Chapter 1

p.7 “Basil Hallward, whose…many strange Basil's reclusiveness is mentioned early on almost as an afterthought, but plays an
conjectures.” important role later in the novel. Since he customarily withdraws from society on a regular
basis, his absence is unremarkable when he eventually disappears for good.
p.7 “Lord Henry elevated… heavy opium- Lord Henry smoking an ‘opium-tainted cigarette’ indicates his hedonistic lifestyle. This
tainted cigarettes.” lifestyle was led by many members of the upper classes. They lead lives of leisure and
indulge in questionable behaviour. They have no need to work and thus their lives are
shallow and lack purpose. Indolent, pampered, and self-indulged, their own comfort is
paramount to them. They are frivolous, carefree and nonchalant. As observers rather than
active participants in society, they are largely unconcerned with the problems faced by the
less fortunate.
p.8 “I have put too much of myself into it.” Basil believes that his feelings for Dorian are reflected in the portrait and will be obvious
for all to see. He is concerned that the portrait exposes his preoccupation with Dorian and
the intensity of his affection. Basil feels vulnerable and is afraid of being ridiculed for his
adoration of Dorian.
p.8 “…this young Adonis…ivory and rose- Dorian has the appearance of a Greek God. He is like a statue which is worshipped for its
leaves.” beauty. The ‘ivory’ and ‘rose-leaves’ refer to his complexion and create the impression that
he is a romantic figure. The comparison with Adonis suggests that Dorian is loved and
admired for his attractiveness.
p.8 “…he is a Narcissus…of any face.” Dorian is very much modelled after Narcissus, the character in Greek mythology that the
term “narcissism” is derived from.

p.9 “There is a fatality…faltering steps of Basil's statement indicates that physical and intellectual excellence is often the downfall of
kings.” those who possess them. The reader should note how Basil's statement rings true
throughout the novel
p.9 “Your rank and wealth... suffer terribly.” These lines are prophetic. Basil believes that all people will have to pay the price for the
gifts/talents given to them. Dorian suffers as a result of his obsession with his youth and
beauty. He experiences brief moments of suffering because of his sordid lifestyle. Over
time, these feelings intensify and ultimately lead to his destruction of the portrait, and his
own death. Basil is tormented by the realisation that his painting has contributed to
Dorian’s depravity. He suffers when he sees what Dorian has become and feels that he
has been punished for his worshiping of Dorian. His murder is the ultimate price he has to
 pay for his artistic talent. One may argue that Lord Henry, who has gifts of wealth and
rank, seems immune to suffering.

p.9 “Dorian Gray? Is that his name?” Basil's portrait of Dorian plays such an important role in the book that the reader is actually
introduced to the painting as if it were a character before meeting Dorian himself. By
introducing Dorian via his portrait, the reader is filled with anticipation and is keen to know
more about the man behind the portrait. The description of the portrait, and Lord Henry’s
response to it, create an aura of mystery, which intrigues the reader. By focusing Basil's
portrait of Dorian’s beauty, it is suggested that appearance is more important than
character. Perhaps Wilde is indicating that Dorian's reputation for physical beauty
precedes him and is more important to his character than any other attribute.
p.15 “I like persons…with no principles…” Lord Henry’s interest lies in simply being an observer of the world and of humanity. He
prefers to experiment with real people and he manipulates them with his words into doing
heinous things, although he is never part of the immoral things he so often
implies/suggests.
p.15 “Tell be more about Dorian.” Lord Henry is intrigued by the appearance of the man whose portrait he has seen, he is
fascinated by the impact Dorian appears to have on Basil, who has enthusiastically
spoken about how he has been inspired by Dorian Gray.
p.15 “I couldn’t be happy…art to me now…” Basil is enamoured with Dorian’s beauty and innocence, seeing him as the idea to which
his work has always aspired.

p.15 “...what the invention…be to me.” Dorian Gray is enlarged and elevated to the status of a historical figure, even an era, a
measure of time itself. Dorian’s influence cannot even be described – it all lies in his
appearance, he appears as a vision before Basil. The raising of Dorian over and above
human status to myth, to art itself, sounds like a warning—such great heights usually lead
to a fall.
p.17 “…he is charming…is horribly Basil describes his friend Dorian Gray to Lord Henry. This exchange takes place before
thoughtless.” Lord Henry, or readers, meet Dorian Gray. Dorian has not yet become consumed by his
own vanity. However, Basil sees signs in Dorian that foreshadow a cruel disposition
towards evil. Dorian is pleasant and polite. He is cultured gentlemen who know how to
behave in a genteel society. He is eager to please and accommodating of people’s
wishes. However, Dorian displays signs of wilfulness and petulance which indicate
selfishness. He is not always aware of how his actions might hurt others which shows a
lack of awareness and empathy. E.g. he does not honour his appointment with Basil
because he prefers Lord Henry’s company.
p.17 “…there is no doubt that Genius lasts In this line, Lord Henry recognises the value of man’s talents and intellect over superficial
longer than Beauty.” beauty. He alludes to the fact that dorian will age and with time lose his beauty, while
Basil’s genius as an artist will endure. The novel illustrates this truth when, despite his best
efforts, Dorian is unable to achieve lasting beauty. His stabbing of the portrait restores the
portrait to its former glory, while his beauty is destroyed. Art – and the genius that creates
it – withstands the ravages of time.
p.19 “‘You must introduce me now,’ cried Lord Lord Henry is intrigued by the appearance of the man whose portrait he has been
Henry…” admiring. He is also fascinated by the impact Dorian appears to have had on Basil, who
has enthusiastically spoken about how he has been inspired by Dorian. Basil’s reluctance
to introduce them spurs Lord Henry’s desire to meet Dorian.
p.19 “‘Dorian is my dearest friend,’ he said. These words illustrate that Basil is somewhat naïve. Basil equates physical attractiveness
‘He has a simple and beautiful nature.’” to having a noble character and he is easily misled as a result of his belief. His attraction
to Dorian obscures his ability to see Dorian’s true nature.
p.19 “’Don’t spoil him…your influence will be This line foreshadows Lord Henry influence on Dorian. Lord Henry shares his ideas on
bad.’” living a life surrounded by beauty, which influences Dorian significantly. He encourages
Dorian to seek out pleasurable experiences without worrying about the consequences. He
suggests that yielding to temptation and indulging in one’s desires is preferable to self-
denial. Dorian takes these ideas to heart and lives an increasingly debauched life, which is
destructive not only to him but to others as well.
p.20 “He spoke very slowly…against his will.” The words ‘slowly’ and ‘wrung out’ suggest that Basil has spoken reluctantly. He is
worried/anxious about losing Dorian to Lord Henry and he pleads with Lord Henry not to
interfere with his relationship with Dorian. He feels that he has made himself vulnerable to
Lord Henry by revealing his strong feelings for Dorian. Basil

Chapter 2
p.23 “There was something…from the world.” In the novel, youth represents innocence.
p.23 “No wonder Basil Hallward worshipped Dorian is beautiful. He is like a piece of art. Basil wants life to be art. He therefore does not
him.” only have deep seated feelings for Dorian but also views him as art – which makes Dorian
perfect in every way in his eyes.
p.23 “You are too charming to go in for These words ring true, as Dorian later becomes devoted to a life of hedonistic pleasure,
philanthropy…” which has little to do with the well-being of others. He becomes selfish and thus destroys
many lives.
p.24 “…pay any attention…exception of Basil speaks to Dorian in a patronising manner; he is comfortable enough with Dorian to
myself.” instruct him on how to conduct himself. Basil sees himself as Dorian’s mentor, advising
him on how to navigate his way in the world.
p.25 “There is no such thing as a good Lord Henry warns Dorian that you can be influenced by the thoughts or ideas of other
influence, Mr Gray. All influence is people, he warns that one needs to be careful not to allow these influences to change you
immoral – immoral from a scientific point in such a way that you become an imitation of them.
of view.” This quote shows that Lord Henry is aware that being an influence of any kind is bad.
Lord Henry is that he does not care if something is right or wrong if it pleases him to do it
he simply does it. But the fact of the matter is that everywhere one turns there are
influences all around them swaying them to what either society or the counter culture
wants and desires.
These lines prove true, as Lord Henry encourages Dorian’s self-absorption and callous
disregard for others. Dorian’s obsession with beauty is based on Lord Henry’s espousal of
Aestheticism, leading him to make his fateful wish that the portrait age rather than him.
Henry is interested in Dorian as an artistic or scientific project. Dorian's purity and
innocence are, to him, a blank canvas on which he can paint a personality so as to lead
Dorian towards a lifestyle that Henry finds artistically pleasing.
p.25 “Because to influence…is here for.” Lord Henry explains to Dorian the immorality of one person exerting influence on another.
He claims that influencing anyone else would take away that person’s chance to know who
they truly are. Of course, Lord Henry then takes it upon himself to remake Dorian to think
and act in the same way he does. Although Lord Henry characterises his influence as
immoral, he does not necessarily care about acting immorally.
p.25 “Courage has gone out…things that Victorian society was concerned with respectability, but much of this respectability was on
govern us. the surface. It was a repressed society that had an intrinsic fear of God.

p.25 “…a look had come into the lad’s face Basil becomes aware of the possibility of Lord Henry’s becoming a strong influence on
that he had never seen there before.” Dorian. He is concerned that as an impressionable young man, Dorian will find it hard to
resist the controversial yet appealing philosophies Lord Henry espouses. His concern
proves to be well founded, as Dorian emulates the lifestyle encouraged by these
philosophies and commits himself to a life of degradation.
p.26 “…you bewilder me…” Dorian senses "entirely fresh influences" at work on him and begs Lord Henry to stop his
speech. Dorian wants to try not to think. Lord Henry’s articulate use of language and his
outlandish philosophies about life have made Dorian look at things completely differently.
This has resulted in his bewilderment.
p.26 “The few words…to curious pulses.” Dorian is forced to think about issues that had never occurred to him before.
p.27 “Mere words! Was there anything so real Dorian compares Henry’s words to music because they have the same impact on him. He
as words?” finds music intensely moving but has not been able to put its impact on him in words. In
the same way, words stir his soul but he cannot explain their effect. Henry’s words have a
profound effect on Dorian to such an extent that he acts on Henry’s philosophies.
p.27 “Yes; there had…not known it?” These lines suggest that Lord Henry’s philosophies touch a chord in Dorian’s character
because the issues that Henry raises are those that Dorian had always harboured but had
not spoken about. Lord Henry is bale to articulate what Dorian has always felt. He refers to
life now becoming ‘fiery-coloured, yet he acknowledges that had always been walking in
fire, implying that he had always felt the way he felt now, but he needed someone to put
those feelings into words. Lord Henry is the catalyst in Dorian’s hedonistic lifestyle.
p.27 “He had merely…hit the mark?” Lord Henry sees Dorian as a target and compares his words and philosophies to arrows.
Henry shoots words into the air as one would shoot an arrow, hoping it will hit his ‘mark’. In
this case the mark is Dorian. The use of this metaphor tells the reader how Henry feels
about Dorian; he is simply someone whom Lord Henry would intentionally want to
influence.
p.28 - “Lord Henry went out…thing worth Lord Henry invites Dorian into Basil's garden as he delivers his lecture on youth, beauty,
29 having.” and the value of immorality. This Eden-like setting emphasises the fact that Dorian's
response to Henry's words represents the boy's fall from grace; it is Dorian's original sin.
p.28 "Nothing can cure the soul but the This philosophical observation suggests a kind of balance to life, a yin-yang relationship
senses, just as nothing can cure the between distinct parts of a human.
senses but the soul." Dorian remembers this line decades later, as he's headed to the opium den in Chapter 16.
p.31 “You are glad…always be glad.” Lord Henry has a hedonistic, pleasure seeking outlook on life. He likes to instigate chaos
and watch it unfold without himself being part of such things.

p.32 “The lad started…” The use of the word lad shows how young Dorian is, implying that Dorian is still
impressionable, naïve and innocent.

