Name:
The Picture of
Oscar Wilde
1
Oscar Fingal O'Flahertie Wills Wilde
(16 October 1854 – 30 November 1900) was an Irish
writer and poet. After writing in different forms
throughout the 1880s, he became one of London's
most popular playwrights in the early 1890s. Today he
is remembered for his epigrams, plays and the
circumstances of his imprisonment, followed by his
early death.
Wilde's parents were successful Dublin intellectuals.
Their son became fluent in French and German early
in life. At university Wilde read Greats; he proved
himself to be an outstanding classicist, first at Dublin,
then at Oxford. He became known for his involvement
in the rising philosophy of aestheticism, led by two of
his tutors, Walter Pater and John Ruskin. He also
profoundly explored Roman Catholicism, to which he
would later convert on his deathbed. After university,
Wilde moved to London into fashionable cultural and social circles. As a spokesman for
aestheticism, he tried his hand at various literary activities: he published a book of poems,
lectured in the United States of America and Canada on the new "English Renaissance in
Art", and then returned to London where he worked prolifically as a journalist. Known for his
biting wit, flamboyant dress, and glittering conversation, Wilde had become one of the most
well-known personalities of his day.
At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of
dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into his
only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details
precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote
Salome (1891) in French in Paris but it was refused a licence. Unperturbed, Wilde produced
four society comedies in the early 1890s, which made him one of the most successful
playwrights of late Victorian London.
At the height of his fame and success, whilst his masterpiece, The Importance of Being
Earnest (1895), was still on stage in London, Wilde had the Marquess of Queensberry, the
father of his lover, Lord Alfred Douglas, prosecuted for libel, a charge carrying a penalty of
up to two years in prison. (Libel Act of 1843) The trial unearthed evidence that caused Wilde
to drop his charges and led to his own arrest, tried for gross indecency with other men. After
two more trials he was convicted and imprisoned for two years' hard labour. In prison he
wrote De Profundis (written in 1897 & published in 1905), a long letter which discusses his
spiritual journey through his trials, forming a dark counterpoint to his earlier philosophy of
pleasure. Upon his release he left immediately for France, never to return to Ireland or
Britain. There he wrote his last work, The Ballad of Reading Gaol (1898), a long poem
commemorating the harsh rhythms of prison life. He died destitute in Paris at the age of
www.wikipedia.com
forty-six.
2
Terms and Definitions
Allusion
a reference to a person, place, poem, book, or movie outside of the story
that the author expects the reader will recognize.
Examples:
The final game was John’s Waterloo.
To learn or not to learn, that was his dilemma.
Foreshadowing the use of hints or clues in a story to suggest what action is to come.
Foreshadowing is used to create interest and build suspense.
Irony
a subtle, sometimes humorous perception of inconsistency in which the
significance of a statement or event is changed by its content.
Example:
The firehouse burned down.
Dramatic irony
the audience knows more about a character’s situation than the
character does, foreseeing an outcome contrary from the
character’s expectations. The character’s statements have one
meaning for the character and a different meaning to the reader,
who knows more than the character.
Structural irony
a naïve hero whose view of the world differs from the author’s and
reader’s. Structural irony flatters the reader’s intelligence at the
expense of the hero.
Verbal irony
a discrepancy between what is said and what is really meant;
sarcasm.
Example:
Metaphor
a comparison of two things that are basically dissimilar but are
brought together in order to create a sharp image.
Example:
Personification
The moon, a haunting lantern, shone through the
clouds.
a figure of speech in which an object or animal is given human
characteristics.
Example:
Simile
Calling a stupid man smart.
The pig laughed all the way to the barn.
a comparison between two different things using either like or as.
Example:
I am as hungry as a horse.
3
THE PICTURE OF DORIAN GRAY
This introduction to the novel includes the philosophy of Aestheticism, which was generally
shocking to people in the late Victorian period. It is based on the idea of “art for art’s sake.”
This philosophy suggests that evil and decadence can be a source of art and beauty, not just
morality. A book which was popular with aesthetes at this time was A Rebours (translated
as “backwards”), whose hero tries to experience all the sensations of the past and thus lives
backwards. This is the book referred to in the novel which Lord Henry has read and which he
sends to Dorian Gray.
