“The Picture of Dorian Gray”

by Oscar Wilde
The 2025 amalgamated study guide by C. Buss

Please note: This is an amalgamation of various sources and my insights. Some sources have been used as is, and some
paraphrased. This study guide is not intended to be sold! Feel free to distribute to your pupils but know that I did not
receive permission from the authors of the works used.

ABOUT THE AUTHOR:

Oscar Wilde was born in 1854 in Dublin, Ireland. His father was a surgeon, and his mother was a poet. He was brought
up in an eccentric home which influenced his interests and style. He attended school in Dublin and went on to study
Latin and Greek at both Oxford University and Trinity College. He was well-known for his flamboyance and eccentricity.
He played a leading role in the Aesthetic Movement. He married Constance Lloyd in 1884, and they had two sons.
He wrote volumes of poetry, children’s stories, short stories, essays, articles and plays. He was famous for his plays and
greatly admired for his artistic skill. “The Picture of Dorian Gray” is his only novel and caused great controversy, as it
seemed to many inferences to homosexual behaviour, which was illegal at the time.
Wilde’s life was constantly shrouded in controversy. In 1895 he was convicted of gross indecency because of his
relationship with a young man. He was imprisoned for two years, and his health deteriorated rapidly. He lived his last
years in poverty in France and Italy. He died in 1900 at the age of 46.

TYPE OF NOVEL:

“The Picture of Dorian Gray” is a Late Victorian Gothic novel.

Please note this is a NOVEL, not a story or a book or a play or a movie. Please refrain from watching the “Dorian Gray”
films (there are many). NONE are true to the text and markers pick this up in your answers.

The original Gothic elements such as castles and ghosts have been replaced with decaying bodies and deformed minds.
Social vices, wickedness, horror, death, corruption and degeneration are at the heart of this genre. Wilde describes
grotesque, macabre and fantastic (as in fantasy) images in detail. He creates a mood of desolation and despair (for
Dorian) in the final part of the novel. He uses similes like “the moon hung low in the sky like a yellow skull”. The skull
alludes to death that so pervades the second half of the novel.

BACKGROUND, SETTING AND CONTEXT:

This novel was first published in 1890 as a shorter version in a magazine. It caused outrage and was widely criticised
for its seemingly homoerotic content. Wilde was accused of promoting a decadent and immoral lifestyle through this
novel. In 1891 it was published after extensive editing and adaptation. Various chapters and the Preface were added.
The Preface functions as a manifesto for the Aesthetic Movement and a defence of the novel.

“The Picture of Dorian Gray” is set in London, England during the late Victorian era (1890). This is the same time in
which Wilde wrote the novel. Britain was adjusting to major economic, social and political changes. Many new
philosophies were being discussed, and people were changing their earlier mindsets. With the Industrial Revolution
came social unrest and a general decline of the aesthetic in urban areas. Ugly factories and urban slums were in stark
contrast to the lives of the Aristocracy in their plush homes.

This novel focuses mostly on the elegant and wealthy lives of upper-class London society. As the Victorian period was
known for its concern with respectability and repressive morality, many people in this niche group lived secret lives of
immorality and sexual experimentation. Wilde was critical of this hypocrisy. Lord Henry Wotton is a mouthpiece for
this criticism.

Wilde uses this novel to criticise the Aristocracy’s hypocrisy – he, at times, overdramatises characters like Lord Henry,
Lady Narborough and Dorian himself to show his disdain for their blasé attitude towards morality. They live lavish lives

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of decadence and indulgence whilst proclaiming to be philanthropists and generally good people. Their snobbish
attitudes and dislike of anyone below their social status are themes Wilde develops in this novel.

VICTORIAN SOCIETY IN DORIAN’S TIME:

Victorian people lived according to distinct social ranks. The middle class valued hard work, strict morality and
pragmatism. Moral earnestness was fostered. Middle and lower-class citizens could never attain the wealth, luxury and
privilege of the upper class. Their lives and attitudes were centred on Christian belief. Religion pervaded social and
political life. The Victorians had a low tolerance for crime and antisocial/immoral behaviour. Victorian society put a
high value on a gentleman's good reputation and there was huge pressure to conform to society's expectations.
Many Victorians embraced the Aesthetic movement.
Aestheticism is a philosophy that emphasises the importance of experiencing the beauty of art or pleasure. Aesthetes
should focus on the experience of sensory pleasure and passion. Aesthetes considered art to be important for its own
sake – it should not have a moral purpose or reflect social/political issues. The aesthetes respected wit and were known
for their sophisticated ingenious conversation. Aesthetes rejected Victorian moral repression and indulged in sensual
and sexual experimentation (often shocking the Victorian society).

CHARACTERS:

Dorian Gray – the protagonist and, according to many, also the antagonist. He is very handsome, wealthy and
impressionable. He lacks intellectual depth and, under the influence of Lord Henry, chooses to focus on things he
considers beautiful. He becomes increasingly concerned with the transience of his beauty and begins to pursue his
own sensory pleasure above all. His Faustian Pact ultimately leads to his demise. He is a narcissist and utterly
destructive (both of others and self).

Lord Kelso – Dorian Gray's mean-spirited maternal grandfather— he raises Dorian following the deaths of Dorian's
parents. He organises the duel in which Dorian’s father (a common foot soldier) is killed. He dislikes Dorian, as Dorian
is proof of his daughter’s ‘betrayal’ and therefore, he is blemish on the family name.

Margaret Deveraux – Dorian Gray's mother. Her father (Lord Kelso) has her husband murdered (he orchestrates a duel
on the battlefield) shortly before Dorian's birth, and Margaret herself dies within a few months.

Basil Hallward – a successful and well-known artist. Dorian becomes his muse. He paints the fatal portrait of Dorian
Gray. He is sensitive and principled. He does not want Dorian to meet Lord Henry. He constantly tries to get Dorian
back on the ‘right path’. He could have been a great influence in Dorian’s life, had Dorian not thought him to be ‘boring’
in comparison with Lord Henry. He (naively) believes that Dorian is too beautiful to commit any bad deeds. Dorian
murders him after revealing the truth about the portrait.

Lord Henry Wotton – A hedonistic aristocrat. He is a friend of Dorian and Basil. (They call him Harry.) He is the novel’s
antagonist. He is cynical, witty and eloquent, always ready with well-phrased epigrams/aphorisms. He speaks openly,
and using many paradoxes, about his immoral views. He is a catastrophically bad influence on Dorian and uses him as
a social experiment. His pleasure-seeking philosophy of “new Hedonism” plays a vital role in the development and
then destruction of Dorian. His wife divorces him.

Victoria Wotton – Lady Wotton is Lord Henry’s wife. She lives a separate life from her husband and eventually divorces
him.

Lady Agatha – Lord Henry’s aunt. She engages in charity work in the slums in London. Dorian plays the piano with her
in Whitechapel. People pay little attention to her charity work. She takes Dorian under her wing to introduce him to
London society.

Lord Fermor – Lord Henry’s uncle. He is an influential member of the aristocracy. He tells Henry about Dorian’s past
and his parents.

Lady Gwendolen – Lord Henry’s sister. She has her children removed from her after her affair with Dorian.

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Sibyl Vane – a young, poor, beautiful and naïve actress. She adores Dorian and commits suicide when he breaks off
their engagement. Her love for Dorian affects her acting. Before she meets him, she is masterful at her craft. When she
meets him, she loses the artistic skill because she realises the falseness of affecting emotions onstage.

James Vane – Sibyl’s brother. He sails to Australia shortly after we meet him. He is very protective of his sister and
swears that he will kill anyone who hurts her. He sets out to find “Prince Charming” after the suicide of his sister. He is
killed by a stray bullet at one of Dorian’s hunting parties.

Mrs Vane – Sibyl and James’s mother. She is a washed-out actress who lives vicariously through her daughter. She only
approves of Sibyl’s engagement to Dorian because he is wealthy. This clouds her judgement and leaves Sibyl vulnerable.
The children’s father is a married man with whom Mrs Vane had an affair. He dies shortly after James is born.

Mr Isaacs – a Jewish man who manages the theatre where Dorian meets Sibyl Vane.

Duchess of Monmouth – a young, married woman who flirts with Dorian at his country estate, Selby Royal.

Victor – Dorian’s butler/valet. Dorian fires him when he fears that Victor might find out the truth about the painting.

Francis – Dorian butler/valet after he fires Victor.

Mrs Leaf – Dorian’s housekeeper at his townhouse in Grosvenor Square in London.

Alan Campbell – a young chemist, once a good friend of Dorian’s. Dorian blackmails him into disposing of Basil’s body.
He commits suicide shortly after this. He is one of many promising young men who have severed ties with Dorian
because of Dorian’s sullied reputation.

Lady Narborough – a London society hostess. Dorian has dinner with her the night after murdering Basil. She is also at
Selby Royal when James Vane is shot and killed.

Sir Geoffrey Clouston – a member of Dorian’s social circle. He accidently shoots James Vane while hunting at Dorian’s
country estate, Selby Royal.

Duchess of Monmouth – Gladys – a young, married woman who flirts with Dorian at Selby Royal.

Hetty Merton – the young woman Dorian romances but decides not to seduce as part of his effort to change his
behaviour late in the novel.

Adrian Singleton – a man Dorian earlier ruined and then encounters at an opium den.

DORIAN’S VICTIMS:

Sibyl Vane – commits suicide after Dorian breaks off their engagement.
Basil Hallward – Dorian murders him after revealing the truth about the portrait to him.
Lady Gwendolen – has her children removed from her after her affair with Dorian.
Sir Henry Ashton – leaves England after his association with Dorian.
Lord Kent’s son – his career is ruined after his association with Dorian.
Adrian Singleton – under Dorian’s influence, he forges a bill and becomes a societal disgrace.
The young Duke of Perth – there is only an inference to Dorian’s part in his societal disgrace.
The Duke of Berwick – embarrassed to be seen or spoken to/about after his association with Dorian.
A young man in the guards – commits suicide after his association with Dorian.
Alan Campbell – commits suicide after Dorian forces him to get rid of Basil’s body.
James Vane – Sibyl’s brother, who seeks revenge on Dorian for causing Sibyl’s death. He follows Dorian for years but is
eventually killed in a hunting accident before he can take his revenge.
Many other, unnamed people who are disgraced or die under Dorian’s influence.