p.32 – “The sense of…flashed across him.” The narrator describes the moment Dorian first sees the portrait of himself that Basil
33 painted. Although Dorian likely knew he was handsome before seeing the painting, Basil’s
expert rendition of him opens Dorian’s eyes to the power and influence that comes with
youth and beauty. Dorian had seen Basil’s compliments as mere exaggerations. They had
not influenced his nature. However, Dorian is stirred by what Lord Henry tells him Dorian is
 prompted by to look at his own portrait differently, and becomes aware of his beauty. This
could be considered the catalyst to Dorian’s corruption. There is a complete transition in
his nature from innocence to self-involved worldliness
p.33 “…there would be a day…dreadful, Dorian comes to the realisation that beauty is transient. The painting is a masterpiece,
hideous, and uncouth.” certainly a "beautiful thing," but the image sparks jealousy and hatred in Dorian because it
reminds him of the fleeting nature of his own youth.
This realisation by Dorian is prophetic. Although his physical appearance does not
change, his soul becomes ‘dreadful, hideous and uncouth.’
p.33 “How sad it…soul for that!” Dorian has just seen the finished portrait of himself and makes a wish that he has no idea
will come true. Although he does not expect his wish to be granted, the timeless portrait’s
grim reminder of the fleeting nature of beauty arouses Dorian’s desperation to find a way
to stop aging. His claim that he would give his soul in exchange for eternal youth reveals
how much he fears his own mortality.
Dorian's wish that the painting show those horrible signs of age that he fears, leaving him
forever young. Dorian's wish about the painting introduces the Faust theme, which Wilde
develops throughout the book. (The Faust legend was well known to Wilde through
popular culture.) Faust, legend has it, sold his soul to the devil in exchange for knowledge
and power.
In light of the Faust legend, the reader might ask at this point what Lord Henry's role is. If
he is not the devil literally, he certainly seems to be playing the devil's part. More
accurately, he plays the devil's advocate, leading Dorian into an unholy pact by
manipulating his innocence and insecurity. Lord Henry's role in Dorian's downfall is implied
rather than explicitly defined, and the reader need not conclude that Lord Henry is aware
of his demonic role. However, he does enjoy controlling people and playing with their
minds. In the context of the Faust theme, perhaps he is the devil's unwitting
representative.
p.34 “I am jealous… I must lose?” Dorian explains to Basil and Lord Henry why his portrait upsets him. His immediate
reaction to the portrait was to admire it. However, after recalling Lord Henry’s warning that
he would not always have his looks and youth, this admiration was replaced with anger
and jealousy. Dorian’s jealousy of the portrait shows his ever-increasing vanity, and the
fact that his mind changed so quickly proves the power Lord Henry has over this thoughts
and emotions.
p.35 “His fingers were…would be murder.” Basil's attempt to destroy the painting with a knife, and Dorian's exclamation that "It would
be murder" foreshadows the events that take place in chapters 13 and 20.
p.37 ”I shall stay with the real Dorian…” Basil has captured on canvas what he believes is the true form and nature of Dorian Gray.
Lord henry believes that Dorian Gray’s emotional response to the painting is a reflection of
his true character.

Chapter 3
The main purpose of this chapter is for the reader to learn more about Dorian’s
background. His family has had a troubled past and this establishes Dorian as a troubled
and romantic character. The relationship between Lord Henry and Dorian becomes
stronger.
p.46 “He would seek to dominate him – had Instead of being driven by friendly affection, Henry is interested in Dorian as an artistic or
already, indeed, half done so” scientific project. Dorian's purity and innocence are, to him, a blank canvas on which he
can paint a personality so as to lead Dorian towards a lifestyle that Henry finds artistically
pleasing. This is a prominent thread in the novel's thematic exploration of the relationship
between life and art.
p.44 "a strange, almost modern, romance" That Henry refers to Dorian's early life as "a strange, almost modern, romance" is
indicative of the man's need to view life in artistic, as opposed to ethical, terms.

p.45- "he would try … to the painter…" The narrator reveals Lord Henry’s thoughts and plans after learning of Dorian’s history and
46 lack of family ties. Lord Henry understands that he can mould and shape Dorian to his own
liking. Just as Basil transformed Dorian into a work of art Basil could call his own, Lord
Henry seeks to transform Dorian into an entity of his own making. His declaration to
Dorian of the immorality of influence constitutes a malicious subterfuge to gain his trust,
and Lord Henry engages in the immoral act of influence throughout the novel.

CHAPTER 4
p.56 “…as I do everything you say…” Dorian is completely under Lord Henry’s influence.
p.57 “Women are decorative…into descent Lord Henry speaks disparagingly and insultingly about women, including his wife. He holds
society.” them with little regard, seeing them as frivolous and flighty. His attitude is sexist and
patronising.
p.61 "If ever I did a crime I would confess it to This boldly foreshadows later events in the novel, and is also an indication of the
you. You would understand me." commencement of Dorian's degradation. The young man that was innocent and good-
hearted only a month before now freely considers criminal actions for the sake of having a
 new sensation, without giving a single thought to the possibility of a guilty conscience.

p.63 “You look more like a prince…She knows Dorian criticises Sibyl for treating him like a person in a play, but is blind to the fact that he
nothing of life.” has fallen in love with the characters she plays, and hardly even knows the girl herself.
Dorian has begun to whole-heartedly devote himself to artistic ideals, mistakenly assuming
that they are his reality.
p.64 “Sybil is the…she came from?” Dorian describes his adoration for Sibyl Vane to Lord Henry. Dorian previously explained
that the theatre manager wanted to tell him about Sibyl’s past, but he was not interested in
learning more about her. Sibyl herself attracts him and he regards her history with other
people as irrelevant. Dorian’s observations on her petite body and porcelain skin reveal
that his feelings for Sibyl focus on her appearance rather than her personality. Dorian not
only values his own good looks, but those of others as well.
p.64 “That is the reason…quite what I Lord Henry reacts in a spoilt, almost jealous manner. He feels entitled to Dorian’s
expected.” undivided attention. This is typical of his selfish demeanour and his desire to control
Dorian’s life.
p.64 “My dear Harry…eyes in wonder.” Dorian’s statement implies that the aristocrats of Victorian society enjoy a life of hedonistic
self-indulgence. They pass their time dining out and frequenting the opera. They fill their
days with frivolous activities. This is indicative of the purposelessness of their lives.
p.64 “I get hungry for…am filled with awe.” This statement about Sibyl’s soul implies that Dorian has an intimate knowledge of the
person she is. This is however, not true as he barely knows her and is less concerned
about who Sibyl really is than about her artistic performances and the characters she
becomes, his lack of sensitivity to her ‘soul’ ultimately destroys Sibyl. There is irony in
Dorian’s recognition of the concept of soul, when he, in fact, progressively sullies his own
soul.
p.64 - “Well, I can’t help…I worship her.” Dorian is only interested in Sibyl’s artistry and her ability to transform reality for him. She
65 appeals to his aesthetic belief that art is superior to life.

p.64 “When is she Sibyl Vane?” Lord Henry is implying that Dorian is not in love with Sibyl, but rather the characters she
portrays. He is also implying that Dorian doesn’t know Sibyl very well and that his feelings
are based on fantasy.
p.64 “I want to make Romeo…to wake their Dorian is self-centred and wants eternal youth and beauty. He wants the same for the love
ashes into pain.” between himself and Sybil. It must be more beautiful than any love that has ever existed.
 He only wants to live his life as art.

p.64 “I congratulate you.” Lord Henry’s response is cynical. His response implies that women are never what they
present themselves to be.

p.67 “He was conscious…his own creation.” Henry pays careful attention to Dorian's impression of his own emotional state.
Recognising his influence at work on the boy brings "a gleam of pleasure into his brown
agate eyes"; he is like an artist proudly admiring his work.

CHAPTER 5
This short chapter serves an important function in the novel; it introduces and describes
characters and sets up events that will be developed later in the story.

p.75 “He has not yet revealed his real name. I Mrs Vane is a dreamer/romanticist. She appears to be easily influenced. She is
think it is quite romantic of him.” mesmerised by Dorian’s appearance. Outward trappings of appearance and wealth are
important to her. She hardly appears concerned about who Dorian really is and whether
he has honourable intentions. It suffices for her that he appears to belong to the
aristocracy and he has money.
p.80 “She started to her feet…swept out of the When Dorian drives by in a carriage, unseen by James but noticed by Sibyl, Wilde is
park.” emphasising the discrepancy between their social classes. Dorian rides in an expensive
carriage, while the Vanes walk the filthy streets. This discrepancy is the source of much of
James's rage and frustration, and also Sibyl's tragically idealistic hopes for a better life.
p.80 “I wish I had… I shall kill him.” These words become prophetic. The threats made by James, which are dismissed by
Sibyl as by-products of the over-zealousness of youth, return to haunt Dorian in the later
chapters
(specifically chapters 15-18). James comes to represent the inescapable consequences of
Dorian's past transgressions. The threats that Sibyl finds so harmless and endearing prove
to be earnest declarations of intent.

CHAPTER 6
p.85 “Dorian is far too sensible…my dear Basil can't believe that Dorian is really engaged, saying that Dorian "is far too sensible" to
Basil.” make such a rash decision. To this, Henry replies that "Dorian is far too wise not to do
 foolish things now and then." Basil is taken aback by Henry's detached, artistic fascination
with Dorian's life. The artist disapproves of Dorian's actions, and is worried about the boy's
emotional health; Henry, however, is delighted, knowing that whatever the outcome is, it
will be greatly entertaining.
p.86 “Dorian says she is beautiful… personal As Lord Henry tells Basil of Dorian’s engagement to Sibyl, he explains what he knows of
appearance of other people.” Sibyl from Dorian. Her appearance made a strong first impression with Dorian, a key piece
of information that Lord Henry feels necessary to pass on to Basil. Although Dorian must
have been aware of his good looks before Basil painted his portrait, he did not place much
value in his appearance until seeing the portrait. As a result, he now sees beauty as the
only thing worth having or noticing.
p.89 “Don’t Harry…too fine for that.” This is ironic because, later in the novel, Dorian becomes the opposite of the fine man
Basils says he is. He harms others, and his nature becomes cruel and debased.

p.89 “I shall be of age…Juliet on the mouth.” Dorian’s feelings illustrate the relationship between art and life. It illustrates how Dorian
has come to prefer art to real life and to see himself living his life as if it were a play.

p.90 “When you see…without your heart.” Dorian tells Basil and Henry that anyone who would wrong Sibyl Vane would be ‘a
monster without a heart.” It is ironical that shortly after this conversation it is Dorian himself
who wrongs Sibyl Vane by humiliating her for her failure to act. This in turn leads her to
commit suicide. It is Dorian who is a monster without a heart.
p.90 “I love Sibyl Vane…poisonous, delightful Dorian responds to Lord Henry’s questioning his need for marriage to Sibyl Vane. Until
theories.” Dorian met Lord Henry, he led an innocuous life, innocent of any wrongdoing. Lord Henry
has acted as an influence of evil in Dorian’s life, an influence that Dorian embraced.
However, after meeting Sibyl, Dorian begins to question all he has learned from Lord
Henry. Dorian feels pulled in two different directions, good and evil.
p.90 - “To be good is to be in harmony…age is As Dorian prepares to escort Lord Henry and Basil to the theatre to see Sibyl Vane
91 a form of grossest harmony.” perform, Lord Henry chastises Dorian for dismissing, in the face of love, all of his “wrong,
fascinating, poisonous, delightful theories.” Here, Lord Henry expounds on the virtues of
individualism, which dictate that one develop according to one’s own standards. His
outlook relies on Darwinism, a fashionable theory at the time that asserted that an
organism’s development would be altered or impaired if it were made to adjust to the
standards of another organism. Lord Henry fancies that he and Dorian
are creatures that require different standards than the masses in order to develop fully.
Thus, he readily rejects modern morality, which governs the many, in favour of a self-
determined morality that applies only to himself. Although far from a prig or a Puritan, Lord
 Henry does spend an inordinate amount of time worrying over Dorian’s development.
Contrary to the principle of individualism he takes the time to relate, he not only does his
best to insinuate himself between Dorian and Sibyl, but he also takes up Dorian’s proper
social development as his pet cause.
p.91 “But surely, if one lives…suggested the This statement is prophetic. Hedonism is the belief that the ultimate goal of any life is the
painter.” pursuit of one’s own pleasure. It places self-pleasure above all else. Basil’s reference to
the price one ultimately pays for doing so is confirmed in the way in which Dorian’s life
unfolds. Dorian lives a self-indulgent life. He is totally selfish and self-absorbed placing his
feelings and wishes above everything else. He engages in a Faustian pact because he
wants to maintain his beautiful outward appearance. Dorian becomes a victim of his own
passion culminating in his violent killing of Basil. Dorian does pay the ultimate price when
he dies,
p.92 “You will always be fond of me. I Dorian is the embodiment of Lord Henry‘s ideas of the aesthetic life. Lord Henry’s
represent to you all the sins you never pleasure-seeking philosophy of a new Hedonism which advocates garnering experiences
had the courage to commit.” that stimulate the senses without regard for conventional morality, plays a vital role in
Dorian‘s development. Lord Henry is metaphorical Devil. His evil ways are made clear
from the beginning of the novel. He intentionally influences Dorian.
p.93 "A strange sense of loss… had been in Basil Hallward knows his relationship with Dorian has been changing, since the day Lord
the past." Henry met Dorian. Dorian no longer visited every day and he made excuses to stay away
from him. But the night the three men went to the theatre together confirmed his
suspicions. He is told by Lord Henry he would have to ride alone in his own carriage,
because there isn't enough room in Lord Henry's carriage for all three men. Basil feels
alone and separated from his once close friend Dorian Gray.