CHAPTER 1
Vocabulary
bourdon
conjectures
disquiet
divan
dowagers
enmity
ensconced
languidly
lionize
listlessly
précis
proletariat
scrupulous
truculent
the lowest note
odd opinions
unease, restlessness
a backless couch
widows with money or titles inherited from their husbands
hatred, dislike
sheltered
lazily
to exalt; treat as a celebrity
without energy
a summary
low social class
careful; precise
stubborn
1. Identify the following characters:
a. Lord Henry Wotton
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b. Basil Hallward
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c. Dorian Gray
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2. Even though he does not appear in this chapter, why is the person of Dorian Gray
important?
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3. What prediction does Basil Hallward make about the three of them?
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4. What contrast does Lord Henry make between Basil and Dorian?
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5. What is the significance of the portrait Basil is working on?
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6. Why does Basil not want Lord Henry to meet Dorian? What promise does he want Lord
Henry to make?
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7. Discuss these epigrams from Lord Henry. How do they reveal his character?
a.
b.
“Conscience and cowardice are really the same things… Conscience is the
trade-name of the firm. That is all.” (p. )
“The ugly and the stupid have the best of it in this world.”(p. )
c.
“…the one charm of marriage is that it makes a life of deception absolutely
necessary for both parties.” (p. )
d.
“I choose my friends for their good looks, my acquaintances for their good
characters, and my enemies for their good intellects. A man cannot be too careful in
the choice of his enemies.” (p. )
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CHAPTER 2
Vocabulary
articulate
candor
caprice
dais
degenerate
fidelity
laden
palid
petulant
sallow
superficial
varnished
wanes
wizen
1.
expressible in words
honesty, openness
a whim
a raised table
to decline, deteriorate
loyalty, devotion
overloaded
pale
rude
yellowish
concerned only with the obvious
covered with a glossy finish
lessens; becomes less intense
dry; shrunken
What do Dorian and Lord Henry have in common when they first meet?
Describe Dorian Gray.
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2.
What ideas does Lord Henry express about life?
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3.
How does Dorian react to his portrait? How could the painting be used as a symbol?
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CHAPTER 3
Vocabulary
arcade
capital
capricious
carnal
collieries
facile
genial
indolence
lucrative
mediocrity
paradox
steeplechase
supercilious
verities
1.
an archway
excellent
impulsive; unpredictable
relating to the senses; sexual
coal mines
easy; easily completed
friendly
laziness
profitable
a person who has average or ordinary qualities
a self-contradictory statement
a race that contains many different obstacles
feeling superior; contemptuous and haughty
long-established truths
What does Lord Henry do the next day? What is the figure of speech employed in the
statement on beauty and tragedy?
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2.
What plan does Lord Henry have for Dorian?
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3. How does Lord Henry behave during lunch? Why does he act this way? What effect does
he have on Dorian?
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4.
What happens at the end of this chapter that shows the changing nature of the
relationships among Basil, Dorian, and Lord Henry?
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CHAPTER 4
Vocabulary
arbitrary
aphorisms
cosmopolitan
crucible
efficacy
labyrinth
lethargy
maladies
mean
myriads
pathos
sensuous
tempest
vivisecting
1.
random, illogical
witty sayings
worldly; sophisticated
a nightmare, ordeal
efficiency; ease of accomplishment
a maze
weakness
problems
low, inferior
many; uncountable numbers
sorrow, sadness
relating to the senses, not the intellect
a storm
cutting open to investigate
What is Lord Henry’s attitude toward marriage, as expressed to Dorian?
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2.
Who is Sibyl Vane? What is Dorian’s relationship with her?