TIMELINE:

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Chapter 1 An afternoon in June or July Basil paints Dorian’s portrait and Lord Henry admires it. Henry and Basil
discuss art and beauty. Henry is enthralled with the painting’s subject
matter.
Chapter 2 Later than same day Basil introduces Henry to Dorian. Dorian is immediately enchanted by
Henry and his philosophies. Henry makes Dorian aware of his transient
beauty and youth. Dorian wishes for the portrait to age and for him to
remain young. (Faustian Pact)
Chapter 3 The next day Henry visits his uncle, Lord Fermor, and finds out Dorian’s background.
Chapter 4 A month later Dorian falls in love with Sibyl Vane.
Chapter 5 The following day Sibyl is excited about her relationship with Dorian, even though she
does not know him. James Vane vows to kill any man who hurts his
sister.
Chapter 6 Later the same day Basil and Henry have differing opinions about Dorian’s engagement.
Chapter 7 Later in the evening of the Dorian, Henry and Basil go to see Sibyl in the theatre. She performs
same day terribly and Dorian insults her terribly and breaks up with her. Dorian
sees the first change in the portrait – a sneer.
Chapter 8 The following day Dorian receives a letter from Henry but does not open it. Sibyl has
committed suicide. Dorian is momentarily shocked. Henry advises
Dorian to see Sibyl’s death as an artistic masterpiece. He realises that
the portrait will reveal his soul.
Chapter 9 The following morning Basil offers his condolences to Dorian, but Dorian seems unmoved.
Basil is shocked at Dorian’s response and the fact that Dorian attended
the opera with Henry after hearing of Sibyl’s suicide.
Chapter 10 Later the same day Dorian moves the portrait up to the old school room to hide it from
everyone. Henry sends Dorian the ‘yellow book’. Dorian is completely
absorbed by it.
Chapter 11 A period of 18 years Dorian spends 18 years indulging in sensuous pleasures. He collects
perfumes, jewels, musical instruments, tapestries, religious artefacts.
Chapter 12 November – 18 years later Shocking rumours abound about Dorian. Basil confronts Dorian.
Chapter 13 The same night Dorian shows Basil the deformed, grotesque portrait and murders him.
Chapter 14 The following day Dorian blackmails Alan Campbell into disposing of Basil’s body.
Chapter 15 The same night Dorian attends dinner with Lady Narborough.
Chapter 16 Later the same night James Vane sees Dorian outside an opium den. He attacks Dorian and
almost kills him. Dorian tricks him and gets away.
Chapter 17 A week later Dorian entertains friends at Selby Royal. He sees James’s face at the
window and it terrified.
Chapter 18 Three days later James is accidently shot. Dorian is relieved.
Chapter 19 Six months later Dorian is determined to change his life and become a good person. He
‘spares’ Hettie Merton by not seducing her.
Chapter 20 One night soon after Dorian is angry that the portrait has become even more evil-looking.
He stabs the picture. He dies and the portrait is restored to its former
glory.

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CHAPTER SUMMARIES:

Preface:
This brief introduction states the author’s subject and aims. He argues that Art has no purpose, and that all beauty is
useless. The preface is made up of a series of epigrams (a short expression of an idea in a clever/witty way) or
aphorisms. According to Wilde, the artist might consider the moral or immoral lives of people as part of the subject
matter of a work, but art itself is not meant to instruct the reader. The true artist is not out to prove anything and
makes no judgments of right or wrong.

Chapter 1:
The novel opens in the studio of Basil Hallward who is finishing a painting of the handsome, young Dorian Gray. Basil’s
friend, Lord Henry Wotton, is visiting him and Henry is immediately drawn to the painting. He states that it is Basil’s
best work ever. Basil does not want to display the painting, as he states that he has put too much of himself in it. Henry
does not understand this concept (the artist loves the painting and the subject, Dorian) and thinks that Basil is just
being vain and ridiculous. Basil, however, fears that his soul will be on display. Dorian has become his muse. He fears
that the public will detect his personal and artistic idolatry of Dorian. Basil tells Henry how he met Dorian and that he
does not want Henry to meet Dorian. (Basil knows that Henry will be a bad influence on Dorian.) Basil’s butler
announces the arrival of Dorian Gray. Basil asks Henry not to influence or take away the person who inspires him as an
artist.

Chapter 2:
Henry and Dorian meet and Henry flatters Dorian. Basil wants to continue painting and asks Henry to leave. Dorian,
however, is immediately drawn to Henry and insists that he stays. Dorian and Henry go out into the garden and Henry’s
influence over Dorian starts. He urges Dorian to be selfish with his youth while he has it, and to seek a “new Hedonism”
– elevating the pursuit of pleasure to a dominating level. Later, Dorian admires the stunning portrait but becomes
frightened when Henry tells him that his beauty will fade with age. He wishes that he could stay young, and the painting
should age. (He makes the Faustian Pact/Bargain.) Basil accuses Henry of causing the turmoil, but Henry states that he
has merely brought forth the “real” Dorian. Henry invites Dorian and Basil to the theatre. Dorian accepts and Basil
declines, stating that we will stay with the ‘real Dorian’, the painting. He reminds Henry that he trusts him not to
influence Dorian. (Dorian is so easily swayed by Henry’s seductive ideas that it is clear his true morals are vague, to say
the least.)

Chapter 3:
Henry visits his uncle, Lord Fermor, to learn about Dorian’s past and background. He learns that Dorian’s mother
(Margaret Devereux) fell in love with a soldier and married him, against her father’s wishes. Her father then has him
killed on the battlefield. She dies shortly afterwards, and Dorian goes into the care of his grandfather, Lord Kelso. Kelso
dies when Dorian is younger and leaves his money and estate to Dorian, his only heir. This establishes Dorian as a
romantic and tragic figure. Henry and Dorian have lunch at Lady Agatha’s house. Henry dominates the conversation
with more aphorisms and witticism. They leave together.

Chapter 4:
A month later Dorian meets Henry’s wife, Lady Victoria Wotton. She recognises him from the photos her husband has
of Dorian. Dorian tells Henry that he has fallen in love with an actress, Sibyl Vane. He is in love with her beauty and
acting skills. (She is a different woman every night.) She calls him “Prince Charming”. Dorian is upset that she is forced
to work for Mr Isaacs, the owner of the theatre, and vows to ‘rescue’ her and get her a position at a proper West End
theatre. (Just like Henry does to him, Dorian is the manipulator in this relationship.) Henry agrees to meet Dorian and
Basil for supper the following evening, and to watch Sibyl in a play. Henry is not upset by the burgeoning relationship
between Dorian and Sybil. He states that it makes Dorian “a more interesting study”. Later that evening Henry receives
a telegram from Dorian informing him that he is engaged to Sibyl.

Chapter 5:
The next morning Sibyl and her mother discuss Sibyl’s relationship with Dorian. Sibyl is madly in love with Dorian, her
‘Prince Charming”. (She does not even know his real name.) Mrs Vane hopes that Dorian is wealthy – she is clearly
materialistic. Sibyl’s brother, James, is leaving for Australia to seek a better life. He is very protective over his sister and
threatens to kill Dorian if he hurts Sibyl. James seeks answers from his mother after he heard a rumour regarding his
father. He asks her if she and his father were married. (Affairs and children out of wedlock were taboo!) She responds
by saying “no”. James calls his father a scoundrel and Mrs Vane defends the man. She had known that he was “not
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free” when she got involved with him. She argues that he was a gentleman and would have taken care of her and the
two children if he were alive.

Chapter 6:
When Henry tells Basil that Dorian is engaged, Basil is shocked. Henry is not upset, as he states that Sibyl is beautiful.
(Henry views beauty as one of the highest virtues.) Basil is deeply saddened by the way in which Dorian is changing
and feels that the marriage is not a good idea. He knows that it is Henry’s influence which is changing the once innocent
and pure Dorian. Dorian and Henry leave together, and Basil follows them. The artist feels that Dorian will never be the
same to him again.

Chapter 7:
At the start of the chapter, Dorian is in a great mood. However, when Sibyl acts badly, he is devastated. In fact, he is
more disgusted than embarrassed. (She is unable to ‘escape’ into her acting, as she used to, as Dorian is now her sole
focus.) After the play, Sibyl seems overjoyed at her dismal performance and expects Dorian to understand that she can
no longer act because she has found true love in real life. She asks him to take her away so that they can start their life
together. He cruelly breaks up with her. “You have killed my love”, he states coldly. He loved her because she was a
great performer. Now he finds her “shallow and stupid”. She begs for forgiveness, but he refuses and rejects her. When
Dorian gets home, he notices a sneer on the painting. Dorian begins to wonder if he really has been cruel to Sibyl. He
convinces himself that he is not to blame for the situation – she is! She disappointed him and made him sit through
three awful hours of terrible performing. He convinces himself that Sibyl hadn’t really loved him, and he concludes
that he need not be concerned about her. He is more concerned about the changed portrait than he is about Sibyl. It
occurs to him that every sin he commits will be reflected in the portrait. He realises that his strange wish (the Faustian
Pact) has come true. He vows never to sin again so that the painting, like himself, will never change. He vows to use
the portrait as his conscience: the danger of hurting the portrait will keep him from committing sins. He decides to
make amends with Sibyl and to stop seeing Lord Henry. Dorian puts a screen in front of the painting to hide it.

Chapter 8:
Dorian receives a letter from Henry but does not read it. He starts to realise that the change in the painting is due to
his incredible cruelty to Sibyl. He writes her a long letter, begging for her forgiveness and feels much better. He believes
that by merely writing the letter, he has been absolved of his cruelty to her. Henry visits Dorian. The reader knows that
Sibyl has committed suicide, but Dorian does not know this yet. When Henry informs Dorian of Sibyl’s suicide, he is
excited that his first love letter is to a dead girl. He also states that her suicide was very selfish of her, as it leaves him
without the guidance that marriage to her might have provided. Henry tells Dorian not to be sad about her death and
view it as Art. (“A wonderful ending to a wonderful play”) Henry leaves and Dorian checks the painting again. He has a
pang of remorse but decides to live a life seeking pleasure, infinite passion and wild sin. He covers the painting and
joins Henry at the opera. He clearly feels no remorse or guilt about Sibyl’s death.

Chapter 9:
Basil visits Dorian the next morning and wants to console him over Sibyl’s death. He is shocked that Dorian went to the
opera the previous evening and is mortified at Dorian’s callous response to her death. Basil blames Henry for the horrid
change in Dorian’s character. Basil accuses Dorian of having no heart. Dorian responds by saying that he owes a “great
deal” to Henry, more than he owes to Basil, who only “taught me to be vain”. Basil responds, “Well, I am punished for
that, Dorian – or shall be some day,”. This foreshadows the tragic events later in the novel. Basil asks Dorian to see the
picture because he wants to exhibit it in Paris. Dorian is horrified (Basil will see the change in the portrait and his secret
will be revealed) and reminds Basil of his promise never to exhibit it. He also gets Basil to admit to him that he poured
his heart and soul into the painting. Basil’s idolatry is clear and will be frowned upon in society. When Basil leaves,
Dorian is delighted that he managed to keep his secret and manipulate his friend into telling his secret. He swears to
keep the painting hidden forever.

Chapter 10:
Dorian employs a frame-maker and his men to carry the painting to the school room in the attic. He is clearly paranoid
now and wonders if his servant, Victor, has seen the change in the painting. He covers the painting in a cloth previously
used to cover coffins. Dorian states that it will now cover the death and degeneration of the painting. For a moment
he wonders if he should have confessed to Basil and asked for his help in escaping Henry’s influence. He realises that
Basil could have saved him from the sins he will surely commit, but he decides that it is “too late now”. As in the Faust
legends, Dorian seems resigned to his fate and feels beyond help and hope. Henry sends Dorian the ‘yellow book’ and

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Dorian cannot stop reading it. He is now firmly entrenched in his double life. He chooses a life of vanity, cruelty and
sin. When he arrives at the club, Henry is pleased, and not at all surprised, that Dorian likes the yellow book.

Chapter 11:
18 years later. Dorian has spent all these years under the influence of the ‘yellow book’ and, to a lesser degree, Lord
Henry. People are gossiping about him but many still cannot believe it due to the “purity of his face”. He often looks at
the painting and sees that it is bloated, ugly and old. He is utterly consumed with his looks. He studies and collects
perfumes, music, jewels, Christian artefacts and embroideries. He moves from one interest to another and amasses
beautiful THINGS. He has no real relationships with people. (Wilde makes a strong judgment here against the dangers
of decadence.) He lives in a gilded cage and is a prisoner of his own paranoia, passions and fears. At times he takes a
room in a shabby tavern by the docks, disguising himself and using an assumed name. He lives a life without obligation
or regret and is not concerned if others are hurt along the way. His “new Hedonism” is to combat the Puritanism of
Victorian England. Rumours about Dorian grow as he nears his thirtieth birthday. Many find him charming; others shun
him. His face, however, does not age or show any of his debauchery. His appearance remains innocent, but his soul has
been “poisoned by a book”.