CHAPTER 7
p.102 “How little you can know of love…third- Dorian responds to Sibyl after she explains that, now that she has experienced real love,
rate actress with a pretty face.” she can no longer professionally act. Dorian lashes out because her pursuit and
excellence in the art of acting played a large role in her appeal. Just as he believes
nothing in his life has any significance compared to his beauty, he sees Sibyl’s art as
essential to her personality.
p.105 “…the face appeared…was certainly The fantastical element that Wilde introduces is at the dramatic heart of the novel: the
changed.” portrait's ability to absorb Dorian's immoral actions and thus age in his place.
This is the point where the novel shifts from being an intelligent but intellectual narrative to
 a kind of dark moral fantasy (i.e. gothic genre). That the painting reflects not just Dorian's
aging, as his initial prayer might have suggested, but the ethical nature of his actions
suggests the universe has a complex moral nature. Dorian's reaction at seeing the
physical change in his portrait shows he is ill equipped to deal with the universe's absolute
moral reality.
p.105 “He had uttered a mad wish…” Refers to the Faustian pact he made in Chapter 2. He is now made aware of the reality
and consequences of that ‘mad wish’.

p.105 “The expression looked… was certainly This is the first time Dorian notices a change to the painting. It is the result of the cruel way
strange.” in which he ended his relationship with Sibyl Vane. The mouth showed the emotion Dorian
felt, as he told the young girl he never wanted to see her again. He looks at his own face in
a mirror and realises the cruelty shown on the painting does not show on his face. He
knows his wish has come true, he will never show the effects of age or of his sins.
However, the more Dorian is influenced by Lord Henry, however, the more he distances
himself from the portrait and starts observing his own life and the changing of the portrait
as no more than science. He becomes an emotionless observer of his own decline.
p.106 "Surely his wish had not been fulfilled… The supernatural nature of the pact is made real. The fact that the portrait will reflect his
with the touch of cruelty in the mouth." hideous sins and its reflected horror will haunt him, portray the elements of the Gothic
genre. These lines sum up his conclusion. This sequence establishes the final link in the
critical device driving the plot. There is a magical relationship between Dorian and this
painting. When he does something wrong, the effects show up immediately on the
painting.

p.106 “It was the girl’s fault… shallow and Dorian does not take responsibility for his actions. He was cruel towards Sibyl when he left
unworthy” her. He only cared about her acting skills. It is ironic that he believes that she is ‘shallow
and unworthy’ as he only cares about how she embarrassed and disappointed him.
This is also typical of Dorian’s character. Later he blames Basil as being responsible for
his own murder as well as absolving himself from responsibility for Adrian Singleton, Alan
Campbell, James Vane, Hetty, et al.
p.106 “During the three terrible…could have a Dorian considers the aesthetic pain caused by Sibyl’s poor acting to be on par with the
scene.” emotional devastation sibyl is going through; because Lord Henry said that acting was far
more real than life. The implication that he is so shallow that he only feels his emotional
pain thinking that Sibyl would handle things better, because females are used to dealing
with their emotions.
p.106 “Lord Henry knew what women were.” Lord Henry has a derogatory and condescending view of women. Women seem not to
interest him and he views them as the decorative sex and tires of them easily.

p.106 “Would it teach him to loathe his own Dorian is forced to witness the hideous degradation of his own soul through sin and does
soul…” abhor his own image to the point that he tries to destroy it, leading to his own demise. He
looks at the portrait repeatedly. As much as he grows to despise and fear seeing it, he
also mocks and taunts it and is unable to not witness the deterioration, despite hiding the
portrait form others.
p.107 “For every sin… would not sin.” Dorian cruelly rejected Sibyl after what he perceived as a poor stage performance. He
notices the expression on the portrait had changed ‘with the touch of cruelty’. When he
sees the affect his actions have on the portrait, he is appalled and resolves to make
amends to Sibyl.
p.107 “She must have suffered more than he Dorian is still able to sympathise. He is concerned about Sibyl’s well-being. Later his self-
had.” absorption is all-encompassing and destructive.

p.107 “Poor child!” Dorian’s tone expresses pity/compassion/sympathy. However, his attitude towards their
relationship is superficially based on the quality of her performance on stage and not who
she truly is. His reference to her as a child is patronising. He does not view her as an
equal.
p.107 “Yes, it was his duty to do so… her would Even though the chapter ends with Dorian intending to do "his duty" by being honourable
be beautiful and pure.” and marrying Sibyl, his honour is false because it is based on selfishness. His "honourable
intentions" are simply a continuation of his soul's degradation.
p.107 “He would not see Lord Henry…listen to Dorian has chosen to return to Sibyl. At this stage he has a conscience and admits he has
those subtle poisonous theories…” hurt her. He believes that by returning to her their relationship will be restored. He believes
she would fascinate him again; he feels a duty to return to her. Dorian’s expectations are
based on a very slim understanding of Sibyl and he really are. Dorian's desire to escape
the "poisonous theories" of Lord Henry indicates that he sees his mentor as an evil, devil-
like influence, but, like Faust, Dorian seems eager to benefit from the fruits of his pact,
namely the eternal youth that the portrait offers him.

CHAPTER 8
p.111 "Was there some subtle affinity…there This chapter also contains the closest thing Wilde offers as to an explanation of how the
some other, darker reason?" portrait has acquired such metaphysical properties. However, it is not actually an
 explanation at all, but merely idle conjecture from Dorian: Dorian is briefly disturbed by the
possibility that black magic is at work, but he soon shrugs off this fear, and the question of
how and why the portrait’s change is never again raised.
p.112 "There is a luxury in self-reproach...” When Dorian had finished the letter, he felt that he had been forgiven." Even in the throes
of guilt, Dorian does not need Sibyl to grant the forgiveness that only she can rightly give,
nor does it occur to him that Sibyl would do anything other than immediately accept his
apology and agree to be his wife. Dorian takes pleasure in his confession, privately
praising his own "selflessness". He falls into a brief spell of grief upon hearing the news of
Sibyl's suicide, but proves to be far from inconsolable.
p.112 "here was a visible symbol of the This realisation prompts Dorian to exclaim that he "can't bear the idea of my soul being
degradation of sin...an ever present sign hideous." Dorian fears physical ugliness; in other words, it is vanity, not morality, that
of the ruin men bring upon their souls." defines Dorian's relationship with his soul. A similar type of selfishness appears when
Dorian writes his love letter to Sibyl.
p.112 “My dear boy… shutting yourself up like Lord Henry is concerned about Dorian because he knew about Sibyl’s death and he
this.” thought he would find a devastated Dorian.

p.112 “He made no answer…parting was Dorian ignores Lord Henry because he had been shocked when he noticed the change in
inevitable.” the painting, after leaving Sibyl. He made a decision to return to Sibyl and avoid Lord
Henry and his hedonistic ideas at all costs.
p.113 “It has taught me to know myself better.” Dorian is extremely narcissistic. He makes every situation that he encounters about him
and how he is influenced by it, he shows no actual emotion towards others and is only
concerned about his thoughts and feelings.
p.115 "murdered her...as if I had cut her little Dorian's statement displays a disturbing tendency to relish in unnecessarily morbid details,
throat with a knife" but also foreshadows Basil's murder in chapter 13, and recalls Basil's threat to destroy the
painting with a knife in chapter 2. The image of death by stabbing hovers in the air
throughout the novel.
p.116 "to be like simply a wonderful ending to a Dorian's comment that Sibyl's death seems "to be like simply a wonderful ending to a
wonderful play" wonderful play" continues the theme of life imitating art. It also recalls Dorian's obsession
with the characters that Sibyl portrayed. He became disappointed in her when she tried to
be her own person, and rejected the falseness of playing a role. Now, her death has given
Dorian the ability to once again view Sibyl as a character in a play. When Lord Henry
encourages this interpretation of the tragedy, he ensures that Dorian passes the point of
no return on his descent into immorality.
p.119 "But you must think of that lonely…To After Dorian Gray breaks off his relationship with Sibyl Vane so cruelly, she kills herself.
you at least she was always a dream Not knowing this, Dorian has been thinking about his actions and has written her a long
..." letter of apology. Just then he receives news of her death from Lord Henry Wotton, who
arrives to console him. As a result the news of Sibyl's death hits Dorian very hard.
He is talking about how terrible Sibyl's death is when Henry delivers a long speech
containing this quotation. It recasts Sibyl, changing her from a dead 17-year-old girl into a
figure of art. This statement is part of Henry's overall aesthetic approach to life, in which he
keeps things at a distance and reshapes them for effect. Like many of Henry's statements,
this is deeply profound. Dorian didn't really know Sibyl: she really was a kind of dream or
projection, and Henry is insightful to see this. But like many of Henry's statements, this
also is distant to the point of cruelty. Sibyl never really lived because she was desperately
poor and killed herself due to Dorian's egotistical cruelty. The speed with which Henry
reaches this perspective is part of the cruelty. He doesn't deliver his speech years after
Sibyl's death, when the pain has passed. He says it a few minutes after Dorian learns
about Sibyl's death. The tragic thing is—it works. Dorian moves on. Lord Henry, playing
the devil to Dorian's Faust, shows him the means by which to transform his pain and guilt
into a new, pleasurable experience, for which only the portrait will pay the price.
p.122 “And yet who…consequences it might be Dorian sees what his actions have done to his soul in the name of youth and beauty. He
fraught?” considers praying to undo the link between his soul and his portrait. Yet here Dorian
reveals that even though he’s seen his soul’s decline, he doesn’t consider this
consequence severe enough to try to alter the situation. His rationalisation that anyone
who “knew anything about Life” would make the same choice has an element of dramatic
irony: Dorian’s still-young life hasn’t given him the experience to assess the cost of
remaining young and beautiful.