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10
CHAPTER 5
affectations – falseness of manners; “putting on airs”
affluence – wealth
apes – imitates
bismuth – a chemical compound used in medicine
bushrangers – bandits
Summarize chapter 5 in 100-120 words.
drudge – a person who does difficult work
enthrall – to captivate, thrill
Focus on
furrow – a wrinkle
 the shift of setting in this chapter and its
morose – gloomy, sad
effect
placid – calm, undisturbed
 the main characters and the main
prudence – wisdom
theme of chapter V
 the final promise that is mentioned at
the end of the chapter
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11
Chapters 7-10
Fill in the following words in their correct form.
sneer - suspicion - uncover – true - unopened – love – unmoved – his - die –
cruelty– exhibit – live - remove - different - marry
The two men leave, and Dorian forces himself to suffer through the rest of the performance.
Afterwards, he rushes backstage to confront Sybil. She is delighted to see him and
surprised at his anger, since she had assumed that he would know the reason for her
terrible performance. When he demands to be told why she performed badly, she tells him
that having met him, she can no longer believe in the theater. Before Dorian, she says,
"acting was the one reality of my life," and now he has "freed my soul from prison" and
"taught me what reality really is." Having experienced true love, she says, "it would be
profanation for me to play at being in love." Dorian is horrified, disgusted, and completely
unable to love her anymore. She can't believe it, and when he pulls away from her touch,
she falls to the floor, groveling at his feet. Dorian feels repulsion rather than empathy, and
leaves her sobbing on the floor.
Strangely numb and unable to come to terms with Sybil's lost talent or his unexpected
callousness towards her, Dorian aimlessly wanders the city until dawn. He returns home,
where he happens to glance at Basil's portrait, and is puzzled to find that the facial
expression is slightly ………………….: there seems to be "a touch of …………………. in the
mouth." He rubs his eyes and changes the lighting, but is certain that the picture has
changed. The cruelty in the expression reminds him of his cruelty to Sybil, but he feels
wronged for the misery that she has caused him with her bad acting, and consoles himself
by thinking that "women were better suited to bear sorrow than men...When they took
lovers, it was merely to have someone with whom they could have scenes. Lord Henry told
him that, and Lord Henry knew what women were." Unable to make any sense of the
picture's transformation, he realizes, after much pondering, that "It held the secret of his life,
and told his story...changed or unchanged, [it] would be to him the visible emblem of
conscience." Exhausted, he covers the portrait with a screen, and goes to sleep.
Dorian is awoken by Victor, his servant, after having slept until 1:15 in the afternoon. He
sees that he has received a letter from Lord Henry, but leaves it …………………. . He feels
refreshed and eats breakfast happily, the previous night feeling like nothing more than a
dream. His pleasant afternoon is interrupted, however, when he sees the screen that he has
thrown over the portrait. He thinks himself foolish for imagining that the painting might have
changed, but decides to check it again just to make sure. Nervous that he might be acting
12
strangely, he throws Victor out of the room, locks all of the doors, and draws the curtains.
Sure enough, "It was perfectly true. The painting had altered." He wonders how this could
be possible, whether there is a scientific explanation, or a darker, metaphysical cause for
the change. The cruel expression on the face in the portrait reminds him of his poor
treatment of Sybil. Stricken with guilt, Dorian writes her a passionate …………………. letter,
filling "page after page with wild words of sorrow and wilder words of pain."
Writing the letter is deeply cathartic. As soon as he finishes, Lord Henry arrives. Dorian tells
him that although he saw Sybil and was brutal towards her, he doesn't regret any of it, since
"It has taught me how to know myself better." Henry is delighted to find Dorian in good
spirits, but when the young man tells him that he plans to cleanse his soul by
…………………. the poor actress, it is clear that there has been a misunderstanding. Sybil
Vane, as Henry had written to Dorian in the unopened letter, has killed herself with poison.
Henry says that there will be an inquest, but that Dorian has nothing to worry about since
nobody saw him go backstage or leave the theater, and since Sybil never even told anyone
her fiancve's real name. Henry urges Dorian not to get involved with the situation, as such a
scandal would destroy his reputation. He asks Dorian to come see the opera with him that
night. After his initial shock passes, Dorian responds to the news of Sybil's death with a
strange detachment. "So I have murdered Sybil Vane," he thinks, "as surely as if I had cut
her little throat with a knife. Yet the roses are not less lovely for all that."