Chapter 12:
Dorian is now 38 years old. He meets Basil in the street late at night. Basil is about to leave for Paris and thought he
would ask Dorian about the rumours regarding his behaviour. Dorian has been seen sneaking out of brothels and opium
dens and his name is associated with the destruction of several people. Basil demands the truth, and Dorian decides
to show him the painting. He calls it his “diary” and tell Basil that it will show him his (Dorian’s) soul. They move towards
the school room. Dorian denies any responsibility for the “flaws of his acquaintances”.

Chapter 13:
Dorian shows Basil the painting and Basil is horrified. At first, he doesn’t understand how his brushstrokes and frame
could be on a painting as hideous as the one he is seeing. Dorian explains the Faustian Pact he made on the day he met
Henry in Basil’s studio. Basil appeals to Dorian to repent and pray with him. Dorian cries and he is momentarily filled
with despair. “It is too late, Basil.” Basil states that it is NEVER too late. They must repent; he, too, is guilty, but they can
still be forgiven. Dorian now blames Basil (and the painting) for destroying him. He hates Basil. He grabs a knife and
stabs him multiple times. He has no remorse and thinks of a way to hide what he has done. He hides Basil’s bag and
coat in a secret closet where he hides his disguises. He realises he needs an alibi will have to get rid of Basil’s body. He
leaves the house unseen and rings his own doorbell. Francis answers the door, and Dorian establishes his alibi by asking
for the time. He asks if anyone visited while he was gone. Francis states that Basil stayed until eleven and then left to
catch his train. Dorian asks to be wakened at nine the next morning. He looks up the name of an old acquaintance,
Alan Campbell. (Dorian has killed the only real friend he had, and with that, he killed the only chance he had to redeem
his soul.)

Chapter 14:
The next morning, Dorian is worried about the “thing” (Basil’s body) in the attic. He writes two letters and places one
in his pocket. He sends the other letter to Alan Campbell, a scientist ‘friend’ of Dorian’s. While he waits for Alan, he
sketches and reads a poem about the beauty of Venice. This is in stark contrast to what he did the previous night. When
Alan arrives, be is hostile and refuses to help him to get rid of the body. At first Dorian says that the man committed
suicide and then admits that he killed him. Alan still refuses to help him. Dorian resorts to blackmail (the letter written
and placed in his pocket), and Campbell unwillingly agrees to help him. (It is never stated what evidence Dorian has
against Alan.) Alan makes a list of the equipment he will need for “the experiment” and Dorian sends a servant to fetch
it. Dorian sends his servant on a frivolous errand and he and Campbell go upstairs. Dorian hastily covers the loathsome
painting with the cloth before Alan enters. Hours later Campbell comes downstairs, announces that he has done what
Dorian had asked, and leaves. Dorian goes upstairs and sees that Basil’s body is gone. All that remains in the room is a
smell of nitric acid. This chapter makes it clear that Dorian has surpassed his mentor, Lord Henry, in his power to
manipulate people.

Chapter 15:
Dorian attends a dinner party at Lady Narborough’s house. He is bored by the mediocrity of the guests and is only
relieved when Henry arrives. He does not eat anything but drinks a lot of champagne. The more he drinks, the thirstier
he gets. Henry sees that Dorian is “out of sorts”. Dorian becomes distracted and irritated and leaves the party. When
he gets home, he burns Basil’s hat, bag and coat. He takes out a small Chinese box containing a green, waxy paste. (The
reader can assume it is some sort of drug.) He dresses as a commoner and heads towards the river.
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Chapter 16:
Dorian craves opium, as he wants the ‘high’ to help him to forget about his sins. He goes to an opium den. He recalls
something Henry said to him on the day they met: “To cure the soul by means of the senses, and the senses by means
of the soul.” He intends to do just that. At the opium dens, old sins are forgotten, and new ones are found. True to the
Faustian character, he is certain that there is no hope for atonement. The only way forward is the numbness of opium.
Dorian’s physical and mental addictions are clear in this chapter. His hands shake and he is paranoid. Although he
cannot be destroyed by nature, he can destroy himself. He sees Adrian Singleton, one of the young men whose life he
had destroyed. A woman calls Dorian “Prince Charming”. This attracts the attention of a sailor who follows Dorian. The
sailor is James Vane who is intent on keeping his promise of killing the man who hurt his sister, Sibyl Vane. He confronts
Dorian and Dorian tricks him by saying that his face is way too young to belong to the man who hurt his sister 18 years
prior. James apologises and leaves. The woman at the bar asks James why he did not kill Dorian. She tells him that
people say, “he sold himself to the devil for a pretty face”. She states that is has been 18 years since “Prince Charming”
made her what she is. James realises that he has been duped and chases after Dorian. Dorian, however, is gone. Dorian
now craves ugliness instead of admiring beauty.

Chapter 17:
One week later Dorian is at his country estate, Selby Royal, with a few friends including Duchess Gladys of Monmouth,
her boring husband and Lady Narborough. The women flirt outrageously with Dorian. Henry is also there. They have
an animated discussion with a lady regarding love and life. Dorian, once again, states that Harry is always right. He adds
that he does not pursue happiness, rather pleasure. Dorian goes to the next room and faints when he sees James Vane
staring at him from outside the window. Dorian refuses to be alone for the rest of the evening. He is petrified.

Chapter 18:
Dorian stays in bed for three days in fear of running into James Vane. He decides that he must have imagined James’s
face and feels better. He goes on a hunting trip with his guests. He joins Sir Geoffrey Clouston and cries out when
Geoffrey wants to shoot a hare. Geoffrey finds Dorian’s plea silly and fires into the bushes. A man in the bushes is shot
by accident and Dorian states that he sees the death as a bad omen. Later that evening, as he is about to leave, Dorian
is informed that the dead man cannot be identified and that he is believed to be a sailor. Dorian asks to see the body
of the dead man. (This is after he is informed that the man was a sailor.) Dorian is happy to see that the man in James
Vane. He feels safe, at last.

Chapter 19:
Six months have passed since James Vane’s death. Henry is divorced. (His wife left him for another man.) Dorian tells
Henry that he is going to change his behaviour and be a better person. Henry says that he is fine (“perfect”) as he is.
Dorian insists that he has done too many dreadful and awful things in his life. He states that he has already started
changing. He explains that he met a country girl, Hetty Merton, and fell in love with her. However, he left her before
he could destroy her. They discuss Basil’s disappearance and Alan Campbell’s suicide. Dorian dares to ask Henry if he
would believe it if Dorian told him that he (Dorian) killed Basil. Henry refutes this and says that murder belongs to the
commoners. Dorian, again, insists that he is going to change for the better. He implores Henry not to give the ‘yellow
book’ to anyone else. (Dorian’s wanting to change is hypocritical – he doesn’t want to be better; he only wants the
picture to become beautiful again.)

Chapter 20:
Dorian contemplates his discussion with Henry. He thinks about Basil’s murder and Alan’s suicide. The death of his own
soul is what really affects him. He goes to the attic to see if the painting has changed since he has decided to be a better
person. However, the painting looks even more evil now. Blood appears all over the painting. And “in the eyes there
was a look of cunning, and in the mouth the curved wrinkle of the hypocrite.” He realises that his pitiful attempt to be
good was no more than hypocrisy, an attempt to minimise the seriousness of the crimes that falls far short of
atonement. Dorian decides to “kill the past”. He grabs the knife (used to kill Basil) and stabs the painting. The servants
hear a scream and a crash. A policeman is called but he cannot enter the locked attic. They gain entry to the room and
find an old, ugly man lying on the floor with a knife in his heart. The painting has been restored to its former glory. Only
when the examine the rings on the corpse, do they recognise Dorian.

8
THEMES/SYMBOLS/MOTIFS:

Appearance versus Reality / The duplicity of one’s public and private selves
• After the Faustian pact, Dorian appears to be young, pure and innocent because of his beauty. He is, however,
depraved, immoral, selfish and a complete narcissist. He cares only about his own sensual/sensory pleasure and
has no regard for the consequences of his actions or his impact on other people. Characters who encounter Dorian
leave with their reputations in tatters and fall out of favour with society. He literally gets away with murder because
people are automatically more willing to believe their eyes (his beauty and ergo, innocence) than anything else.
• The refined, wealthy characters in this novel (as was often the case in Victorian times) appear to be morally
upstanding members of society. In reality they are snobs and commit immoral acts behind closed doors. They are
superficial and embrace the fact that most people possess an awareness of a split identity: one that is defined by
the public and one that they define themselves.
• Basil believes that Henry’s cynicism is ‘pose’. In reality, Henry is really an immoral man who uses Dorian as a social
experiment.
• Characters are greatly concerned with their public reputations. Basil and Henry counsel Dorian on how best to
preserve his good status in the public eye.
• When people commit crimes/sins, it is not personal absolution that concerns anyone, but whether or not the guilty
party will be held responsible by the public.

Vanity as original sin

• Dorian’s physical beauty is his most cherished attribute. Vanity is, consequently, his most crippling vice. Once a
sense of the preciousness of his beauty is instilled in him by Henry and Basil, all of Dorian’s actions (from his
Faustian pact to his attempt to destroy the painting) are motivated by vanity.
• Even his attempts at altruism (self-sacrifice) are driven by his desire to improve the appearance of the painting /
his soul.
• Vanity destroys Dorian.

Outer beauty and inner depravity

• Strongly linked to appearance versus reality. Dorian’s outer beauty is highlighted in the first few chapters and
mentioned throughout the novel. As the novel progresses, and his sins become worse, his outer beauty remains.
His inner depravity remains unseen to most. People believe that he is innocent of the rumours because he is so
beautiful. When he makes the Faustian Bargain, he separates his soul and his body. The portrait represents his
soul, which is separate from his pleasure-seeking body and mind. In Dorian’s narcissistic self-absorption, he falls
even more in love with his own beauty and becomes more interested in the degeneration of his soul. Rather than
the portrait guiding him to be ‘better’, he no longer feels the need to take responsibility for his actions – the portrait
will bear the burden of his sins.
• Henry, too, is a handsome man who is depraved.
• Basil and Henry both emphasise the connection of the body and the soul. Basil sees “harmony of soul and body”
in Dorian. For Henry, “nothing can cure the soul but the senses, just as nothing can cure the senses but the soul”.
• The novel does judge Dorian and there is punishment for his wickedness and neglect of his soul. When he tries to
destroy the evidence of his corrupted soul, he inadvertently kills himself, and his body and soul are reunited in the
hideous corpse.

The Faustian Pact/Bargain and Henry’s role as Devil’s ambassador

• Dorian’s wish about the painting introduces the Faustian theme. Faust, according to legend, sold his soul to the
devil in exchange for knowledge and power. The Faust legend raises the question of eternal damnation due to the
unpardonable sin of despair. Certainly, it is a sin for the Faustian character to make a pact with the devil. However,
he can escape, even at the end of his life, if he repents and asks for God’s forgiveness. Usually, the character feels
that he is beyond God’s help, which is an insult to God, who is all-powerful, according to Christian philosophy.
Despair is the only unpardonable sin because it keeps the sinner from asking for God’s help.
• ALTHOUGH DORIAN GRAY NEVER CONTRACTS WITH THE DEVIL, HIS SACRIFICE IS SIMILAR: HE TRADES HIS
SOUL FOR THE LUXURY OF ETERNAL YOUTH.
• The Novel was strongly criticised in its time for its overtones of the occult/supernaturalism, its refusal to accept
popular morality, and its portrayal of homoerotic culture.
• Considering this, the reader might ask what Henry’s role is. If he is not the devil literally, he certainly seems to play
the devil’s part. More accurately, he plays the devil’s advocate, leading Dorian into an unholy pact by manipulating

9
 his innocence and insecurity. Lord Henry’s role in Dorian’s downfall is implied rather than explicitly defined. Lord
Henry is definitely aware of his ‘demonic’ influence. He enjoys controlling people and playing with their minds. In
the context of the Faust theme, perhaps he is the devil’s unwitting representative.

