145) yellow book. i QUESTIONS 10.1. Refer to page 138 - 139. Explain the effect of personification of the portrait. the considers the idea of the portrait’s reverting to its original state but he is 10.2 ‘What the worm ... away its grace.’ unwilling to give up his youthful looks and (138) he acknowledges that the portrait will, in fact, become more hideous by the hour. Discuss the significance of these Dorian's moral ambivalence is what allows words. him to become increasingly controlled by his knowiedge that he can escape the 10.3 ‘| dont go in much at present for visible signs of his profiigacy. religious art (140) The schoolroom in which the portrait is Explain the significance of this hidden is @ reminder of the innocence of comment in relation to Dorian's Dorian’s childhood. On entering the cheracter. schoolroom, Dorian is reminded of his ‘ionely childhood’ (141). Hiding the 10.4 Discuss the impact of the yellow evidence of his corruption in this room book on Dorian, dishonours the purity with which Dorian associates the room, and the purity within 10.8 Provide evidence from this chapter himsetf that Dorian distrusts people. Mr Hubbard's willingness to make @ house - call for Dorian and his perception of Dorian 10.6 Could Dorian’s childhood and tis as charming indicates that Dorian's outer relationship with his grandfather be ‘© MASTERCLASS ENGLISH 2CHAPTER 11 (Pages 147 -167) REFLECTION OF DORIAN’S CHARACTER GLOS | ebuked (148) (V.) retro (148) (0. | cfamoured (148) (v.) | poignant (149) (adj.) Fopperies (150) (n.) imperial (150) (2) anchorite (151) (n.) asceticism (151) (n.) profligacy (151) (n.) ardour (152) (N.) pathos (153) (n.) tabernacle (153) (n.) monstrance (153) (n.) fain (153) (adj.) censers (153) (0. | travail (183) (7. ) Mysticism (153) (n.) antinomianism (183) (n.) morbid (153) (adj.) doleful (155) (adj.) alchemist (156) (n.) appeased (156) (v.) ecclesiastical (159) (adj.) wanton (161) (adj.) coiners (162) (n.) notorious (162) (adj.) insolences (162) (n.) calumnies (162) (n.) myriad (163) (n.) bequeathed (164) (v.) saturnine (164) (adj.) swarthy (164) (adj.) centaurs (166) (n.) expressed sharp disap, an opinion formed on i infatuated with, smitter evoking a keen sense foolish actions relating to an empire a religious recluse severe self-discipine; avoiding forms of indulgence recklessly wasting money on luxuries great enthusiasm or passion a quality that evokes pity or sadness @ meeting place for worship ‘an open receptacle in the Roman Catholic Church obliged to containers to burn incense duri painful or laborious effort a spiritual belief centred on the uni fundamental truth a Christian belief that moral behaviour comes from within and is not dictated by external laws abnormal interest in disturbing subjects e.g. death expressing sorrow; mournful person who transforms something of litle value into a substance of great value pacified (someone) by acceding to their demands relating to the Christian Church or its clergy wasteful people who coin money, mainly counterfeit well known, typically for some bad quality or deed rude and disrespectful behaviour false statements which damage a person's reputation extremely great number of people or things passed or left something to someone else gloomy dark-complexioned creatures with the upper body of a man and the lower body of ahorse Prova of someone's behaviour incomplete information, n, besotted of sadness or regret ing a religious ceremony ion with the deity or with a SETTING No specific setting | The focus is on Dorian Gray's reflections. CHARACTERS Dorian Gray (@ MASTERCLASS ENGLISH at