CHAPTER 9
p.125 “I can’t tell you how heart-broken…and Basil shows himself to be a decent, caring human being who is as concerned for Sibyl and
her only child, too!” her mother as he is for Dorian. Unlike Lord Henry, he does not encourage Dorian to turn
away from the girl's death or treat it like some entertaining fantasy.
p.126 "A man who is master of himself can end Dorian defends himself for failing to mourn Sibyl's death with a Lord Henry-ism. The irony
sorrow as easily as he can invent a of claiming to be master of one's self by voicing the views of another escapes the young
pleasure." man, but serves to portray him as a deeply misguided soul.
p.126 “…not the woman’s only child…charming Dorian makes a fleeting and flippant reference about Sibyl's brother; when Dorian
fellow, I believe.” mentions James, the reader is reminded of the brother's promise to kill anyone who harms
Sybil. The repeated references to the brother remind the reader of his presence and
foreshadow his later re-emergence in the book. As the novel progresses, the reader also
will see the irony in Dorian's statement that he would turn to Basil in a time of trouble.
p.126 “It is all Harry’s influence…” The contrast between Dorian’s and Basil’s reactions to Sibyl’s death demonstrates the
degree to which Lord Henry has changed Dorian.

p.126 "A man who is master of himself can end Dorian defends himself for failing to mourn Sibyl's death with a Lord Henry-ism. The irony
sorrow as easily as he can invent a of claiming to be master of one's self by voicing the views of another escapes the young
pleasure." man, but serves to portray him as a deeply misguided soul.
p.127 “You only taught me to be vain.” Basil is guilty of admiring/worshipping Dorian. Basil makes Dorian aware of his beauty by
complementing and praising his looks. E.g. Dorian says to Basil, ― you met me, flattered
me, and taught me to be vain‖ It is Basil‘s portrait that makes Dorian fall in love with his
own beauty. It encourages his narcissism/self-love, ―The sense of his own beauty came
on him like a revelation‖. Basil is indirectly responsible for introducing Dorian to Lord
Henry, although he asked Lord Henry not to influence Dorian.
p.127 “She lived her finest…the sphere of art.” Sibyl’s death compels Dorian to make the conscious decision to embrace Lord Henry’s
philosophy of selfishness and hedonism wholeheartedly. Dorian dismisses the need for
grief in words that echo Lord Henry’s: Sibyl need not be mourned, he proclaims, for she
has “passed . . . into the sphere of art.” In other words, Dorian thinks of Sibyl’s death as he
would the death of a character in a novel or painting, and chooses not to be affected
emotionally by her passing. This attitude reveals one way in which the novel blurs the
distinction between life and art. Dorian himself passes “into the sphere of art” when his
portrait reflects the physical manifestations of age and sin. While it is usually paintings that
never age and people who do, it is the other way around with Dorian, as he has become
more like a work of art than a human.
p.128 "too much afraid of life." Basil shows himself to be a decent, caring human being who is as concerned for Sibyl and
her mother as he is for Dorian. Unlike Lord Henry, he does not encourage Dorian to turn
away from the girl's death or treat it like some entertaining fantasy. In a moment of
heightened irony, Dorian accuses Basil of being "too much afraid of life." In fact, Dorian is
afraid that Basil will see the portrait and thus learn of his secret pact.
p.129 - “Do take the screen away…everything is Concealing the picture is a clear symbolic gesture for Dorian's denial of his own shame.
130 over between us.” Since the painting is destined to display "the hideous corruption of his soul" while his face
 will remain young and innocent, Dorian believes that he can effectively live without the
hindrance of a conscience so long as no one sees the painting. The downside of Dorian's
obsession with his appearance, however, has already begun to show. He becomes
suspicious of his housekeeper and of Victor, his servant, feeling sure that they will try to
look at the picture. This paranoia can be seen as a principal stage in the protagonist's
degradation, an indication that the deterioration of Dorian's soul is well underway.
p.130 “A cry of terror…don’t wish you to.” Dorian becomes gripped with raging fear when he hears that Basil wants to see the
painting and to show it to others — he is so afraid that he actually breaks into a sweat.
Dorian's fear points to an important theme in the book: A life devoted solely to the pursuit
of selfish pleasure will always be marred by self-conscious fear. Dorian has what he wants
— eternal youth and a life filled with pleasure — but he can't fully enjoy his life for fear that
his secret will be discovered. Dorian's fear in this chapter is the first sign that Dorian's new
life will be a study in disappointment.
p.133 “It never occurred…to be worshipped.” Basil has come to Dorian’s house to sympathise/commiserate with him over the death of
Sibyl/ Sibyl’s suicide. Dorian, however, seems to have decided (under Henry’s influence)
that her suicide is actually a work of art dedicated to himself. Basil also cannot understand
that Dorian seems to lack any remorse or show any grief when it comes to Sibyl. Dorian
asks Basil to draw a picture of Sibyl for him. Basil wishes to look at and borrow his portrait
of Dorian. Dorian refuses.
p.133 “Dorian drew a long breath…peril was Basil’s tone is submissive/ placating/facilitating/ soothing/appeasing, etc. Dorian has
over.” become upset/distraught at Basil’s request to see the portrait and now Basil - as is often
the case - is catering to Dorian’s mood, seeking to please Dorian and not be the object of
Dorian’s dislike.
p.133 "Art is always more abstract than we In Basil's confession to Dorian, he echoes several sentiments from the preface. Form and
fancy. Form and colour tell us of form and colour tell us of form and colour...art conceals the artist far more completely than it ever
colour...art conceals the artist far more reveals him." These sentiments, although they are presented by Wilde as truths in the
completely than it ever reveals him." preface, are disheartening revelations for the painter.
p.133 - “…this strange confession…of a friend…” When Dorian learns of Basil's strange admiration for him, an admiration that has obviously
134 had a major impact on Basil, Dorian is simply pleased to be adored by Basil. As he
wonders if he will ever feel that way toward someone, it becomes evident that he already
does — while he respects Lord Henry, Dorian only adores himself. When he gets Basil to
admit his secret without having to reveal his own, he feels pleasure at having manipulated
the situation so completely to his own advantage.
p.134 “Would there ever be… strange idolatry?” Dorian was petrified that Basil would notice the difference in his portrait - the cruelty - that
had occurred since Sibyl’s suicide and if viewed publically, the public too would realise the
truth about Dorian and he would succumb to guilt. However, he convinces Basil that none
should see his portrait and when Basil agrees, Dorian’s relief is instant especially as he
realises the control he possesses over Basil.
p.134 “You must not ask…of that picture.” Despite believing that Henry can never influence him to such a degree as he has
influenced Basil, it is under Henry’s instruction that Dorian has begun to embrace the
lifestyle of a Hedonist. Thus, Henry is the one that Dorian admires to such a degree that
he emulates Henry’s attitude and perspective without even realising it. OR It can also be
argued that the irony lies in the fact that Dorian looks at himself in admiration/idolatry. As
the novel continues and in this idolatry, he commits crimes, eventually killing himself,
because he worships his own image within the portrait. Thus he is filled with a “strange
idolatry” for himself. [Award 3 marks only if irony is fully

CHAPTER 10
p.137 “When his servant entered…peering Dorian is becoming increasingly paranoid. He becomes suspicious of people around him,
behind the screen.” including his valet, and he 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.
p.138 - “His eye fell on a large purple satin…rich Dorian refers to the purple bedspread as a ‘pall’, thus personifying the portrait. This act of
139 pall over the picture.” concealment is Dorian’s attempt to cover up his moral degradation.

p.138 “Basil would have helped him to resist Dorian recognises Basil’s good influence and acknowledges that Lord Henry’s influence is
Lord Henry's influence, and the still more toxic. Moreover, he realises that his own character flaws are to blame for his choices.
poisonous influences that came from his
own temperament.”
p. 138 “Yes, Basil could have saved him. But it Dorian seems resigned to his fate. As in the Faust legends, the central character seems to
– 139 was too late now. The past could always feel beyond hope. According to the Faust legend, he could save himself if he would only
be annihilated. Regret, denial, or repent and seek absolution. Dorian does consider turning to Basil, confessing, and
forgetfulness could do that. But the future seeking a more enlightened path. His ultimate decision, however, is not just based on
was inevitable. There were passions in despair. True to the Faust legend, he truly craves the benefits of the bargain.
him that would find their terrible outlet,
dreams that would make the shadow of
their evil real.”
p.139 “His own soul was looking out at him from The portrait carries the brunt of the consequences for his actions. E.g. The malice he
the canvas…” showed Sibyl Vane and that the portrait ended up with a malicious sneer. The portrait of
Dorian Gray is the biggest symbol in the novel. The picture represents the degradation of
the soul, and portrays the consequences of pursuing pleasure above all else.

p.139 “…Mr Hubbard himself…he never left his Mr Hubbard’s willingness to make a house call for Dorian and his perception of Dorian as
shop.” charming indicated that Dorian’s outer appearance deceives people. As he conceals the
portrait, he is adept at concealing the less charming elements of his nature from others.
p.140 “No trouble at all… work of art, sir?” As a tradesman, Mr Hubbard is reluctant for Dorian to exert himself through manual work.
He is sensitive, expressing his gratitude toward Dorian for his patronage. This conveys the
“He held the door open…to it so as to working class’s deferential and submissive acceptance of the superiority of the aristocracy
help them.” who are expected to lead idle lives. There is an unquestioning acceptance of these roles.
When the aristocracy do get involved, as with Dorian’s attempt to assist with moving the
portrait, it is more like a gesture than a genuine intention to help.
p.141 “…as he unlocked the door…soul from Emphasis is placed on Dorian’s moral corruption and lack of accountability. Dorian’s
the eyes of men.” desire to hide his soul is an acknowledgement of his corrupt deal with the devil.

p.141 “…first as a play-room when he was a The room is already a vault hiding his past, and it will now hide the degradation of his
child, and then as a study when he grew conscience, as well. This room becomes a symbol of the purity of youth and concern for
somewhat older.” morality that Dorian consciously rejects. Instead of skeletons in his closet, Dorian has a
painting in his attic. The portrait is moved to the room to which his grandfather assigned
him because he preferred not to be reminded of his daughter’s betrayal and death. Dorian
chooses to hide his true self in the same room to avoid being confronted with what he has
become. By hiding the portrait in the play-room which he associates with his ‘rose-white
boyhood’, he hopes to maintain the façade of innocence.
p.141 - “No one could see it… Basil Hallward’s Dorian is unconcerned about the future degradation of the portrait and he considers the
142 masterpiece.” possibility that his nature grow finer. This suggests that Dorian’s questionable behaviour
might be redeemable, although he also admits that there is a charm and appeal to those
‘curious pictured sins’. He is intrigued by the thought of the sin he might still commit and
that are not yet reflected in the portrait. Dorian briefly considers the idea of the portrait’s
reverting to its original state but he is unwilling to give up his youthful looks and he
acknowledges that the portrait will, in fact, become more hideous by the hour. Dorian’s
moral ambivalence is what allows him to become increasingly controlled by his knowledge
that he can escape the visible signs of his profligacy.
p.142 “It might escape the hideousness…the Dorian seals his commitment to a life of vanity and debauchery when he hides and locks
picture had to be concealed.” the portrait in the attic schoolroom. He rationalises that he might, in fact, become more
virtuous and reverse the moral decay reflected in the picture, but even he seems to know
that will never happen. He seems to be thoroughly infected with the cynicism that Lord
Henry has shown throughout the book; Dorian has been a good student of his mentor. It is
enough for Dorian that he would wither and age without the portrait. He cannot and will not
destroy the picture or attempt to negate the Faustian contract, if only because of his
obsession with youthful beauty.
p.144 “How ugly it all was! And how horribly Earlier, Lord Henry had persuaded Dorian to see Sibyl’s death as a beautiful act. This
real ugliness made things.” distances Dorian from the reality of her death and allowed him to see it as a work of art.
The inquest presents the ugly facts and so forces Dorian to look at the reality of her death.
To look at life as an art, as the Aesthetic Movement advocated, or to view life as if one
was a spectator, help Dorian to avoid reality.
p.144 “What had Dorian Gray…had not killed This is ironic. It is Dorian’s inability to love Sibyl as a real person and his cruelty and
her.” rejection which drove her to suicide, so he is morally responsible for her death. Dorian
refuses to acknowledge any responsibility of Sibyl’s suicide and shows concern only for
his safety, he is self-absorbed and without concern for others.
p.144 “…little, pearl coloured….wrought in These frequent descriptions of opulent objects give a sense of the elegant surroundings
silver…” within which the characters live. They contribute towards the theme of the value of beauty
in life - connects with the ideals of Aestheticism.
p.144 “It was a novel without a plot…world spirit A distinct turning point in the chapter is Henry's gift of a "yellow book." Dorian puts away
had ever passed.” his school books, and he takes up this yellow book. Dorian immediately falls under the
power of the "yellow book" sent by Lord Henry. It is well-worn, and the reader can assume
that Lord Henry knows its contents and anticipates its effect on Dorian. Dorian is
enthralled by the story and immediately adopts it as a blueprint for his life. Note that Wilde
ironically chooses a book to provide the guidelines for Dorian's life of debauchery. This
book, which he carries with him wherever he goes, symbolises several closely linked
meanings. Most directly it represents Henry's influence over Dorian. His imitation of the
life led by its protagonist is an indication of how his concept of reality is blurred. Dorian is
increasingly controlled by his narcissism and his desire to live according to the principles
outlines in the poisonous book.