Art as a mirror
• Basil puts ‘too much of (myself)” into the portrait of Dorian. His art mirrors his emotions. It is clear how he feels
about Dorian (he idolises him) when one looks at the portrait.
• Henry’s reference to Narcissus has strong links to mirrors. (Narcissus is a mythological character who fell in love
with his own reflection. He gets so close to his own reflection in a pond that he falls in and drowns.) Dorian, like
Narcissus, falls in love with his own image, and is ultimately destroyed by it.
• The portrait or Dorian reflects his conscience and his true self and serves as a mirror of his soul. The fear that he
expresses when viewing the painting, and the emotions that he seeks to escape through sin (drugs, sex, murder)
can be seen as an expression of this rage at laying eyes on his true self.

Prejudice
• London society, as presented in this novel, is prejudiced in many ways. The aristocrats (upper-class people) look
down on anyone below their social and financial standing.
• Dorian, Basil and Henry look down on the theatre where Sybil performs, because the patrons are not wealthy. They
call Mr Isaacs derogatory names because he is Jewish.
• Women are seen as ‘decorative’ in their marriages. They do not have the same rights or are as respected as men.
Women are also stereotyped to be quite shallow and dull in this novel. Emphasis is placed on their need/want for
a good marriage in terms of social standing and money.
• Henry is prejudiced against women and marriage, even though he is a married man. He speaks strongly against
monogamy and states that deception is absolutely necessary in a marriage. He is also prejudiced against poor
people.

Hedonism
• Hedonism refers to experiencing pleasure through the senses. It is a philosophy that encourages people to seek
pleasure for themselves, with no regard for consequences.
• Hedonists believe that sensory pleasure and beauty are the cornerstones of life. They believe that the aim of
human life is to satisfy the desires.
• Many of the hedonistic characters in this novel are wealthy and do not have jobs. They live for parties, outings and
social gatherings with other hedonists. They are wealthy because they inherited the money, not because they
worked for it.

Aestheticism
• ‘Aesthetic’ refers to the philosophical study of beauty.
• The Aesthetic Movement, or Aestheticism, is a philosophy that centres around the experience of beauty in art and
pleasure. Aesthetes focus on the pursuit and experience of sensory pleasure and passion.
• It was a reaction to the squalor and ugliness resulting from the Industrial Revolution.
• They considered art, in all its forms, to be important for its own sake. They argued that art should not serve any
moral purpose or reflect the social or political issues of its time. Their slogan was: ‘Art for art’s sake’ – it should
only be appreciated for its beauty and not for any meaning we attach to it.
• They rejected Victorian moral repression and indulged in sensual and sexual experimentation. They loved shocking
their conservative Victorian society with their self-indulgent lifestyles.
• The Aesthetes were known for their witty and sophisticated conversations. They valued style, wealth and lived
flamboyant lives.
• Aestheticism is intricately linked to Hedonism because of its emphasis on sensory pleasure. Dorian’s beauty is
valued over his intellectual accomplishment.

Addiction
• Henry’s opium-tainted cigarette in chapter 1 foreshadows Dorian’s addictions later in the novel.
• Dorian drinks a lot of alcohol and visits opium dens frequently. Like a typical drug user, Dorian’s need for a ‘high’
sends him spiralling to the next and better stimulus.

10
Art and life
• Dorian is the inspiration (the muse) for Basil’s art. Dorian is introduced to the reader through art (the portrait that
Basil paints of him). Basil tells Henry that Dorian is ‘absolutely necessary’ to him. He states that Dorian allows him
to recreate life through his art.
• Art and life become one and the same thing. When Dorian stops visiting (and sitting for) Basil, Basil’s artworks
suffer, and he never paints as well again.
• The Art of Living (or Living Through Art) is seen clearly in Henry and the “new Hedonism” he espouses. He
approaches life as an art form, seeking to sculpt Dorian’s personality. He pursues new sensations and impressions
of beauty with the amorality of an artist: “No artist has ethical sympathies.” (Preface) For Henry, art is superior to
life. He feels that the “real tragedies of life occur in such an inartistic manner”. He is always a spectator of life who
aims to shape that life into something more artistic and pleasurable. He makes the mistake of confusing life and
art. His aesthetic principles are not guidelines for life.
• Sybil is an actress who lives as though she is permanently on stage, until she meets Dorian. Dorian falls in love with
her skills as an actress, her ART, not her as a person. When she acted well, her artistry made her seems to be
greater than life and she removes Dorian from his life: “I forgot that I was in London and in the nineteenth century.”
When she fails in her art, she destroys his illusions; she becomes real, and he no longer loves her.
• Basil values his friendship with Dorian because the relationship improves his ability to paint.
• Dorian consciously bases his life and actions on a work of art – the yellow book given to him by Henry.
• Dorian confuses life, art and morality when he splits his soul from his body, and the picture takes on a moral
purpose by reflecting his immoral behaviour.

The value of beauty and youth

• In the novel’s aesthetic society, beauty and youth are highly regarded and valued.
• Basil makes Dorian aware of his beauty with endless compliments and by painting the portrait.
• Lord Henry praises Dorian’s beauty and makes him aware of the fact that his beauty will fade as he ages.
• Dorian becomes jealous of the portrait and makes the Faustian Pact/Bargain – he ‘sells’ his soul to the devil. Dorian
will remain young and beautiful, and the portrait will carry the ‘scars’ of his vices and sins. He considers himself
free of the moral constraints faced by ordinary man. He values his physical appearance more than the state of his
soul, which is openly displayed by the ever-increasing degradation of the portrait.
• Throughout the novel, youth is seen as representing innocence. Beauty, too, represents innocence. No-one
believes that Dorian can commit the atrocities of which he is accused, because he is so beautiful and young.
• Dorian uses his good looks to charm and seduce many people, much to their detriments and even demise.
• This novel acts as a moralistic warning tale against the dangers of valuing one’s appearance too highly, and of
neglecting one’s conscience.
• The many descriptions of the beautiful objects throughout the novel illustrate how such beautiful objects create
beautiful surroundings and add to the sensory enjoyment of life. Most of the objects described in chapter 11 have
some link to evil. Beauty and evil are linked for Dorian, who says that “there were moments when he looked on
evil simply as a mode through which he could realise his conception of the beautiful”.

The consequences of negative influence

• In chapter one, Basil realises the potential danger of Henry’s influence over Dorian. His fears are completely
justified, as Dorian is swayed and manipulated by Henry.
• Dorian is an innocent and naïve youth at the start of the novel. Under Lord Henry’s influence, he becomes corrupt
and eventually corrupts others.
• Henry’s influence plays a massive role in Dorian’s demise.
• The yellow book is another negative influence in Dorian’s life.
• Dorian, in turn, has a negative influence over many people and they are all scarred (and many die) because of their
relationships/affiliations with Dorian.
• One could argue that Lord Kelso’s negative influence (uncaring, unloving) over Dorian steers him easily into the
clutches of Lord Henry, as Henry pays him the attention he has craved for so long.

Free will and inevitability

• Darwin’s theory of evolution led to an interest in genetics during the Victorian era. (Genetics is the study of heredity
and inherited characteristics.)
• This novel raises questions around the issue of free will and how much choice Dorian has about the decisions he
makes. He views the sinister portraits of his ancestors – most of them evil – and wonders whether “some strange
11
 poisonous germ crept from body to body till it had reached his own”. This implies that he cannot escape his
heritage.
• Henry also has a profound influence over Dorian and succeeds in his aim to “make that wonderful spirit his own”.

Mirrors
• Mentioned often in the novel.
• The changing portrait is a mirror of Dorian’s decaying soul and reflects his many sins.
• Lord Henry gives Dorian a mirror and Dorian uses it to gaze at his own beauty. It is Henry who teaches Dorian to
adore his own beauty and to value it over his other characteristics.

Masks and disguises

• Dorian’s beauty is a mask for his evil soul, and he is successful in hiding his inner depravity from everyone.
• Dorian wears disguises when he visits the opium dens and brothels.

The picture/portrait/painting of Dorian Gray

This is the most important and prevalent symbol in the novel. It represents Dorian’s degeneration and how he CHOOSES
to live a life of vice and sensory pleasure. It represents his wicked soul. For every sin that Dorian commits, the portrait
becomes uglier and more evil-looking. It is ironic that Dorian is not concerned about the rumours about him, but fears
anyone seeing the state of the portrait.

The yellow book

Henry sends this book to Dorian, and it becomes like a roadmap to him for his life of pure Hedonism and vice. Dorian
becomes obsessed with the book and its protagonist, and it contributes greatly to his moral corruption. At the end of
the novel, Dorian implores Henry not to give the book to anyone else. He realises that the book led to his moral demise.

Flowers
• Flowers appear throughout the novel. They symbolise beauty and the transience thereof.
• Beauty and youth, like flowers, do not live/last very long. They are a constant reminder of Dorian’s wish to remain
young and beautiful. Dorian always has beautiful and expensive flowers in his home. He is wealthy and always
surrounds himself with beautiful things. This is in line with his Aesthetic ideals. (This is true for his furniture,
clothing, jewellery, artefacts, perfumes, food etc. Always the best and biggest and most beautiful.)

12
QUESTIONS ON EVERY CHAPTER:

Preface:
1. What is the function of the preface?
2. Which two philosophies are clearly stated in the epigrams? Explain each briefly.

Chapter 1:
1. Name the setting of this chapter.
2. Briefly explain your first impressions of Basil Hallward and Lord Henry Wotton.
3. What does Basil mean when he states that he has “put too much of myself into it”?
4. Henry has curious views on marriage and society. What are those views?
5. How do Basil and Henry’s lifestyles and principles differ?
6. Why does the author describe Nature in such detail in this chapter? How does this link to the debate about natural
and man-made beauty?

Chapter 2:
1. Why does Basil not want Henry to meet Dorian?
2. Describe Henry’s reaction when he meets Dorian.
3. What is Dorian’s reaction to meeting Henry?
4. How does Henry win over Dorian?
5. What is Dorian’s reaction to the picture?
6. Explain the concept of the Faustian Bargain/Pact and link this to the wish that Dorian expresses in this chapter.
7. With whom does Dorian choose to spend that night? What does this say about his character?

Chapter 3:
1. How does knowing Dorian’s background make the reader feel towards him?
2. Why, do you think, does Henry want to know so much about Dorian?
3. Why did Lord Kelso treat Dorian with indifference and a lack of love?
4. What ‘reward’ does Henry get from his controlling relationship with Dorian? What does Dorian get out of this
relationship?

Chapter 4:
1. What is revealed about the relationship between Lord and Lady Wotton?
2. Dorian falls in love with Sibyl very quickly. What does this tell us about his character?
3. How does Sibyl’s background/social circumstance differ from Dorian’s?
4. Comment on the choice of play in which Dorian first sees Sibyl acting.

Chapter 5:
1. Describe the relationship between Sibyl and James Vane.
2. Why is Mrs Vane happy for Sibyl to pursue a relationship with Dorian? What does this tell us about her?
3. What is the significance of Sibyl calling Dorian “Prince Charming”?
4. Where is James going? Why?