Under Henry's direction, Dorian comes to appreciate Sybil's death as "a wonderful ending to
a wonderful play." Dorian is briefly disturbed by his emotional detachment, but Henry soon
assuages his guilt, saying that life's tragedies often "hurt us by...their entire lack of style."
Since Sybil died so dramatically, and for such a pure purpose as love, the situation is
actually one, Henry believes, that Dorian should take satisfaction and pleasure in. Henry
goes so far as to state that since the girl was only ever alive on stage, and since Dorian's
love for her was rooted in his admiration for the various heroines she portrayed, that "The
girl never really …………………., and so she has never really …………………...., don't
waste your tears over Sybil Vane. She was less real than [Shakespeare's characters] are."
Dorian thanks Henry for being such a good and true friend.
Henry leaves, and Dorian again looks at the picture. The mean …………………. has not
shifted, making Dorian think that it had "received the news of Sybil Vane's death before he
had known of it himself." After further contemplation, Dorian consoles himself by thinking
that since the picture displays his …………………. character, it must "bear the burden of his
shame," thus leaving him to enjoy a guilt-free life. He sees no reason to consider why the
picture changes, and decides to allow himself to simply be entertained by its progress. The
chapter ends with Dorian leaving to meet Lord Henry at the opera.
The next day, Basil visits Dorian and is shocked to learn that he has been to the opera,
given the circumstances. He is also aghast at the fact that Dorian seems altogether
…………………. by Sybil's suicide. Dorian defends himself by telling Basil that "She passed
again into the sphere of art. There is something of the martyr about her." He accuses Basil
of being selfish, since his anger stems from the fact that he was not the one who consoled
him, and tells the artist to "teach me to forget what has happened, or to see it from a proper
artistic point of view."
13
Dorian does, however, admit to being strongly influenced by Lord Henry. He also admits that
he knows Basil to be a much better man than Henry. When the painter hears this, his old
affection for Dorian wins him over. He inquires whether Dorian has been summoned by the
police. Dorian is annoyed by this thought, but assures Basil that no one involved even
knows …………………. name. He asks Basil to make him a drawing of Sybil, but Basil asks
Dorian to instead come pose for him again - a request that is quickly denied.
Basil then notices that his painting is …………………. . When he asks to see his work,
Dorian threatens never to speak to him again if he tries to lift the covering screen. He is
determined never to share the secret of the painting with anyone. Basil says that he wants
to …………………. the work, since he considers it his masterpiece, but Dorian states that
that is also out of the question. The painter asks if Dorian has seen anything strange in the
picture to disturb him so much. Thinking that Basil may already know about the picture's
enchantment, Dorian says that he has, but asks his friend to explain himself. Basil
confesses his idolatry of Dorian, and says that he was struck by how much of it had come
across in the painting. Dorian is disappointed and unmoved by the painter's affection. He
again states that he will never again sit for another portrait. Basil cries out that Dorian's
refusal will "spoil my life as an artist" and leaves. Dorian, growing ever more paranoid and
determined to conceal his secret, decides to hide the painting more thoroughly.
Dorian acquires the key to his attic from his housekeeper. Victor informs him that the men
he has requested have arrived to help transport the painting, and Dorian sends his servant
off to Lord Henry with a request for reading material. Mr Hubbard, a renowned frame-maker,
and his assistants carry the portrait up to the attic without …………………. the cover, as per
Dorian's instructions. Dorian wonders about the possibility of ever displaying the work, since
it is Basil's masterpiece, but knows that even though "It might escape the hideousness of
sin, the hideousness of age was in store for it." It would have to be hidden from sight forever
so that "No eye but his would ever see his shame."
Once Mr Hubbard leaves, Dorian returns to his library to find a note from Lord Henry, along
with a newspaper clipping and an old, yellow book. A red mark on the newspaper brings
Dorian's attention to a small article informing him that the inquest into Sybil's death has ruled
it a certain suicide. He is free of …………………. . He begins reading the novel sent by
Henry, a book about a young Parisian "who spent his life trying to realize … all the passions
and modes of thought that belonged to every century except his own." He is so engrossed
with the novel and its "metaphors as monstrous as orchids, and as subtle in color" that he is
several hours late for his engagement with Lord Henry.