CHAPTER 11
 This chapter shows the various stages of Dorian’s adult life. There are long passages
which describe Dorian’s study of perfumes, music, jewels and embroideries. He moves
from one interest to another. He still fears that his secret will be discovered. He is a
prisoner of his passions and fears.
This chapter initiates the second half of the novel, in which Lord Henry's influence has fully
bloomed and Dorian has become his own person, with his own interests, convictions, and
notoriety amongst London's aristocracy. After this chapter, the protagonist is no longer a
corruptible youth, and is rather a full-fledged corruptor in his own right. We learn that
Dorian's personality, charming as it may be, is defined by capriciousness, and a passion
for new pleasures.
p.147 “For years, Dorian Gray could not free Dorian's obsession with Lord Henry's book may be interpreted in a number of different
himself… written before he had lived it.” ways. The plot reminds him of his own life; the hero reminds him of himself. The narrator
mentions "the latter part of the book, with its really tragic...account of the sorrow and
despair of one who had himself lost what in others, and in the world, he most dearly
valued." This is a fitting description for the end of Dorian Gray, as well. The question
remains, however, of whether the book happens to describe Dorian's character, or
whether Dorian is changing to mimic the book's protagonist. Once again, Wilde is blurring
the distinction between life and art.
p.148 “There was something in the purity Dorian has spent his time under the influence of the yellow book and people have begun
…once sordid and sensual.” gossiping about him. Many find the gossip hard to believe because of the “purity of his
face”.
p.148 "He had always the look of one who had After Sibyl Vane's death, Dorian Gray enters into an extended period of sensual self-
kept himself unspotted from the world. indulgence. However, because of his magical relationship with Basil's portrait of him,
Men who talked grossly became silent Dorian's face does not show the result of any of his activities. Dorian’s self-indulgent
when Dorian Gray entered the room. behaviour is reflected in the portrait and he almost seems to delight in seeing the
There was something in the purity of his degeneration of his image. The ambiguous nature of Dorian’s character is reflected in the
face that rebuked them." fact that while he hates the life he has chosen, he also takes pride in the fact that he does
not deny his sinful nature and is thus unafraid to express individualism.
p.148 “He grew more and more He becomes obsessed with the painting. Although the corruption of his soul bothers him,
enamoured…corruption of his own soul.” he is unable to give up the sinful lifestyle he has chosen. Such is the portrait’s influence
on Dorian that he now sees only aesthetic pursuits as valuable. His whole life seems to be
mapped out as a series of collections of objects, connected to real romance and tragedy
by their histories but in themselves detached from human life. In a life of surfaces and
decorations, Dorian replaces his concern about the portrait with other imitations of life and
 these mirages become his new reality. And yet these mirages are just that, and can't hold
back reality altogether.

p.149 “The more he knew… ravenous as he fed Dorian often goes to the attic to look at the picture which has now become bloated, ugly
them.” and old. He has become even more obsessed with his looks and compares his face in the
mirror to that in the painting and laughs. He has “mad hungers” that become “more
ravenous” as he feeds them.

p.149 "And, certainly, to him life itself was the At various points in the novel, Lord Henry Wotton nudges Dorian Gray toward treating life
first, the greatest, of the arts, and for it all aesthetically, which involves making it beautiful but also keeping it at a distance. At this
the other arts seemed to be but a point, after Sibyl Vane's death and after Dorian has read the stylised French novel Henry
preparation." loaned him (and been so influenced by), Dorian has fully arrived at this position. He is now
living the philosophy Henry espouses, so that his own life is a work of art. This frees him to
indulge his senses and removes all constraints of ethics and social mores.
p.151 “Yes: there was to be, as Lord Henry had This passage describes how Dorian, adjusting to the strange privilege that his portrait
prophesied… that is itself but a moment.” affords him, devotes himself to acquiring as many experiences as possible. Here, in order
to discover “the true nature of the senses,” Dorian studies rare musical instruments, the
arts of jewellery and embroidery, and the psychological effects of perfume. In addition to
these pursuits, he begins to devote his time to more sordid affairs, the nature of which is
never perfectly clear. The readers learn, from Basil’s subsequent confrontation, that
Dorian is connected with the downfall of numerous youths, all of whom have been brought
to shame (and some even driven to suicide) by their associations with Dorian. Whether the
outcome of these experiences is “sweet or bitter” is not the point of the philosophy by
which Dorian lives; on the contrary, the experience itself is what matters. This “new
Hedonism” is a form of resistance against the conventional morality that Lord Henry
spends so much of his time criticising.
p.162 - “Society, civilized society at least…can This passage is important because it contains the novel’s only lapse into first-person
163 multiply our personalities.” narration. Here, Wilde appears from behind the scenes to comment on civilized society.
He asks the reader if the insincerity necessary to conduct oneself in polite society is “such
a terrible thing,” and admits that, in his opinion, it is not. He points, rather unapologetically,
to the surface nature of the society in which he lives. Despite the corrupt nature of Dorian’s
soul and despite his utter lack of an acceptable moral code, he continues to be welcomed
into society merely because he looks good.
p.167 "There were moments when he looked on In these moments, Dorian is the most degraded, and his soul suffers the most
evil simply as a mode through which he disfiguration.
could realize his conception of the
beautiful."

CHAPTER 12
p.169 “It was on the ninth…in the direction of The large time leap and Dorian’s avoidance of Basil in the dark make clear the extreme
the house.” changes that have come to Dorian Gray. His avoidance of Basil suggests guilt and shame.

p.170 “…mind you don’t talk about anything Dorian’s avoidance of serious things shows his habitual avoidance of reality and
serious…” substance. Just as he himself is all surface, he wants to keep conversation at the level of
the surface. The fact that Basil, who was so passionate towards Dorian is acting like a
concerned father figure now, illuminates how his influence has changed from innocence
and charm to something destructive.
p.171 “Every gentleman is interested in his The Victorian era was an era of ‘covers’. Your ‘reputation’ became the primary interest of
good name…” an average person. As Basil Hallward puts it “every gentleman is interested in his good
name.” The Victorian Era was when the image of the ‘English Gentleman” was formed. As
people, most notably, gentlemen, began to care more about their reputation, hypocrisy
was spawned. People, began to hide their dark desires, and their misdeeds, while
presenting a respectable face to the public.
p. 171 “I can’t believe them…moulding of his This is a commonplace of Victorian ideas about physiology and physiognomy. It is not
hands even.” Dorian’s own face upon which the evidence of his sinful life is written, but of his portrayed
self.
p.172 “…your pure, bright, innocent face, and Basil is under the impression that evil is always evident on a person's face, and thus
your marvellous untroubled youth…” cannot believe that Dorian is evil. He is too innocent-looking to be evil. He is right, in a
way, that evil always shows; in this case, however, Dorian's soul has been transferred to
the painting. Looking at the painting, one would know instantly that the subject is evil.
p.172 “Why is your friendship so fatal to young Alluding to immoral homosexual relationships.
men?”

p.172 - "I hear all these hideous things… terrible Basil speaks at length about Dorian's alleged sins, but never actually states what these
174 confession I'd ever read." sins are. Like Basil, the reader can only assume the worst, based on the hideousness of
the portrait. By only hinting at the nature of Dorian's transgressions, Wilde establishes a
 palpable sense of their illicitness, leading the reader to look for clues while also reinforcing
the sense of Dorian's degradation.

Dorian’s appearance, though physically unchanged, has finally given way. It does not
seem to match the hideous reputation that has spread around the city. Though shallow
measurements like reputation and the appearance of innocence have meant everything
until now, the reality of the soul beneath leaks through. Dorian's sudden decision seems to
indicate a need for release, or maybe a hope that what he sees in the portrait every day is
worse than the reality. He wants, suddenly, for someone to truly see him, not just the
unchanging beautiful surface he must always wear.
p.174 “You have a wonderful influence… some Basil lists the people who have been harmed by their association with Dorian. Dorian
kind to follow you…” denies being responsible for the vices, debauchery and profligate lives of these men. He
goes on to reveal his social snobbery when he accuses the middle class of enjoying the
gossip of those in ‘smart society’. He also refers to the hypocrisy of the Victorian age,
stating that people are not as moral as they appear to be.
p.174 - “… I should have to see your soul…the Basil’s comment about needing to see Dorian’s soul initially frightens Dorian, but then he
175 thing that you fancy only God can see.” is relieved to be able to share his secret about the portrait. Perversely Dorian is glad that
Basil will be burdened for the rest of his life. Dorian responds coldly and contemptuously to
the man who was once his friend.
p.176 “I keep a diary…I shall show it…” The portrait represents how corrupt Dorian becomes as he makes the choice to live a life
inspired only, by his own desires and pleasures. As the portrait ages, the reader becomes
aware of the extent of Dorian’s sinful and wicked life. Every time he destroys a reputation
or blackmails a former friend, the picture gets uglier and uglier.

CHAPTER 13
p.178 “…began the ascent, Basil Hallward This chapter begins with a mood of suspense. Dorian’s decision to show Basil the portrait
following close behind.” is ominous.
The journey to the top of the house is the journey towards Dorian’s real image. As the
sitter leads the artist into the room, the tables have turned – now the artist has no power at
all. Dorian has "painted" this portrait. Art has reflected life and has shown the object of
desire and inspiration to be the real creator, imposing on the artist a vision beyond their
control.
p.179 “There was something…from plastic When Basil first sees the changes in the portrait, he describes the face as hideous but,
throat…” despite this ugliness, he still sees a lovliness in the painted face. This suggests that there
is a potential for good within Dorian if he turns away from the lifestyle he has pursued thus
far.
p.179 “It was some foul parody…this is the face Basil is horrified/petrified/shocked/disgusted by the state of depravity of the painting. He is
of a satyr.” in a state of disbelief and cannot fathom how the painting could have changed so much.
Basil’s ideal was that of the beautiful young man whose portrait he had painted and whose
outer beauty reflected the inner goodness and purity of spirit. What he sees now is a total
contrast between the Dorian he first painted and the horrible image before him.
p.180 “…you met me, flattered me, and taught Dorian holds Basil responsible for stoking his vanity and his narcissism, and for
me to be vain of my good looks…” introducing him to Lord Henry. He blames Basil for the pain he feels and he believes that
Basil deserves to bear the same burden he does.
p.180 “…revealed to me the wonder of Dorian’s preoccupation reveals aristocratic Victorian society’s pre-occupation with beauty.
beauty…” People in this class surround themselves with beautiful objects, believing that these
possessions enhance their pleasure and enjoyment of life. They value outer beauty more
than morals. Beautiful people are believed to be morally good. This is indicative of a
materialistic and superficial society.
p.180 “Can’t you see your ideal in it…” Dorian truly does want to know if Basil can see the innocent boy in the portrait. But Basil
cannot, and faced with a portrait that truly mirrors life, which shows the changes in a soul
as opposed to a surface at a brief moment in time, Basil is horrified. And he turns not to art
but to religion for safety. But Dorian superficial, and so religion means nothing to him. In
Basil's horror Dorian can see the total loss of his innocence—he hates Basil because Basil
knew him when he was innocent, and because in painting the portrait Basil started Dorian
on the road away from innocence. Dorian is possessed by the portrait because he is a
product of the portrait—and so the portrait attacks its creator.
p.180 “In a mad moment…it a prayer…” Dorian is unsure whether he regrets having initially expressed the wish that the portrait
age while he remains young, because this wish has allowed him to commit a variety of
sins without people's becoming aware of his degradation. Dorian has an ambivalent
attitude toward his lifestyle. While he suffers pangs of guilt and remorse, they are not
strong enough to make him change his behaviour. He seems to feel that the portrait gives
him immunity of a sort as his sins are not revealed. As a result, he continues to act with
impunity, becoming more depraved with each immoral act he commits.
p.180 “You told me you had destroyed it…It has Dorian’s unrestrained evil and aesthetically based lifestyle may not have destroyed his
 destroyed me.” looks, but it has destroyed his soul. At no point, does dorian accept responsibility for his
own actions, preferring to see himself as the victim.
p.180 “…you finished a portrait of me… against Dorian's despair and bitterness at Basil's contribution to his current state and Basil's
181 you fancy you to be!” reaction to seeing the portrait are ominous and menacing. This, together with Dorian's
hostility, creates a mood of underlying violence. Basil is shocked and fearful of the
revelations. He is distraught at the idea that Dorian is not who he thought he was.
p.181 “It eyes of a devil…” Basil has seen the picture and is repulsed by it. Basil grapples with his emotions and
cannot believe that he did not see the ‘devil’ in Dorian. His reaction indicates that he is
genuinely concerned about Dorian.
p.181 “…each of us has Heaven and Hell in This suggests that people have the potential for both good and evil.
him…”