Chapter 6:
1. Compare Basil and Henry’s contrasting reactions to Dorian’s engagement.
2. Briefly describe Henry’s views of marriage.
3. Dorian says that he has had the “arms of Rosalind” around him and “kissed the mouth of Juliet”. How do these
statements reflect the nature of his love for Sibyl?
4. Explain the reference to the “white narcissus” and why this foreshadows a tragic outcome.
5. At the end of the chapter, Basil drives to the theatre alone. Why is this? What does his symbolise?

Chapter 7:
1. Give a reason for Sibyl’s bad acting.
2. Name three ways in which she disappoints Dorian with her acting.
3. Why does Dorian break up with Sibyl?
4. Give an example of the theme of narcissism in this chapter.
5. What has happened to the portrait when Dorian examines it? What is his solution to this?

13
Chapter 8:
1. How does Dorian view the change to the portrait as both a blessing and “terrible”?
2. Discuss the relevance of Dorian referring to the portrait as the ‘thing’.
3. Describe how Sibyl dies.
4. How does Dorian react to the news of her death?
5. Dorian says that “there is nothing to keep me straight”. Explain the role that Sybil might have played in his life.
6. Briefly describe the conversation that Henry and Dorian have regarding her death and how they view it.
7. Why does Henry state that Sybil “never really died”?
8. What does Dorian do later that night? What does this show about him?
9. What conclusion has Dorian reached and how will this affect his future?

Chapter 9:
1. What shocks Basil about Dorian’s behaviour after Sybil’s death?
2. Basil blames Henry for the change in Dorian’s behaviour. Is this justified? Explain your answer.
3. “If one doesn’t talk about a thing, it never happened.” Who says this and how does this reflect the society in which
the novel is set?
4. Dorian makes a comparison between Henry and Basil. Discuss the differences, according to him.
5. How does Dorian manipulate Basil into NOT showing him the portrait?
6. To what conclusion does Dorian come at the end of the chapter?

Chapter 10:
1. Why does Dorian choose the old schoolroom in which to hide the portrait?
2. How does Mr Hubbard’s role reflect the role of class distinction in London society?
3. How does the yellow book influence Dorian?
4. What, do you think, was Henry’s intention for sending Dorian the yellow book?
5. Dorian’s fear of the painting is revealed. He also states his true thoughts about Basil and Henry. Outline these fears
and the comments made about the influence of these two characters in Dorian’s life.
6. Why is Dorian angry about the report in the St James’s Gazette?

Chapter 11:
1. Suggest a reason for the long time lapse from the previous chapter to this one.
2. How does the theme of appearance vs reality fit in this chapter?
3. Why does Dorian amass so many beautiful objects?
4. Provide proof that the yellow book has become an obsession of Dorian’s.
5. Discuss how the ‘relationship’ between Dorian and the painting is developing in this chapter and how it affects his
behaviour.

Chapter 12:
1. Once again there is time lapse and Dorian is now 38. Why, do you think, does his appearance make him a topic of
conversation in society?
2. Why does Basil come to see Dorian?
3. Why does Basil state that he does not believe the rumours about Dorian?
4. Describe Dorian’s reaction to Basil’s accusations.
5. “I should have to see your soul”. How does Basil’s statement function as a catalyst to what happens next?
6. What is the ‘diary’ to which Dorian refers, and how is it a day-by-day record of his life?
7. Show how this chapter reinforces Basil as a true friend of Dorian’s.

Chapter 13:
1. Describe Basil’s reaction to the painting.
2. “I worshipped you too much. We are both punished.” (Basil) In what way in each of them punished?
3. Why does Dorian murder Basil?
4. Describe Dorian’s reaction to the murder.
5. How does Dorian create his alibi?
6. Why would Basil not be missed for a long time?
7. How can this chapter be seen as a turning point in the novel?

14
Chapter 14:
1. How does Dorian feel when he wakes up the next morning?
2. Describe Alan Campbell’s reaction to Dorian’s pleas.
3. How does Dorian get Alan to dispose of Basil’s body?
4. Discuss the changes to the painting at this time.

Chapter 15:
1. Dorian is agitated at the dinner party. Does this point to a guilty conscience? Explain your answer.
2. Why does he burn Basil’s coat, hat and bag when he gets home?
3. Dorian’s addictions are mentioned in this chapter. How do his addictions add to our understanding of Dorian’s
character?

Chapter 16:
1. Describe the contrast in the setting at the beginning of this chapter to the previous chapter. How does this link to
Dorian’s ‘double life’?
2. “To cure the soul by means of the senses, and the senses by means of the soul.” Comment on how this statement
applies to the events of this chapter.
3. How does James Vane ‘recognise’ Dorian?
4. In your opinion, is James Vane justified is seeking revenge for Sibyl?
5. Discuss the irony in the name ‘Prince Charming”. Link this to Sibyl Vane’s use of the name.

Chapter 17:
1. Henry states that “it is better to be beautiful than to be good” and it is “better to be good than to be ugly”. How
has Henry lived up to this philosophy? Name the theme referred to here.
2. Dorian states that he has never searched for happiness, only for pleasure. Is there a difference between these two
concepts? Explain your answer.
3. Why is Dorian so afraid when he sees James Vane’s face in the window?
4. Does the reader have sympathy for Dorian at this stage? Justify your answer.

Chapter 18:
1. Why is Dorian so relieved when he realises James has been killed?
2. Does the reader have sympathy for James when he is killed? Explain your answer.

Chapter 19:
1. Dorian tells Henry that he wants to be good and lead a better life. Henry replies that Dorian is “quite perfect”. Why
does Henry have this opinion?
2. What good deed has Dorian already done to start his reformation, and comment on whether this is, in fact, a good
deed.
3. What are the two current scandals being discussed?
4. How does Henry react when Dorian confesses to killing Basil? Why?
5. In chapter 10, Dorian is fascinated with the yellow book. Now he asks Henry never to lend it to anyone. What does
this tell the reader about a possible change in Dorian’s character?
6. Henry asks: “What does is profit a man if he gains the whole world and lose his soul?” This hugely affects Dorian.
Discuss the implications of this.
7. Does the reader feel sympathy for Henry regarding his divorce? Explain your answer.
8. Why, do you think, did Alan Campbell commit suicide?
9. Discuss the anti-climactic ending of the chapter.

Chapter 20:
1. Dorian smashes a mirror. Why does he do this? What is his conclusion?
2. Why does Dorian stab the painting?
3. Is Dorian’s death at the end of the novel a fitting conclusion? Explain your answer.

15
An example of a GOOD essay:

The Corrupting Influence of Egotism in “The Picture of Dorian Gray”

Oscar Wilde’s “The Picture of Dorian Gray” explores the dangers of unchecked egotism, illustrating how excessive self-
adoration leads to moral and personal decay. Through the character of Dorian Gray, the novel demonstrates how vanity
and self-indulgence result in a complete disregard for others, culminating in corruption and destruction. Wilde critiques
the consequences of placing one's own desires above morality, portraying egotism as a force that warps human nature
and leads to inevitable downfall.

Dorian Gray's egotism manifests in his obsession with his own beauty, which ultimately shapes his descent into
immorality. From the moment he sees the portrait painted by Basil Hallward, Dorian becomes fixated on his
appearance, fearing the loss of his youthful perfection. This vanity is exacerbated by Lord Henry Wotton’s hedonistic
philosophy, which encourages Dorian to indulge in every pleasure without consequence. When Dorian realises that his
portrait will bear the marks of his sins while he remains physically unscathed, he fully embraces a life of self-indulgence.
His egotistical desire for eternal youth leads him to forsake virtue, showing that an obsession with oneself can override
ethical considerations. Dorian visits opium dens, has various liaisons with many people and rejects all morality.

Furthermore, Dorian’s egotism causes him to view others as tools for his own gratification, leading to the destruction
of those around him. His treatment of Sibyl Vane exemplifies his disregard for others' emotions. Initially enchanted by
her beauty and talent, Dorian proclaims his love for her. However, when her performance falters due to her
overwhelming love for him, he cruelly rejects her, seeing her only as a means of aesthetic pleasure. Sibyl’s subsequent
suicide reveals the devastating consequences of Dorian’s selfishness. Similarly, his former friend Alan Campbell, whom
Dorian blackmails into disposing of Basil Hallward’s body, ultimately takes his own life. Dorian’s egotism poisons his
relationships, as he sees others not as individuals but as instruments for his own desires. Dorian’s self-obsession
inevitably leads to the destruction of himself and others.

Dorian’s egotism leads to his own downfall, illustrating the destructive nature of excessive self-absorption. As he
continues his immoral pursuits, his conscience manifests in his growing fear and paranoia. He attempts to escape his
guilt by destroying the portrait, the physical representation of his corrupted soul. However, this final act of self-
destruction leads to his demise, as he is found dead, aged and disfigured, while the portrait is restored to its original
form. Dorian’s death serves as a moral lesson, reinforcing the idea that an existence devoted solely to personal
gratification is ultimately unsustainable.

In “The Picture of Dorian Gray”, Wilde presents egotism as a corrosive force that leads to moral corruption, the
destruction of relationships, and ultimately, self-annihilation. Dorian’s downfall serves as a warning against the perils
of excessive self-indulgence and vanity. Through his tragic fate, Wilde underscores the necessity of ethical
responsibility, demonstrating that an existence centred on personal pleasure without regard for others inevitably leads
to ruin.

16
Now the same essay, riddled with errors:

The Corrupting Influence of Egotism in The Picture of Dorian Gray

You can see how Dorian Gray's egotism totally messes up his life in the book, The Picture of Dorian Gray. From the get-
go, he was obsessed with himself, especially his looks. When he saw that portrait for the first time, he freaked out at
the thought of aging while the painting stayed the same. Lord Henry didn’t help either—he basically told Dorian to go
wild and enjoy life without worrying about consequences. And, well, Dorian took that advice way too seriously. He
wanted to stay young forever, and since the portrait took on all the nasty effects of his actions, he just kept doing
whatever he wanted. But you can guess that wasn’t gonna end well.

Dorian’s selfishness meant he saw people as things, not actual humans with feelings. Poor Sibyl Vane found that out
the hard way. She loved him, but when she bombed on stage, he completely trashed her and left her heartbroken. And
what did she do? She killed herself. It didn’t even phase him at first! And then there was Alan Campbell. Dorian
blackmailed the guy into cleaning up his murder of Basil, and Alan just couldn’t take it—he ended up taking his own
life, too. Dorian left a trail of destruction behind him, but he was too into himself to really care. You can really see
Wilde’s point here: if you’re too full of yourself, you’re gonna end up hurting everyone around you.

But hey, karma's a thing, right? Dorian couldn't escape his guilt forever. Even though he still looked young, he started
to feel paranoid, always worrying that someone would find out his secret. He tried to clean up his act at one point, but
let’s be real—it was too little, too late. Finally, in a desperate move, he took a knife to the painting, thinking that would
fix everything. Instead, he ended up dead, looking like the wrinkled, corrupt old man he really was inside. The servants
found him there, and the portrait? Good as new. Talk about a full-circle moment. Wilde definitely made it clear: if you
live only for yourself, you’re not gonna like where you end up.

So yeah, The Picture of Dorian Gray shows how being too into yourself can ruin your life. Dorian's vanity and selfishness
led him down a pretty dark path, and in the end, he had no one and nothing left. Wilde really drives home the point
that living only for pleasure and ignoring morality is a surefire way to destroy yourself. If you put yourself above
everyone else, don’t be surprised when it all comes crashing down.