14
CHAPTER 11
alchemist – a person who tried to transform lead into gold; dabbler in ancient chemistry
cardinal – most important
coronation – the ceremony crowning a ruler
corporals – linen cloths used in religious celebrations
ecclesiastical – relating to the clergy
1.
effigy – the representation of a person used for mockery or scorn
What role does Lord Henry’s
enamored – in love with; smitten by
book play?
gratification – satisfaction; reward
2.
hovenia – a type of raisin tree
hyacinth – a type of flower
How does Dorian Gray / his role
insolences – rudeness, disrespects
in society change during the
melancholy – extreme sadness
following years?
monstrance – the place where Communion wafers are kept
myriad – many; nearly beyond counting
3.
palmates – having the shape of a palm or hand
prefiguring – foreseeing
How does the ‘relationship‘ with
sojourn – a stay
his portrait develop?
1. …….......…………………………………………………………………………………..
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CHAPTERS 13 & 14
1. Comment on the two following extracts.
Points:
1.1.
Content:
Language:
Structure:
8 points (4 points each)
8 points (1&2)
4 points (2 points each)
Total:
20 points / …………….
Mark:
…………….
Comment on the following extract from chapter 13 (50-70 words).
‘You are the one man in the world who is entitled to know everything about
me. You have had more to do with my life than you think.’
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1. 2. Comment on the following extract from chapter 14 (50-70 words).
The same look of pity came into Dorian Gray's eyes. Then he stretched out his hand, took a
piece of paper, and wrote something on it. He read it over twice, folded it carefully, and pushed
it across the table. Having done this, he got up and went over to the window.
Campbell looked at him in surprise, and then took up the paper, and opened it. As he read it,
his face became ghastly pale and he fell back in his chair. A horrible sense of sickness came
over him. He felt as if his heart was beating itself to death in some empty hollow.
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Summaries Chapters 15-20
CHAPTER 15
Vocabulary
alliterative
atone
brazier
corroborative
dowdy
embalmed
inordinate
joviality
mausoleum
ormolu
pastilles
tedious
unadulterated
repeating of the first sound of words
to make up for
a metal receptacle
making more certain; adding to
not tidy or neat; out-of-style
preserved
excessive
jolliness, cheerfulness
a crypt, tomb
shiny metal
aromatic substances
tiresome, boring
unaltered, unchanged
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CHAPTER 16
Vocabulary
automatons
gaunt
haggard
infamy
interminable
iteration
mackintosh
oblivion
opium
quay
theologians
vengeance
writhed
robots; mechanical figures
thin
worn, tired
a bad reputation; evil
endless
a statement; utterance
a raincoat
insensibility; the state of being withdrawn
an addictive, narcotic drug
a harbor
people who study religion
revenge
twisted
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CHAPTER 17
Vocabulary
abdicate
hypocrisy
jaded
ledger
riposte
scepticism
simile
to give up
insincerity
dulled by experience, unimpressed; cynical
a record book
a witty answer, comeback
doubting; questioning
a comparison between things
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CHAPTER 18
Vocabulary
beaters
bracken
dog
fancy
pepper
perturbed
plenitude
presentiment
slumberous
spectral
tussock
those who make loud noises to flush out prey
a thicket
to worry, plague, bother
a whim
to shoot at
agitated
abundance
an omen; prediction of the future
related to sleep
like a phantom; barely visible
a small tuft of grass
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CHAPTER 19
Vocabulary
cheeky
idyll nocturne
novelty
procuring
renunciation
revivalist
stagnate
trellis
uncouth
vinaigrette
vulgar
impudent, rude
a peaceful narrative
music composed to represent evening or night
new or unique
obtaining
a rejection
one who leads religious revivals
to rot or decay
an interwoven pattern
uncultured
a small box for aromatics
crude; common
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CHAPTER 20
Vocabulary
irretrievable
tarnished
unsullied
unable to be recovered or rescued
marred; ruined
unspoiled; perfect
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1.
Complete
2.
Quality
-
incomplete
very good – good – sufficient - insufficient – poor
3.
Mark
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