p.181 “Pray, Dorian, pray…white as snow.” Basil becomes Dorian’s conscience. He wants to save Dorian’s soul and he begs him to
pray. Dorian’s corrupt soul, or his unwillingness to turn away from temptation, prevents
him from asking for forgiveness.
p.182 "Dorian Gray glanced at the picture… his Dorian decides to show Basil the portrait because he is angry and looking at relieving
ear by those grinning lips." himself of some of the burden of knowing what has become of the portrait. Dorian resents
Basil for feeding his vanity. He wants to punish Basil for his role in the degradation/
suffering he experiences. The image confronts Dorian with his shameful life, and Dorian
blames Basil, the painter, for the pain that he feels. Basil has seen Dorian's soul in the
painting, and begs Dorian to turn back and be good again. Dorian does not know where
his hatred for Basil comes from in the next instant. We can see that Basil is acting as
Dorian's conscience in this scene; Dorian is used to being able to cover his conscience
with a curtain and hide it, and when it suddenly has a voice, the urge to silence it, just as
he has been able to silence the portrait, takes over.
p.182 “He rushed at him…stabbing again and The murder of Basil is an almost inevitable result of Dorian’s inner turmoil and is the
again.” extreme consequence of his dedicating himself to a hedonistic lifestyle. Dorian surrenders
to his impulses and shows no concern for the consequences of his actions.
Basils brutal death symbolises that Dorian will never regain his pure nature. His complete
lack of goodness is evident when he is unmoved by the gruesome sight of trickling blood,
and his referring to Basil a ‘the thing’ displays his callousness.
p.182 “There was a stifled groan…he felt Dorian’s control over life and death, with such a mask of calm, stands in extreme contrast
– 183 strangely calm…” to his initial terror at the idea of his own mortality. Even the physical signs of Basil’s
 destroyed body, the dripping on the floor, do not produce remorse or realization. The
calmness Dorian feels after murdering Basil shows the change to his soul. Again, as with
Sibyl’s death, Dorian believes that the best way to deal with unpleasant situations is not to
deal with it.
p.183 “He could not help… a dreadful was Denial and confrontation jostle for Dorian’s attention. It seems not to be the idea of murder
image.” that scares him but the appearance of Basil and his symbolic white hands, standing for the
purity and goodness with which the horrible portrait was crafted.
p.184 “A sudden thought struck him…that was You would think that the murder of the artist that has created so much of Dorian’s
– 185 the man he wanted.” personality would sap some of the life out of him. But the opposite is true. The evil deed
seems to fuel Dorian’s activities, and he never seems more alive than when he is creating
a clever disguise and hiding calmly behind it.

CHAPTER 14
p.187 “He looked like a boy who had been tired It is interesting that in the forgetfulness and innocence of sleep, Dorian’s face takes on a
out with play, or study.” childlike appearance – we realize how old and tortured his internal life has become. A
symbol of clarity and freshness, the daytime, has become sour and dark with the morbid
secret, showing how all appearances are deceiving now.
p.187 “He winced at the memory…to be Dorian sees himself as a victim rather than a perpetrator, blaming Basil for leaving him no
– 188 drugged with poppies…” option but to kill him. He does not want to be reminded of his sin and hints that such
memories can be dulled with drugs. His reference to being ‘drugged with poppies’ confirms
that Dorian’s lifestyle has become debauched.
p.188 - “…and began sketching…and tried to Dorian’s guilty conscience will not allow him to forget the murder he has committed. He
190 forget…” tries to escape the memory by immersing himself in artistic pursuits but every figure he
draws reminds him of Basil and the poem about the hand of Lacenaire, a murderer, is too
close to describing his own murderous hand. He is eager to disassociate himself from the
murder. He turns to more pleasant thoughts but finds it is not that easy to forget what he
has done. It is clear that there is no escape from reality. The fact that his conscience
worries him might suggest that Dorian is not naturally evil and that he might still be able to
redeem himself.
p.190 “Basil had been…man to die!” Dorian has a routine of practical affairs to take care of, but he turns to art to soothe his
tormented thoughts. Nothing else will distract him. He even starts drawing, taking but just
as Basil once feared that he was too visible in his portrait of Dorian, now Basil is too visible
 in Dorian's sketches. The soothing words of poetry surround Dorian with a brief reverie but
reality interrupts. This art can’t compete when Dorian’s own life is the ultimate piece of
work.
p.190 “They had been great friends… come The reader is reminded about the discussion Basil had with Dorian in the previous chapter
suddenly to an end.” about how all Dorian’s friendships seemed to turn sour. This confirms the rumours referred
to Basil.
p.193 “I am awfully sorry for you…” Dorian is mocking Alan. He doesn’t feel sorry for him, he is emphasising that Alan has no
choice. He shows no concern about the fact that he had just murdered an old friend – he is
heartless. He is vengeful and knows that Alan’s guilt will make him do anything.
p.196 “I have a letter written already…” Dorian forces Alan to help him. He uses Alan completely. He sees in his old friend only a
set of skills that can help him escape his guilt. It is as if Dorian has usurped the spirits of
those around him in order to stay strong and young himself. There is a sense that as the
painting warps and ages, so too do Dorian’s friends become visibly destroyed under his
influence.
p.196 “Now it is time for me to dictate terms.” Dorian is arrogantly confidant. He is no longer the naïve young man introduced at the
beginning of the novel.

p.198 “…twice as many orchids…few white The white orchids have connotations of purity. Dorian insists that he wants a few white
ones as possible…” orchids as possible, this could suggest that that these are the qualities that Dorian no
longer possesses.
p.198 “Now Alan, there is not a moment… still The mood is one of urgency because Dorian wants the body disposed of lest he becomes
there, as he had left it. implicated in the death of Basil. There is an element of fear/apprehension/indecisiveness
on the part of Dorian who has to face the reality of his actions in the attic. There is also a
mood of suppressed anger on the part of Campbell who is being blackmailed to assist
Dorian.
p.198 “Campbell felt dominated by him.” Campbell has been summoned to dispose of a body and even before he has a chance to
come to grips with the situation he is being propelled into movement.
Furthermore, Dorian has the upper hand since he has blackmailed Campbell into
submission and therefore Campbell is obligated to go along. It is Dorian who is issuing the
instructions with Campbell merely complying.
p.199 “He shuddered. ‘I don’t think I can go in, It is ironical that the man who cold-bloodedly stabbed Basil with a knife should now feel
Alan’, he murmured.” apprehensive about viewing Basil's dead body. He is shuddering at the thought of seeing
the results of a deed he perpetrated.
p.199 “‘I don’t think I can go in …he saw the Dorian’s desire to avoid the reality of his murderous actions is evident when he tells Alan
face of his portrait leering…” that he cannot enter the schoolroom, he is however forced to enter when he realises that
the portrait is uncovered. Again, the portrait has changed to reflect Dorian’s latest sin. He
is confronted by the horrible reality of what he has done and he avoids looking at Basil’s
motionless body.
p.199 “What was that loathsome red…as he Dorian is less affected by what he has done to others—the gore, Basil’s still body, the
had left it.” suffering of Alan—than the evidence of what he has done to himself that is visible in the
painting. It is not something he can bear anyone else to see, even if Alan would be
unsurprised given his experiences with Dorian.
p.199 “…the silent thing he knew…” His reference to Basil as a ‘thing’ shows how callous he is, and how quickly he is able to
distance himself from the damage that he causes. He has silenced Basil’s attempts to get
him to redeem himself by killing him. He avoids any situation where he is forced to
confront himself. He has lost his humanity.

CHAPTER 15
This chapter provides a contrast to the horror of the previous two chapters. The party, with
its air of mundane normality and superficial conversation, offers some relief from the
tension that has built up.

p.202 “That evening…a double life.” Dorian transforms from a desperate murderer to a vision of loveliness! The society of
Henry’s friends is preoccupied again with appearances, and Dorian’s, still unchanged,
always secure him the most attention of the group.
p.204 “…since Madame de Ferrol… Dorian’s shallow affections for Madame de Ferrol, who is lusted after by most of the men
in the set, fulfil the superficiality that creates this dangerous social dynamic. The whole
conversation suggests that one cannot both be good and beautiful. Dorian's experience
that one cannot be good while being aware of and focused on one's own beauty. But
beauty is all these people are focused on.
p.206 “It is perfectly…and entirely true.” Reminder of the rumours surrounding Dorian.

p.206 “…I shall have to marry again…” Henry banters in a way that mocks happiness and goodness. Traditional forms of love, like
marriage, are degraded by Henry. Dorian represents youth to them, and a chance for Lady
 Narborough to enjoy the idea of courtship, and for Lord Henry to enjoy imparting influence.
These elders have used and coveted Dorian’s youth for themselves.

p.209 “By the way…can ask him.” When Lord Henry questions him about his whereabouts the previous evening, Dorian
becomes agitated and gives an excessively defensive and lengthy response.

p.210 “…sense of terror…even touching them.” Dorian is struggling to keep his façade – the evidence of his sins seems to be both
material and abstract, but though he can destroy the material signs, Basil’s clothes, his
own guilt and his failing nerve start to become visible.
p.210 “Make my excuses to Lady Naborough.” Dorian continues to feel out of sorts, and he leaves the party early. Dorian is so
preoccupied with his secret life that he can't enjoy the pleasures for which he has given up
his soul. Now Dorian has the weight of two secrets to bear — the portrait and Basil's
death.
p.210 “…Florentine cabinet…heavy and Veils, coverings and containers symbolise the layers of secrecy and denial that threaten
– 211 persistent.” Dorian’s mind. Here, Dorian hides opium within his beautiful objects. On the one hand,
opium puts those who use it into a forgetful daze, at once making the world seem like art
and allowing someone to forget their past. At the same time, the opium dens of the city are
in the worst, seediest parts of town. Clearly Dorian has done all this before—travelled
through squalor for the lure of opium.
Gives the reader insight into Dorian’s sordid lifestyle.