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POSSIBLE ESSAY TOPICS AND POINTERS: (These are all taken from DoE exams and copied from the DoE website.)

November 2023: Dorian Gray's refusal to face reality leads to his moral decline.

• Dorian's introduction to his portrait reveals his inability to accept reality. When he is confronted with the harsh reality
that he will age and lose his beauty, he immediately wishes that he could stay young forever. • Dorian's eternal youth
allows him to live a life without repercussions. Although seemingly a blessing, this leads to his living a trivial and empty
life. • Dorian falls in love with Sibyl's artistic talent and not with who she really is. When she abandons her talent of
creating magical worlds, she becomes more real and thus flawed. Dorian's illusion of love is shattered, and he cruelly
discards her. • After Dorian's rejection, Sibyl kills herself and Dorian refuses to accept that he has played a role in her
death. Rather he chooses to see her death as a 'wonderful ending to a wonderful play'. He is able to feel more for a
character in a play than an actual person. • The reader is aware that Dorian ignores the reality of Lord Henry's negative
influence. Although Dorian has moments of clarity that following a life of Hedonism, as espoused by Lord Henry, has
been to his detriment, he continues to pursue immorality. • Dorian loses touch with reality when he starts to use the
Yellow Book as a guide for his debaucherous lifestyle. • The depth of Dorian's immorality is evident when he kills Basil
and blackmails Alan Campbell to dispose of Basil's body. He is able to detach himself from his murderous act by
describing Basil as 'the thing'. • When Dorian's conscience and reality trouble him, he turns to opium to avoid the
memories of the crimes that he has committed. • Dorian is never held accountable, nor does he face any consequences
for his depraved actions. This lack of 'purification in punishment' results in Dorian's never having to reflect on his
actions or grow and develop as a person. He remains immature and one-dimensional. • Dorian attempts to ignore the
ugliness of his soul by surrounding himself with beauty and experiencing new sensations; however, his portrait
continues to remind him of the reality of his reprehensible behaviour. • When Dorian can no longer face his own true
nature, he destroys the portrait. This action results in his body and soul re-uniting and ultimately leads to his death. •
Candidates might argue that Dorian's moral decline can be traced to the influence of Lord Henry in particular, and
society in general, and that his refusal to face reality is a consequence of these forces. [Credit valid alternative/mixed
responses.]

November 2021: The novel exposes the superficial and hypocritical nature of its main characters and the society
in which they live.
• Wilde draws attention to the superficiality and hypocrisy of Dorian, Lord Henry and to a lesser degree, Basil as well
as the society in which they live. • Dorian's wish to remain youthful and handsome reflects his society's shallow
preoccupation with outward signs of attractiveness and worth. • When his wish is fulfilled, Dorian can lead a double
life: socialite by day and degenerate by night. His portrait is symbolic of this hypocrisy. Dorian remains physically
beautiful and unblemished, but the portrait becomes deformed and ugly. • Dorian displays a superficial and fleeting
concern for the poor; playing a duet with Lady Agatha for the poor is unlikely to make any significant difference in their
lives and he is quick to forget his commitment when a more appealing experience is offered to him. • Dorian's
indifference to Sibyl's and Basil's death is indicative of the superficiality of his feelings; his concern is for himself rather
than others. • While appearing to avoid ugliness, Dorian paradoxically seeks it out; he is drawn to the dingy underbelly
of London's docks, opium dens and brothels. • Lord Henry preaches the principles of aestheticism and hedonism and
while he surrounds himself with many beautiful objects (most notably Dorian), his pursuit of hedonism is conservative
and essentially harmless. • Many of Lord Henry's paradoxical statements criticise the restrictive narrowmindedness of
the times in which he lives. He refers to 'monstrous laws' that regulate people's lives and prevent them from expressing
themselves. However, while he encourages Dorian to ignore such restrictions, there is no evidence that he does so
himself. • Lord Henry is a married man, but he is dismissive of marriage and discourages Dorian from marrying. • Basil
is drawn to Dorian's good looks and refuses to believe that he is capable of anything unpleasant or immoral. • Sibyl is
also enamoured by Dorian’s appearance, referring to him as ‘Prince Charming’; she believes that he will save her from
a life of drudgery. • Victorian society was supposedly morally conservative, and yet immorality abounds. The novel
conveys the idea that a society that is too repressive encourages hypocrisy. • Dorian's many vices are excused because
of his attractiveness, while Alan Campbell and Adrian Singleton are victims of society's judgement. This superficial
response to people is symptomatic of society's double standards and hypocrisy. • Dorian and his peers' adherence to
the principles of aestheticism leads them to value appearance more than substance ('manners are of more importance
than morals'). They are materialistic, surrounding themselves with luxurious/lavish furnishings and beautiful objects.
Their lives are shallow; they do little more than attend parties where they indulge in gossip and trivial conversation.
[Accept valid alternative/mixed responses.]

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September 2021: Dorian Gray is drawn to Lord Henry’s philosophies. This is what ruins Dorian.
• Initially, the young Dorian is presented as an innocent and naïve man. • The painter, Basil Hallward, is aware of the
toxic influence Lord Henry may have over Dorian and tries to keep them apart. • When they eventually meet, Lord
Henry imagines fashioning the impressionable Dorian into an unremitting pleasure-seeker. • It is clear from the outset
that Dorian is intrigued by Lord Henry’s ‘wrong, fascinating, poisonous and delightful theories’. • Lord Henry
encourages Dorian to lead a life of sensual pleasures and convinces him of the transient nature of youth and beauty. •
Dorian becomes obsessed with retaining his youthful appearance and longs to be as youthful and lovely as the
masterpiece that Basil had painted of him. • In these vulnerable moments, Dorian provides Lord Henry with the perfect
disciple that he can mould with his flawed philosophical theories. Lord Henry views him as a social experiment; he
deliberately wants to play upon him like a ‘violin’ and declares that ‘There was nothing that one could not do with him.
He knows the potential his influence holds and he says himself, ‘There is no such thing as a good influence, Mr Gray’.
• Lord Henry believes that one should yield to temptation and not deny oneself any desires, regardless of the moral
implications. He awakens in Dorian the impulse to seek pleasure, indulge in vice and yield to temptation. • The
poisonous yellow book that Lord Henry gives to him is used as a template for his own life. Dorian is happy to be Lord
Henry’s protégé and asserts that ‘No one has ever understood me as you have’. • However, despite Lord Henry’s
poisonous theories, he is more talk than action and does not indulge in it himself. Even though he claims that Dorian
Gray ‘was his own creation’ it is Dorian that makes the decisive wish that changes his life. He makes the choice to live
a life of excessive self-indulgence. • Dorian is convinced and even delights in the fact that he can escape from the
consequences of his immoral life because the portrait will absorb and absolve him of all sin. • Lord Henry does have a
significant influence over Dorian, but he does make his own choices. Dorian admits, ‘I have done too many terrible
things in my life.’ And much of his immoral behaviour happens when he is not in the company of Lord Henry. Lord
Henry becomes increasingly unaware of the true nature of the monster he has helped to create. • Dorian consistently
refuses to take responsibility for his cruel and murderous actions. • Dorian has opportunities to repent but he refuses
to renounce his depraved lifestyle. • It could be argued that it is Basil that feeds Dorian’s vanity. He believes that Dorian
has inspired his art. The language Basil uses when talking to Dorian is often that of intense infatuation and worship. He
idolises Dorian but he has always expressed a concern for Dorian’s well-being. Basil has the best intentions for Dorian
but when he murders the one person who genuinely cared for him, it is clear that Dorian has reached a point of no
return.
May/June 2021: Dorian Gray must take responsibility for his own fate.
Candidates might argue that Dorian is entirely responsible for his fate, or they might argue that he is only partly
responsible as there are other contributing factors. • Dorian's own nature is responsible for his downfall. Although his
appearance creates the impression that he is pure and innocent, his selfishness is evident in his self-absorption and
wilful nature. • Dorian is changed by his interactions with Lord Henry and Basil Hallward, but he makes his own choices.
• Dorian is intrigued by the theories of Aestheticism and new Hedonism espoused by Lord Henry. His moral weakness
and naivety allow him to be tempted and corrupted by ideas of self-indulgence and self-gratification. Dorian's
fascination with and commitment to the pursuit of pleasure contribute to his demise. • His initial wish that the portrait
should age while he remains young is an indicator of his narcissistic, self-centred nature, and his potential for moral
degradation. • Dorian allows himself to be influenced by the yellow book given to him by Lord Henry, seeing it as a
template for his own lifestyle. • Dorian's treatment of Sybil is cruel and egotistical. Her later suicide makes him aware
that his wish about the portrait has come true. This realisation encourages his depravity. • At various times in the novel,
Dorian is aware of the danger of Lord Henry's ideas and resolves to reject them. At times he is filled with self-disgust
and regret, but he does not have the willpower/strength of his convictions to change. He continues to engage in
questionable behaviour and becomes increasingly degenerate. • High society's awareness of his corrupting influence
on others does not prevent him from spending more time indulging in even seedier and more immoral acts. • When
confronted by Basil, Dorian refuses to take responsibility for any of his evil deeds, preferring to blame others. Dorian's
murder of Basil helps to seal his fate. • Dorian's attempt at destroying the painting leads to his death. His sacrifice of
his soul is fatal. Candidates might argue that Dorian is not entirely responsible for his own downfall. • Basil's portrait
encourages Dorian's self-absorption, and his 'worshipping' of Dorian makes Dorian aware of his 'good looks'. Basil is
also responsible for introducing Dorian to Lord Henry who, Basil knows, will be a bad influence on Dorian. • Lord Henry
encourages Dorian's inherent hedonism. His ideas activate Dorian's latent desires. Lord Henry is intrigued by the idea
of having the power to influence another person. He sees Dorian as a scientific experiment of sorts. As an
impressionable young man, Dorian is unable to resist Lord Henry's influence and once committed to an aesthetic
lifestyle, he does not have the strength of character to reject it. [Credit valid alternative/mixed responses.]