CHAPTER 16
Chapter 16 opens with Dorian’s mad journey down to the docks in search of opium. It is
dark and rainy with Gothic descriptions such as ‘the moon hung low in the sky like a yellow
skull’. Instead of being well dressed, Dorian tries to hide his identity by pulling his hat over
his forehead. The diction (choice of words) contributes to the mood. Words like ‘ghastly’,
‘dim’ and ‘horrible’ are used.
p.213 “A cold rain began to fall…dreadful, Here for the first time—in this awful part of town, with its poverty and fog—Dorian explicitly
– 214 horrible, not to be endured.” wishes he could undo his past, that the experiences and pleasures were not worth the
damage to his soul or to others. But having no means for forgiveness (and if he could still
believe in religion he might feel there was some means for forgiveness) all he can try to do
is forget.
p.215 “Ugliness was the one reality…what he Dorian can’t wait to satisfy his craving, and his mind is mad with paranoia and imaginings.
needed for forgetfulness.” He contemplates the changes in him: his taste is now for the ugliest of pastimes. He sees
filth and desire as beautiful temptations. He doesn’t long to be good, only to forget and
feed his sins. Just like the book about the Parisian gentleman, the story of his life revolves
around him and his sins. Henry’s advice that beauty is not innocence but experience, has
overtaken his perception of the world around him. The relationship between art and life is
a central theme in this chapter.
p. 216 “…a small shabby house…” The vision of the opium den, ugly and unclear, is the opposite of Dorian’s luxurious home
and youthful face. Here we see his life represented as it really is – the hideous portrait
would be quite at home here. The degradation and darkness of the bar shows us how
Dorian has banished the consequences of his selfish, sensuous life to the outskirts of
society.
p.216 “You here, Adrian? Muttered Dorian… Though Basil’s is the only murder he has committed, the implication is that Adrian was
– 217 have had too many friends.” brought to his sad state by Dorian's influence, and that there are many others whose lives
have been essentially corrupted by him.
Now that Dorian has corrupted other people and committed murder, he knows that he has
fully given up on trying living a good life and can be considered evil.
At the opium den Dorian is unhappily met by Adrian Singleton, the same young man about
whom Basil Hallward had been questioning him. Basil had heard from Adrian’s father that
Dorian ruined him and left him to his own devices. Here, only one day after Dorian killed
Basil, he sees the evidence of what Basil said. Adrian Singleton is an opium addict, cut off
from all his friends. It is clear that Dorian feels the weight of guilt about Adrian because he
tells the younger man to call him for any help he needs and he leaves the place to find
another.
p.217 “He was prisoned in thought…He wanted Dorian wants to escape his sins. His despair causes him to seek ways of escaping from
to escape from himself.” what he has become. Instead of regret spurring him to change his life, he becomes
increasingly trapped in a world of depravity.
In his mind’s eye he sees Basil, who appears as a timeless paragon of goodness, as well
as memories of his former life, and Dorian cannot bear the guilt. Other than when he
viewed his marred portrait, this reflection represents the first time Dorian realises the
consequences of his actions and feels any remorse.
p.218 “There goes the devil’s bargain.” Reference to the Faustian legend. This is ironically and unknowingly the truth – Dorian
indeed made a ‘bargain’ to never age. What to the woman is a foul nickname is actually an
evil reality.
p. 218 “Prince Charming is what you like to be Prince Charming is what Sibyl called Dorian, and captures how beautiful and good he
called…The drowsy sailor leaped to his appeared to her. The woman in the opium den, who knows how evil Dorian has become,
feet as she spoke…” uses the name scornfully.

In traditional fairy tales, Prince Charming is a generic character who has only redeeming
qualities. He is the perfect gentleman; he is brave and good and rescues the unwitting
damsel in distress.
The name ‘Prince Charming’ is ironic. Dorian may be handsome, but the similarity ends
there. He is not a gentleman and harms young women, rather than coming to their aid.

It is the name Prince Charming that finally allows James Vane to trace him after 18 years.
His search for the man who harmed his sister is almost fruitless because he never knew
Dorian’s real name. When one of the women in the tavern calls him Prince Charming,
James hears it and the connection is finally made.
p.219 “Dorian Gray hurried along the Dorian briefly feels sorry for the young man’s ruined life, but quickly overcomes any
quay…Destiny never closed her remorse by refusing to take responsibility and placing all the blame onto Adrian Singleton.
accounts.” His attitude becomes one of indifference. Dorian is self-centred, and both careless and
cruel towards others.

Destiny is personified as an accountant or somebody who keeps records; a person who

demands repayment and never lets anyone escape. This suggests that Dorian will have to
pay for his sins.
p.219 “…when the passion for sin…are sins of This passage questions whether sin is really sin or merely what the world calls sin. The
disobedience.” narrator states that sinners have no freedom of choice and that the conscience survives
only to make rebellion attractive. This makes it seem as if Dorian cannot help himself and
is also perhaps admirable in his rebellion.
p.219 “When that high spirit, that morning-star The allusion is to the archangel, Lucifer, who rebelled against God, was expelled from
of evil, fell from heaven, it was as a rebel heaven and became the devil. His description of the devil as a ‘high spirit’ suggests
that he fell.” admiration for his beauty and rebelliousness.
p.219 “Callous, concentrated on evil, with Dorian is aware of his stained mind – his depravity, yet still pursues further evil and
stained mien.” rebellion.
Dorian is self-absorbed and unfeeling in his dealings with other people. His pursuit of
pleasure is often at the expense of others and leads him to a life of debauchery. He is
implicated in the ruination of many people but displays little concern for their damaged
 reputations, claiming that they are responsible for themselves. His behaviour becomes
increasingly immoral, culminating in the murder of Basil, who only had Dorian's well-being
in mind. His blackmailing of Alan Campbell is calculated and malicious.
p.219 - “…he felt himself suddenly seized from In trying to forget his past, Dorian has brought it's repercussions on himself. As he comes
220 behind…He seemed little more than a lad close to realising his own mortality, in the hands of rough, unattractive Jim Vane, the
of twenty summers…” triumph of art and beauty over life seems a shallow motto.

The inescapability of the past is also exemplified by the reappearance of Sibyl's vengeful
brother. James Vane seeks revenge for the very first instance of Dorian's corruption: the
act of selfish vanity that caused the initial change in the painting.

James's determination to avenge his sister's death represents the culmination of all of
Dorian's sins, returning to hunt him down. However, superficiality does not fail Dorian yet;
in this first encounter with James, Dorian's face literally saves his life.
p.222 “They say he has sold…he hasn’t Reputation and myth follow Dorian around these dark places. It is now not his beauty that
changed much since then.” distinguishes him but the unlikeliness of his beauty. Rumour has created another surface
of Dorian Gray. His face both saves and dooms him.

CHAPTER 17
The chapter begins with Dorian and Lord Henry chatting with the Duchess of Monmouth,
during a party at a conservatory. Many guests are gathered there for an extended visit as
guests of Dorian's. The guests discuss names, love, and of course the virtues of beauty.
Gladys shows herself to be quite witty, holding her own in a conversation with Lord Henry.
After Henry playfully mentions Dorian's old nickname, Prince Charming, she asks whether
Dorian has ever truly been in love. Disturbed by the reminder of his recent confrontation,
Dorian excuses himself, saying that he must pick orchids for the duchess.
p. 224 “I hope Dorian has told you about my Lord Henry’s preoccupation with names instead of the substance of things shows off his
plan of rechristening everything…” superficial outlook. As always, he uses his language and logic exquisitely, impressing
everybody, but the Duchess’s equal linguistic acrobatics threatens his status in the group,
and everything he preaches about women and genius.

p.224 “His name is Prince Paradox…” Dorian calls him ‘Prince Paradox’ as he speaks in double meanings much of the time.
 Marriage, companionship and meaningful love are degraded by the characters’ infidelity
and lack of care. While it is someone like Henry who is on an intellectual level with the
Duchess, the attention of all the women goes towards the object, Dorian. War imagery
turns Dorian into a figurehead, a prize, and reminds us of when he was a muse for Basil.
War and Art actually seem to be similarly destructive.
p.228 “I have never… Often. Too often.” Dorian’s tone is sardonic/pessimistic/dejected. He has chosen pleasure over being happy,
only to realise that the pursuit of pleasure has not fulfilled his expectations. He feels quite
hopeless and despondent. He appears to lack enthusiasm for life. He has become cynical
and disillusioned.
p.230 “No, I will come down…James Vane Dorian has faced the horrors of his actions and past. But in James Vane he suddenly
watching him.” faces the prospect of his death, and he can't handle it. He responds to his fear by keeping
up appearances.

CHAPTER 18
The next day, Dorian Gray remains in his house afraid to leave it for fear of being shot by
James Vane. The second day brings its own fears as well, but on the third day, Dorian
wakes up and feels that he has been imagining things. He tells himself that James Vane
has sailed away on his ship and will never find him in life.

After breakfast, he talks to the Duchess for an hour in the garden and then he drives
across the part to join the shooting party. When he gets close, he sees Geoffrey, the
Duchess’s brother. He joins Geoffrey for a stroll. Suddenly, a rabbit appears out of the
bush and Geoffrey aims for it. Dorian tells him not to shoot it, but Geoffrey shoots anyway.
Instead of the rabbit falling, a man who was hidden by the bush falls. The two men think it
was one of the beaters (the men hired to beat the bushes so the wildlife will run and the
hunters will be able to shoot at it).
p.234 - “What an ass the man…he shoots very Wilde exposes the egocentricity of class distinction through the death of what seems to be
235 straight.” a lowly beater. First, Sir Geoffrey is annoyed that the "ass" got out in front of the guns. It
ruins his shooting for the whole day. Then Lord Henry comments, "It is rather awkward for
Geoffrey, of course. It does not do to pepper beaters. It makes people think that one is a
wild shot." Incredibly, Lord Henry is more concerned with his shooting partner's reputation
than with a man's death.
The insensitivity of the party-goers upon hearing that a man has been shot is so extreme
 that it reads as a parody. Sir Geoffrey's first response upon learning that he has shot a
man is annoyance; he says that the event "spoiled my shooting for the day." Lord Henry
handles the news with typically superficial concern, saying that hunting must cease for the
day because "It would not look well to go on." For all of the seeming profundity of the
sayings that Henry spouts in conversation, he proves himself to be, in times of crisis,
incapable of viewing the world in terms of anything but appearances. His comments in this
chapter remind us of the superficial nature of his comfort to Dorian immediately after
Sibyl's death (chapter 8), when he recommended that Dorian not sulk or involve himself
with the investigation so as to preserve his reputation.

p.234 “Don’t shoot it, Geoffrey. Let it live!” He urges Sir Geoffrey not to shoot, but only because the intended target, a rabbit, strikes
him as beautiful. Perhaps, since Dorian has felt like a hunted creature ever since his
encounter with James Vane outside of the opium den, he sympathises with the creature.

p.235 “It is a bad omen Harry…with a gesture Dorian himself displays some distress upon hearing of the man's death, but not for
of pain.” humanitarian reasons. The emotional pain Dorian feels after learning that a man is dead is
the consequence of his own self-pity: he considers the event a "bad omen," not a tragedy
in its own right.

p.239 "Death walked there in the sunlight." He expects evil in the opium den, not in the fresh air of Selby Royal. Dorian's tragic fate
haunts him wherever he goes. Before, Dorian felt that his situation was hopeless; now, he
is beginning to learn what hopelessness really feels like.

p.239 “…Dorian pulled his chequebook out…” Dorian displays his true insensitivity when his immediate reaction to the news is to reach
for his chequebook. He is not compelled to comfort the family of what he assumes to be a
dead employee, or even to express his condolences, but rather instinctively attempts to
make the problem go away by throwing money at it.
"A cry of joy broke from his lips. Discovering that the dead man is James Vane causes Dorian to rejoice for several
p.241 The man who had been shot in the reasons. First and foremost, he no longer has to fear for his life. However, it also means
thicket was James Vane. He stood there that he was not hallucinating when he saw James's face through the window. Dorian may
for some minutes looking at the dead be cripplingly paranoid, but he is not insane. Finally, since James's appearance was
body. As he rode home, his eyes were intended to make Dorian pay for his hand in Sibyl's death, now that James is dead, Dorian
full of tears, for he knew he was safe." may once again convince himself that he has escaped unscathed from the sins of his past.
 Dorian's ultimate relief is ironic. Even as he feels joy at seeing James Vane dead, he is far
from safe.

A release of Dorian's pent-up anxiety about James's threat of revenge, this sequence
points to the importance of Sibyl's death in Dorian's life story. He certainly did far worse
things—like killing Basil—but his shabby treatment of Sibyl was his first sin. It started him
on the path to cruelty, and caused the first change in Basil's portrait of him.

CHAPTER 19
p.244 “I can tell you Harry…Hetty’s heart is not It is not possible for Dorian to change because he does not really want to. The real reason
broken…” for his wanting to ‘spare’ Hetty Merton is because of vanity over the picture. He wants to
try and behave in such a way as to make the picture change its appearance because it is
so ugly. He is too narcissistic to realise that it is really his soul that is ugly.
p.244 - “She can live like Perdita…like Ophelia.” When telling Henry about Hetty, Dorian insists that she will "live, like Perdita, in her
245 garden," to which Henry asks "how do you know that Hetty isn't floating...like Ophelia?"
These are both Shakespearean characters (from The Winter's Tale and Hamlet,
respectively) that Sibyl used to play on stage. Dorian has already stated that Hetty
reminds him of Sibyl, whom he loved because of all the characters she represented to
him. Dorian now seeks to make amends for his treatment of Sibyl vicariously, through
Hetty; he thinks of her as Perdita, a character who meets a happy ending. Lord Henry's
allusion to the tragic character of Ophelia is unbearable to Dorian because it reminds him
of the actual circumstances of Sibyl's death, and his callous decision to view it as a
theatrical drama.
p.247 “Crime belongs exclusively…procuring Henry is an Aesthete. He believes in beauty and the pursuit of beauty, but he believes it is
extraordinary sensations.” solely the upper classes who can appreciate true beauty. Since crime is seen as ugly, then
in his eyes, crime cannot be committed by the upper classes. It is in actual fact Henry who
is just blinkering himself to the corruption of the upper classes and using the lower classes
as a scapegoat for anything that is not ‘beautiful’ in his eyes. He recognises that everyone
wants to feel new emotions/sensations but suggests that it is not the lower classes fault;
rather their position in society which dictates that they are unable to appreciate beauty and
therefore are capable of ugliness - crime.
p.247 “A method of procuring… Don’t tell me Dorian has killed Basil and gotten away with his murder, however, the guilt of this and
that.” numerous other crimes has meant that he has become paranoid. This, along with his
 deteriorating portrait, has meant that he has begun to fear for his own soul. He is afraid
that he will not be able to stop pursuing dangerous new sensations/committing crimes.
Since he has followed Henry’s advice meticulously, his words, “Don’t tell me that” suggest
a need for Henry to confirm that he will be able to stop himself from committing further
monstrous acts. He is struggling to believe that he can break the habit of pursuing a new
sensation regardless of the consequences.
p.247 “Yes… his painting had quite gone off. It As Lord Henry and Dorian discuss Basil’s disappearance, Lord Henry reflects on the fact
seemed to me to have lost something. It that Basil’s artistic ability diminished after Dorian stopped spending as much time with him.
had lost an ideal. When you and he Lord Henry’s observation shows that Dorian influenced Basil’s art a great deal, and the
ceased to be great friends, he ceased to difference could be seen in Basil’s work and not simply sensed by Basil’s imagination.
be a great artist.” Lord Henry laments that even if Basil had lived, he would never have produced another
great work of art.
p.248 “Like the painting of a sorrow, While playing the piano, Dorian says that the picture reminded him of certain lines from
A face without a heart.” Hamlet: "Like the painting of a sorrow,/ A face without a heart." This lines relate directly
and poignantly to Dorian's condition. They not only refer to the painting, but to Dorian
himself, who now feels reduced to "a face without a heart." When Henry tires to coax
Dorian out of his sombre mood with the line "If a man treats life artistically, his brain is his
heart", Dorian only repeats the quotation. It is if Dorian is trying to obliquely communicate
his true plight to Henry. He has already attempted, albeit unsuccessfully, to confess to
Basil's murder. Dorian is hopelessly isolated even from his oldest remaining friend.
p.249 “The soul is a terrible reality…” The portrait makes the concept of the soul real to Dorian. This physical manifestation his
soul makes him aware of how his soul has been corrupted and disfigured by his
debauched lifestyle. Each time he sees the effects of his actions on the portrait, he realise
the irrevocable damage he has done to his soul and how he is unable to redeem himself.
His conscience has come to weigh heavily on him.
“You have changed, of course, but not Dorian is no longer the innocent, naïve young man who was introduced to Lord Henry. He
p.249 appearance.” has become worldly-wise and cynical. His dissolute lifestyle influences others yet he is
unconcerned about the corrupting impact he has on his companions.
p.249 “To get back my youth…or be These words are typical of Lord Henry’s character. Lord Henry enjoys making startling
respectable.” pronouncements. His occupation with youth is evident from the beginning of the novel
when he tells Dorian that youth is the one thing worth having. Lord Henry suggests that he
is not a respectable person and thus is unable to ‘get back’ his ‘youth’, however, there is
no indication that his behaviour is disreputable. He makes many controversial statements
but does not appear to act on them although others do. Lord Henry is cynical and has and
 apparently casual/flippant attitude toward life.

p.250 “What an exquisite life you have Although Henry fancies himself to be Dorian's best friend, he tells Dorian that, after all their
had…You are still the same." years together, "you are still the same." This reminds us that, for all of his seeming
wisdom, Lord Henry can still only take things at face value; to him, looking the same and
being the same are one and the same thing. He has no clue as to the true degradation of
Dorian's character.
p.251 “I am so glad that you have never done After Dorian laments what has become of his life, Lord Henry remarks on the
anything—never carved a statue, or accomplishments Dorian has made. Just as Lord Henry believes that artists put all of
painted a picture, or produced anything themselves into their art, he sees Dorian as having put all of himself into living well and
outside of yourself! Life has been your enjoying life. If Dorian had tried to do anything else, he could not have been as fully
art. You have set yourself to music. Your committed to his way of living. However, the reader knows that because Dorian has put so
days are your sonnets.” much into the spectacle of his life, he has never contemplated his own soul.
p.252 “You poisoned me with a book once. I This exchange between Dorian and Lord Henry takes place in Chapter Nineteen, as
should not forgive that…The books that Dorian, flayed by his conscience, pledges to live a reformed life. Reflecting on the course
the world calls immoral are books that of his past twenty years, he confronts Lord Henry, whom he believes is responsible for
show the world its own shame.” leading him astray. Dorian criticises the yellow book that, years before, had such a
profound influence over him, claiming that this book did him great harm. This accusation
is, of course, alien to Wilde’s philosophy of aestheticism, which holds that art cannot be
either moral or immoral. Lord Henry says as much, refusing to believe that a book could
have such power. While there is something seductive in his observation that “the world
calls immoral . . . books that show the world its own shame,” Lord Henry’s words here are
less convincing than other statements to the same effect that he makes earlier in the
novel. In the latter stages of the novel, we know of Dorian’s downfall, and we know that he
is anything but “delightful.” At this point, Lord Henry’s praising of Dorian makes Lord Henry
seem hopelessly naïve, the victim of a philosophy whose consequences elude him.
p. 252 “…promise me that you will never lend Throughout the novel, Dorian finds ways in which to blame others every time anything
that book to any one. It does harm.” goes wrong. At the very end of the novel, as his whole life is unravelling, he still places
blame elsewhere. By asking Lord Henry never to lend the yellow book to anyone else, he
is indirectly implying that it is the book’s fault that he has behaved so badly for 18 years.
He does not take responsibility for anything that has happened.

Dorian has done precisely what the preface warns against when it declares that "All art
is...surface," and that "Those who go beneath the surface do so at their peril." He has
 gone so deeply "beneath the surface" of the book that he has transformed it into a sort of
outline for his own life. The corruption of his soul, and the ruin of his life, is what this "peril"
has wrought on Dorian.

CHAPTER 20
p.254 “He had often told the girl whom he had While thinking of Hetty, Dorian remembers telling her that he was a very wicked man, to
lured to love him that he was poor, and which she responded that "wicked people were always very old and very ugly." Like the
she had believed him. He had told her shallow people of Dorian's class, the "pure" Hetty assumes that appearance is everything.
once that he was wicked, and she had While this superficiality is precisely what allows Dorian to win so many hearts, it also
laughed at him and answered that wicked prevents anyone from truly knowing who he is.
people were always very old and very
ugly.”
p.255 - “The curiously carved mirror…” Dorian resolves to undo his past, to block it from his thoughts, and to focus on ensuring a
256 positive future. He crushes the mirror given to him by Lord Henry, a symbolic rejection of
his own vanity and the corrupting influence of Henry's friendship. He desperately clings to
his treatment of Hetty as an indicator that it is possible to cleanse his soul, but it is too
little, too late. Even this seemingly conscientious gesture was committed out of the
hedonistic desire to experience an unfamiliar sensation, and the vain wish to improve the
appearance of his soul, as depicted in the portrait. Vanity, not morality, drove his action,
proving once again that Dorian is a condemned soul.
p.255 "It was his beauty that had ruined him, his Dorian realises youth is a time in life to be selfish and explore the world around you. He
beauty and the youth that he had prayed now knows this type of behaviour cannot last, but one must mature and move on from
for." such foolish ways. He realises he has never moved on, but instead he has corrupted
others with his idea of eternal youth. He has been an example of what living a life full of
excess can do to a person. He has committed crimes and gotten away with them, but not
entirely. He lives with the fear of his picture being discovered, then the world would know
the truth about him.
He wanted youth and beauty for his entire life, while he received his wish, he also realised
it was an unwise desire. Man is meant to age, so he can become wise and mature.
p.256 "A cry of pain and indignation broke from After James Vane's death, Dorian Gray sets out to change his ways and live a better life.
him. He could see no change, save that He consciously chooses not to seduce and ruin an innocent young woman.
in the eyes there was a look of cunning After discussing the choice and the possibility of change with Lord Henry Wotton, Dorian
and in the mouth the curved wrinkle of decides, in Chapter 20, to look at his portrait and see if his attempt to follow a more ethical
 the hypocrite." path has made a change in his appearance. These lines reflect what happens when he
consults the painting. When Dorian spoke with Henry, he no doubt convinced himself he
meant to change. Here, in Chapter 20, the portrait reveals what he really intends, and it is
dark indeed. This shows just how extensive and profound the painting's magic is. It doesn't
just absorb passing time and the results of Dorian's vices. It also knows him better than he
knows himself. It is like a super-powered conscience, a kind of magic mirror reflecting
Dorian's inner self more clearly than he can see it himself.
p.257 “But this murder…really to confess? Dorian feels self-pity, but not remorse. He still takes no accountability for his actions.
Never,” Instead he still thinks of ways to hide his hideous deeds.

p.258 “As it had killed the painter…dead he These words are ironic because Dorian accidently kills himself, while the painter’s work is
would be free.” restored and lives on. Dorian, seeing the knife, thinks that "As it had killed the painter, so
it would kill the painter's work" ,but the work and the painter are instead granted the
immortality of artistic greatness, while Dorian himself is destroyed.
p.258 “…the knife that had stabbed Basil…” The knife is personified as being the thing that killed Basil. Once again the reader is aware
of Dorian’s inability to accept responsibility for his actions.

The weapon used by Dorian is the same one he had used to kill Basil. Ironically, Basil
offered to destroy the painting with a knife as soon as he sensed Dorian's negative
reaction to it (chapter 2), but Dorian's newfound vanity and appreciation for artistic beauty
prompted him to throw his own body in front of the image. Eighteen years and eighteen
chapters later, Dorian decides to do precisely what he had prevented from happening, and
once again his body throws itself before the painting, subject to the dangers of its beauty.
p.258 "He seized the thing, and stabbed the Dorian is trying to decide how to cope with the stress of living with the painting. He knows
picture with it." it is the only piece of evidence which can tie him to the murder of Basil. The painting now
shows the blood not only on his hands, but on his feet too. He considers confessing to
Basil's murder and concludes there is no other evidence to link him to the crime. The body
is gone, as is Basil's coat and satchel, so the police would probably think he is mad. He
decides the best way to deal with Basil's murder is to destroy the picture. He uses the
same knife he used to kill Basil, to destroy the picture. As he is stabbing the picture a great
cry and a crash are heard by not only Dorian's servants, but also others outside on the
street. Once the servants gain entry into the room they find the painting, as it was on the
day it was painted. On the floor they see a dead old man, who can only be identified by his
rings as Dorian Gray.
p.259 "When they entered…recognised who it This description indicates that the fairy tale element of the story has run its course. All of
was." the years and sins that had been transferred to the portrait are suddenly transferred back
to
Dorian in the instant he stabs the painting. The description is intentionally nameless. The
servants who view this tableau see the beautiful painting and their master's rings on the
aged corpse and thus deduce the reality. It is worth noting that when Dorian stabbed the
painting, Wilde did not say where he stabbed it. However, the knife is in the dead man's
heart, indicating the painting was his heart. This aligns with Dorian's comments from
Chapter 12 about keeping a diary of his life locked in a room. This painting was his diary,
his heart, and his inner self.
p.259 “…a splendid portrait of their master…a Some supernatural forces that link Dorian Gray to his picture ensures that when he stabs
dead, wrinkled and loathsome of visage.” the picture he is stabbed and dies. The novel’s ending has a perfect Gothic ring to it. His
worst fear, looking old and ugly, is realised. The body in the attic is so repulsive that not
even Dorian’s servants can recognise him without looking at his rings. He certainly
deserves a gruesome death, considering all the hurt he caused others in his life. His
selfish wish early on in the novel comes back to haunt him in a chilling twist of justice.