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November 2020: Despite moments of self-awareness, Dorian Gray continues to live a life of hedonism.
AGREE • Dorian is introduced to hedonism by Lord Henry. As a young man, the thought of living without any restrictions
is appealing. Dorian follows Henry's advice to give in to temptation and not to deny himself anything. • Based on Lord
Henry's theories, Dorian is encouraged to see his life as Art. He surrounds himself with beauty and indulges in
pleasurable experiences. • Dorian's life is filled with decadence and ostentation. He becomes known for his lavish and
extravagant lifestyle. He amasses vast collections of items such as perfumes and musical instruments. These interests
wane on a whim. • Having inherited his mother's and grandfather's wealth, Dorian has no need to work and spends
his time attending dinner parties, the Theatre and the Opera. • His lifestyle becomes more debauched and immoral as
Dorian is constantly searching for new experiences. • Dorian's rejection of Sibyl and the subsequent changes that he
observes in his portrait force him to reflect on the consequences of his behaviour. He resolves to make amends and
'be good', hoping to restore the portrait. • There are moments when Dorian is aware of his wrongdoings and decides
to change. However, despite Dorian's remorse after Sibyl's suicide, Basil's murder and his blackmailing of Alan
Campbell, these feelings are not sustained and are not strong enough to alter his behaviour. • He convinces himself
that these characters are to blame for their own fates and thus there is no reason for him to change. • He is aware of
the thrill he experiences from living a double life and this also accounts for his commitment to such a lifestyle. However,
he displays moments of self-awareness when he longs for a simpler life. • Even though there might be rumours about
him, Dorian is excited that no one has an inkling of the extent of his depravity. The fact that the portrait and not Dorian
himself bears the consequences of his moral corruption, allows him to continue his dissolute lifestyle. • Dorian is aware
of how the portrait reflects his conscience; he thinks that by destroying the portrait he will no longer have to face his
guilt. [A cogent 'Disagree' response is unlikely. However, treat all responses on their merits.] [Credit valid alternative
responses.]
September 2020: In his novel, “The Picture of Dorian Gray”, Oscar Wilde explores how the relentless pursuit of
youth and pleasure becomes a destructive power.
• It is the physical beauty of Dorian that affects all the characters and the developments in the novel. • Dorian’s beauty
inspires Basil’s ‘artistic idolatry’, and Lord Henry describes it as revealing ‘all youth’s passionate purity’. • Lord Henry’s
praise of youth influences Dorian’s wish for eternal youth. He convinces Dorian of the importance and value of youth
and beauty. • Lord Henry claims that the only way to get rid of temptation and pleasure ‘is to yield to it’. • This idea of
Hedonism is the creed by which Dorian lives as he indulges his worst desires. • Dorian becomes decadent, and his
desire for new experiences contributes to his degeneration. • In his narcissistic self-absorption he feels no need to take
responsibility for his actions – the portrait will bear the burden instead. • Valuing artistic beauty above all else allows
Dorian to confuse his love for Sibyl’s acting with a love for Sibyl herself. When Sibyl dies, it is the catalyst for the
diminishing of Dorian’s soul. • The portrait absorbs his immoral values; it becomes ‘bestial, sodden and unclean’. The
decaying representation of Dorian’s soul, the visible reminder of his sins, is a clear criticism of his lifestyle. • The
repulsive degeneration of his soul is not only reflected in the portrait but also in his visits to the sordid parts of London
in search of sensual pleasure. • Real life is too ugly for Dorian – ‘how horrible real ugliness made things’. • The yellow
book becomes a template for Dorian’s life and this allegiance leads to his death. • The beauty of his life was always an
illusion and, in the end, the reality of his sordid life is revealed in his death. • Candidates might refer to Basil, Alan
Campbell, James Vane as well as those whose lives have been ruined as a consequence of their association with Dorian
Gray. Candidates may argue that it is the repressive Victorian morality and ‘monstrous laws’ that encourage sin by
making the soul grow ‘sick with longing for the things it has forbidden to itself’. [Credit mixed/valid alternative
responses.]
May/June 2019: In “The Picture of Dorian Gray”, Oscar Wilde shows how the more reprehensible qualities of
human beings can destroy people.
Qualities such as selfishness, cruelty to others as well as harmful, depraved or corrupt behaviour might be considered
reprehensible. • Dorian's narcissism and his determination to pursue his own pleasure lead him to engage in
dishonourable behaviour. His self-centredness is clear when he chooses to spend time with Lord Henry rather than
fulfil his commitments to Basil and Lady Agatha. • His cruel and callous treatment of Sibyl is inexcusable and leads to
her suicide. • When Dorian realises that the portrait grants him freedom from censure, he begins to indulge in
increasingly dissolute behaviour, such as gambling, getting into fights with sailors and frequenting opium dens and
brothels. • He takes pleasure in the corrupting influence he has on others, while not taking any of the blame for their
ruined reputations. The lives of those whom he has influenced are all destroyed. • Dorian is duplicitous, hiding his
corrupt nature from society in an attempt to preserve his reputation and position. • Dorian's murder of Basil is
particularly reprehensible, given Basil's love and concern for him. • Dorian's blackmailing of a clearly reluctant Alan
Campbell is disgraceful. Alan later commits suicide as he is unable to live with the shame of his actions. • Dorian's

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reprehensible treatment of Sibyl might be seen as a contributing factor in James Vane's death as her death prompts
James to seek revenge. Candidates might argue that James's desire for revenge is in itself reprehensible and
destructive. • Arguably, Dorian's depravity and his disgust at his own reprehensible behaviour contribute to his
destruction. • Lord Henry's disregard for the consequences that his controversial statements might have on others
reflects his indifferent and insensitive nature. • Lord Henry is selfish when he considered using Dorian as a social
experiment. He takes pleasure in seeing how his ideas have influenced and corrupted Dorian. Thus, he might be held
indirectly responsible for Dorian's demise. [Candidates might refer to other characters whose behaviour might be
considered reprehensible in their argument.]
November 2019: The society presented in “The Picture of Dorian Gray” values beauty and individualism above all
else.
• Victorian society's preoccupation with beauty is indicative of their superficiality. They believe that one's appearance
reflects one's character and is more important than one's morals. • The Aesthetic movement encourages people to
prioritise beauty and the pursuit of personal gratification to escape the harsh reality of life. • Dorian's fate is
foreshadowed by his comparison to Adonis and Narcissus, both of whom are extraordinarily beautiful and both of
whom died after rejecting others in favour of living for themselves. • The 'purity of his face' belies Dorian's degradation
and allows his continued acceptance in and admiration by aristocratic society. • Basil Hallward is a creator of beauty,
and he comes to idolise Dorian as an object of beauty. He also becomes reliant on Dorian as his muse. • Basil's portrait
of Dorian, and Lord Henry's admiration of it, awakens Dorian's vanity, which in turn motivates his desire to remain
forever young and handsome. The portrait gives Dorian immunity from the consequences of his corrupt actions,
allowing him to act with impunity. • Lord Henry's philosophy that individualism and being true to one's self is the
highest aim of life, together with the idea that one should not deny one's desires, encourages selfishness among its
proponents. • Many people lack concern for others, with each person pursuing his own interests. Dorian is self-
absorbed and self-indulgent, showing little regard for the consequences his actions may have on him or others. • Dorian
is captivated by Sibyl's artistic ability, but he selfishly rejects her when her acting is no longer artful. • Ironically, Dorian,
while surrounding himself with beauty, seems intrigued by the ugliness associated with the seedy underbelly of
London. • Society's lack of concern for the poor allows inequality to flourish. The aristocratic love of beauty is not
extended to the poorer areas that are devoid of anything that lifts the senses. • However, some society members seem
less concerned with beauty while others profess to be concerned with the upliftment of the poor. [A cogent 'Disagree'
response is unlikely. However, treat all responses on their merits.] [Credit valid alternative/mixed responses.]
September 2019: Dorian Gray shook his head and struck some soft chords on the piano, ‘Like the painting of a
sorrow,’ he repeated, ‘a face without a heart.’ [Ch. 19] Critically discuss to what extent Dorian’s reflection of himself
is an accurate assessment of how his character develops.
Candidates must refer to aspects from the quote, i.e. the painting’s transformation, and the ‘face without the heart’. •
In Dorian’s case, the painting is a record of his ‘sorrows’. Dorian’s face never reflects his real life. • Initially the painting
portrays Dorian’s exceptional beauty and implied innocence. • Dorian’s vanity compels him to wish that he could
remain as lovely and youthful as the exquisite portrait Basil paints of him. He pledges his soul if he could live without
bearing the physical burdens of ageing and sinning – he wishes that the portrait could age in his stead, which happens.
• When he breaks Sibyl’s heart and drives her to suicide, he notices the first change in the portrait which shows the
effects of his age and experience. It proves that he can behave with impunity. • Despite feelings of guilt over Sibyl’s
tragic death he follows Lord Henry’s amoral aestheticism, recasting the tragedy of her death as a beautiful work of art
in life. He treats the tragedy of her suicide as a ‘painting of a sorrow’. It allows him to distance himself from any
accountability. From that moment onwards, he is unambiguous about pursuing pleasure dispassionately. • He cares
nothing for the morality of conventional society. He is the cause of many people’s ‘sorrow’ yet he remains unscathed.
• As Dorian indulges in horrible sins over the years, his likeness in Basil’s painting grows more hideous. Dorian seems
to lack a conscience and is unable to distract himself from the dissipation of his soul. He holds a morbid fascination
with the portrait which grows older and uglier with each sin Dorian commits. The ugliness of his ‘heart’ is only visible
in the painting. • When Basil Hallward comes back into his life and tries to convince him to reform, he shows Basil the
painting. Basil’s repulsion unsettles Dorian because his secret is out; he kills Basil. • When he gives up Hetty he assumes
he is working toward his redemption, but instead he is simply indulging in something different that might amuse his
jaded palate. • He recognises that in order to repent, he must confess publicly to his sins, but he cannot lose his public
face because that is all he is. • Dorian’s guilt and awareness of his own evil torture him relentlessly until he tries to kill
his conscience by stabbing the portrait but in an ironic twist, he dies instead. • His life is a tragedy of sorrows, not all
his own. Many sorrows were foisted onto others by him. His face is not his heart; it is simply pretty. [Credit valid
alternative responses.]

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November 2018: In “The Picture of Dorian Gray”, the inability to distinguish between art and reality has tragic
consequences.
• Dorian Gray's introduction via his portrait establishes the importance of art in Dorian's world. His referral to the
portrait as being 'part of [himself]' suggests he is unable to separate himself from the image in the portrait. • According
to Basil, Dorian inspires him to find wonder in reality and the art he produces while Dorian is his muse is better as a
result. • By creating Dorian's image in the portrait, Basil feels that he has captured Dorian's spirit. He also worries that
his feelings for Dorian have been exposed. Later, when Dorian leaves with Lord Henry, Basil says he prefers to stay with
the 'real Dorian'. This indicates Basil's failure to discriminate between illusion and reality. • When Basil wants to destroy
the portrait, Dorian says it would be tantamount to 'murder'. This personification is an indication of how real the
portrait is to Dorian. • There is an element of unreality in Dorian's constant search for new experiences to escape the
ordinariness of his life. He avoids dealing with the reality of his sinful behaviour because the portrait bears the
consequences on his behalf. He is not held accountable for any of the dubious acts he commits. • Lord Henry believes
that art is superior to life, and he encourages Dorian to live his life as if it is art. He states that 'being natural is simply
a pose', implying that reality is a sham. He also suggests that being detached from reality and being a 'spectator of
one's own life' protects one from experiencing hardship and misery. • Dorian's commitment to these ideas is reflected
in his use of the yellow book as a template for his own life. His imitation of the life led by its protagonist is an indication
of how his concept of reality is blurred. • Sibyl Vane's artistry allows Dorian to escape reality. His love for her is an
illusion based on the characters she plays rather than who she really is. Her inferior performance deprives him of this
illusion. Lord Henry encourages Dorian to see Sibyl's death in artistic terms which allows Dorian to detach himself from
reality. • In contrast, Sibyl's love for Dorian makes her aware that art is only a reflection of life. She rejects her art in
order to experience the reality of love. Sibyl's limited experience of life outside the theatre and her referring to Dorian
as Prince Charming indicates her inability to distinguish between romantic notions of love and reality. This leads to her
suicide after Dorian discards her. • When Dorian can no longer deny the reality of the ugliness of his soul, he destroys
the portrait and finally reveals the truth of his debauchery. • Candidates might refer to Basil, Alan Campbell, James
Vane and Mrs Vane as well as those whose lives have been ruined as a consequence of their association with Dorian.
• Credit references to the general attitude displayed by the wealthy members of society that exposing the poor to art
can alleviate their suffering. The consequence of this callous attitude is the resentment the poor have for the wealthy.
[Accept valid alternative responses.]
September 2018: Critically discuss to what extent Dorian Gray’s character shaped his life.
• To a large degree. Mostly Dorian’s life (and death) turns out to be of his own making. • As a young and innocent man,
Dorian Gray is strikingly beautiful. He is made aware of his exceptional beauty by Lord Henry, whose flattering remarks
are supported by Basil Hallward, who paints a portrait of Dorian that confirms how beautiful he is. • When Dorian
realises how beautiful he is, (‘his own beauty came on him like a revelation’), Lord Henry’s warning that his beauty will
not last ‘is a sharp pang of pain’. He is enchanted by his own beauty, and also enchanted by Lord Henry, who opens a
new world that is based purely on the appreciation of beauty and outward appearance. • Lord Henry leads a debauched
life. He professes that ‘when we are good we are not always happy’. Dorian is strongly attracted to this philosophy and
sets out to live a life based on enjoyment and pleasing himself without much regard for the consequences. • Dorian
gradually immerses himself into the hedonistic lifestyle. According to Lord Henry, ‘the only way to get rid of temptation
is to yield to it’, and it is exactly what Dorian does. He believes that he can do what he wants, because he retains his
beautiful youthful looks; he does not age. Why would he be ‘good’ if he gets away with being bad? • The argument
that Dorian is the victim of Lord Henry’s manipulation does not hold water. Dorian chooses to follow Lord Henry’s
example. He is entranced by his own beauty, and the wish that he will not age is enough to spur him on to lead a
degenerate life. Lord Henry does influence Dorian at first, but Dorian eventually makes life choices without Lord Henry’s
involvement. • While he is not looking at the painting, he can do what he wants. This includes murdering Basil, enticing
Adrian Singleton into opium addiction without any accountability, blackmailing Alan Campbell, and indulging in dubious
activities that he hides from his society friends. • Basil is a good person, whose love for Dorian is obvious and true. He
wants what is best for him and shows concern when he sees Lord Henry’s undue influence on Dorian. Yet Dorian
remains unmoved by Basil’s presence. • Sibyl Vane probably loved Dorian. He rejects her when she does not perform
in a way that pleases him. He is callous in the way that he deals with the news of her suicide. This is the turning point
in Dorian’s life. He turns his back on those people who want what is best for him. • Dorian’s character is what
determines his life. He is an innocent at the start of the novel, but gradually develops into a self-absorbed, cruel and
shallow being. He does this out of choice. Whatever influences characters such as Basil Hallward and Sibyl Vane could
have had on him were inadequate. His adult life is spent doing what he wants to; there is no suggestion that he doubts
what he is doing. He makes a few visits to the attic to look at whom he really is, but those are not enough to persuade
him to live differently.

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February/March 2018: 'It is true that those we meet can change us, sometimes so profoundly that we are not the
same afterwards.' Critically discuss the validity of this statement in relation to Dorian Gray.
Candidates might argue that Dorian is changed by his involvement with various characters, or they might argue that
he is predisposed to develop into the person he becomes, regardless of his interaction with other characters. • Dorian's
meeting Basil and his painting of Dorian's portrait makes Dorian aware of his beauty. This encourages his narcissism. •
Lord Henry exposes Dorian to the theories of Aestheticism and Hedonism, which motivate him to embark on a life of
sensory pleasure, and to value art, youth and beauty above everything else. It is this meeting that changes Dorian from
the somewhat naive and wilful young man he was to the morally corrupt person he becomes. • Dorian is motivated to
wish that the portrait should age instead of him because of his interaction with both men. • When Dorian realises that
his wish has been fulfilled, he feels that the portrait absolves him of responsibility for any of his dubious actions. It
gives him the licence to indulge in immoral behaviour. • Dorian's meeting of Sibyl has the potential to inspire him to
love and goodness. However, he rejects her when she no longer displays artistic competence. Dorian's brief interaction
with Sibyl has the opposite effect of keeping him 'straight' when Lord Henry persuades him to view her as a pleasurable
passing fancy and her death as a mere artistic expression. • Dorian is aware of the danger posed by Lord Henry's
controversial statements, describing them as 'poisonous'. He is however, intrigued and enticed by them. This suggests
a conflict within Dorian that his under-developed sense of morality is unable to process. • Dorian's guilt is undermined
by his continued interactions with Lord Henry. The yellow book is an extension of Lord Henry's influence on him. •
James Vane raises Dorian’s awareness that there are consequences to his actions and makes him realise that he cannot
live only via the senses. • Candidates might refer to the negative influence that Dorian becomes on others, which in
turn strengthens his resolve to avoid responsibility. • Candidates might argue that Dorian is always going to become a
person of questionable integrity. He is initially seen as 'petulant' and 'wilful'. He chooses to live a life of excess and self-
indulgence, becoming involved in increasingly sinful behaviour. [Consider mixed/valid alternative responses.
May/June 2018: “The Picture of Dorian Gray” illustrates the dangers of a society without moral boundaries.
AGREE • Despite the perception of Victorian London as conservative, its citizens indulge in permissive behaviour that
pushes the boundaries of socially acceptable conduct. • The popularity of Aestheticism and Hedonism indicates the
appeal of surrounding oneself with beauty and indulging in new and forbidden pleasures. The emphasis these theories
place on the individual threatens the moral fibre of society. • Lord Henry is reckless, showing a lack of concern for the
impact his controversial statements might have on impressionable people like Dorian. He sees nothing wrong in
'experimenting' on Dorian to explore the extent to which he can shape him. He ignores the potential harm he might
cause Dorian. • When Dorian realises that the portrait will bear the signs of his questionable moral behaviour, he feels
free to indulge his every desire. • Dorian is associated with corrupt and degenerate behaviour such as gambling,
fighting, drug-taking and sexual promiscuity. • After abandoning his morality, it is an easy step for Dorian to become a
murderer. His summoning of Alan Campbell to dispose of Basil's body is a callous act. • Dorian is implicated in scandals
surrounding his friends who have all had their reputations ruined and are ostracised by their families and society. •
Dorian's comment about his not teaching these people their vices highlights the fact that he is not alone in living
decadently. • For many years, Dorian delights in remaining blemish-free while his portrait bears the burden of his
immoral behaviour. • Dorian's belief that he can free himself from his conscience by destroying the portrait is symbolic
of how his lack of moral restraint has destroyed him. • James Vane's immoral desire for revenge leads to his own
destruction. • The inequalities that exist between the classes indicate a morally defunct society. The lack of respect
and exploitation of the lower classes results in simmering resentment. • The easy dismissal of Sibyl's death and Dorian's
grandfather's killing of his impoverished son-in-law indicate how little value the poor were perceived to have. • The
existence of the opium dens, the prevalence of prostitution and the rumours of sexual promiscuity indicate the
pervading moral corruption of the society. • The destruction of family life is another consequence of people's morally
questionable behaviour. [A cogent 'Disagree' response is unlikely. However, treat all responses on their merits.]
November 2017: “The Picture of Dorian Gray” is about Dorian Gray's loss of innocence.
Candidates might argue that Dorian is initially innocent and then loses this innocence, or they might argue that he is
not innocent from the outset. • Dorian is perceived as beautiful, charming and pure. He is described as 'unspotted
from the world', implying his naïvety and innocence. • Basil believes that Dorian's outer beauty reflects his inner
goodness. • Lord Henry introduces Dorian to the principles of 'Aestheticism' and 'new Hedonism'. This, together with
Basil's portrait – which encourages Dorian's narcissism and prompts him to wish he could remain forever young and
attractive – initiates Dorian's loss of innocence. • Society's focus on beauty also contributes to Dorian's loss of
innocence. • When Dorian rejects Sibyl and sees the effect his actions have on the portrait, he is appalled and resolves
to make amends, however, he is unable to do so because she commits suicide. He then realises that he can conceal his
sins and indulge all his desires without being held responsible for them. • This leads to Dorian's pursuit of pleasure,
even if this is evil. Dorian becomes cruel and callous in his treatment of others. He moves from one act of depravity to

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the next with little regard for those with whom he comes into contact, or for his own soul. • Dorian is duplicitous,
hiding his evil nature from society to preserve his reputation and position. This is an indication that he is far less naïve
and well-intentioned than previously apparent. • Lord Henry's gift of the yellow book undermines Dorian's efforts at
being good and results in the further corruption of his soul. • Dorian has ambivalent feelings toward the portrait and
his immoral behaviour. He takes pleasure in living a double life and is both intrigued and horrified by the deterioration
of the portrait. Dorian's grappling with his conscience suggests that he is not irredeemable. However, his lack of moral
strength prevents him from redeeming himself. • However, candidates might argue that there is insufficient evidence
of Dorian's innocence in the first place. They might point to his wilful, petulant nature prior to meeting Basil and Lord
Henry and argue that this is indicative of his self-absorption. [Credit mixed/valid alternative responses.]
September 2017: Critically discuss to what extent Dorian Gray’s character is shaped by his association with Lord
Henry.
• Initially, Dorian is a young man who is socially inexperienced and unsophisticated. • His first meeting with Lord Henry
is at Basil Hallward’s home, and Lord Henry is taken by Gray’s unusual beauty, and reckons ‘there was nothing that one
could not do with him’. • Lord Henry’s sophistication is no match for Dorian’s naivety. He decides quite coldly that he
‘would seek to dominate him’. • Lord Henry openly disapproves of Dorian’s silly infatuation with Sibyl Vane. His
marriage is one where he openly has very little in common with his wife, and she seems to abide by this unorthodox
arrangement. He sees conventional relationships as interfering with an individual’s choices and freedom. • Sibyl Vane’s
death proves to be a turning point in Dorian’s life. He is left cold by her inferior performance. He loved her when ‘he
had thought her great.’ • He notices that Basil’s painting of him inexplicably shows a slight change – his expression has
changed ‘with the touch of cruelty in the mouth’. This haunts him. • He regrets treating Sibyl so cruelly, but she commits
suicide before he can make amends. • But Dorian admits to Lord Henry that he ‘cannot feel the tragedy as much as he’
wants to. This sets him on another and new course. • He decides to be like the Greek gods – ‘strong, and fleet, and
joyous’ – he has lost his innocence, and spends the night of Sibyl’s death enjoying the Opera. • Dorian embarks on a
life that is focused only on hedonistic pleasures of all types. He lives lavishly and on his own. He indulges in activities
that are morally questionable. • He continues his association with Lord Henry, who approves of his lifestyle. • While
Lord Henry sees Dorian as somebody he can corrupt, and he attempts to do so on several occasions, it is Dorian himself
who makes the decision to lead an extraordinary flamboyant and excessive life. He does not require Lord Henry’s
permission or advice to know how to conduct himself. • When he is finally confronted with the hideous version of
himself in the secreted painting, he realises how far he has gone. He does not blame anybody else for this. • It is enough
for him to commit suicide. It is as if, even for his very jaded palate, the absolute horror of what he had become is too
much. • Basil’s art piece – the perfect face and innocence – ends up nothing more than an empty wreck of a human
being.

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CONTEXTUALS:

May/June 2023

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November 2023:

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September 2023:
EXTRACT A

7.1 Place the extract in context. (3)

7.2 Refer to lines 1–3: ‘When your youth goes … no triumphs left for you.’ Explain how this comment reflects the
Principles of Aestheticism. (3)

7.3 Refer to line 6: ‘Time is jealous of you … lilies and roses’. Explain the effectiveness of the image in these lines. (3)

7.4 Refer to line 11: ‘The moment I met you … unconscious of what you really are.’ Based on your knowledge of the
novel as a whole, critically discuss whether Lord Henry is responsible for the change in Dorian’s character. (3)

7.5 Refer to line 15: ‘Dorian Gray listened, open-eyed and wondering.’ What impression does the author create of
Dorian Gray in these lines? (2)

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EXTRACT B

7.6 Refer to lines 1–3: ‘Basil, he said, … exhibit my picture?’ Briefly describe the events that led to the confrontation
between Basil and Dorian. (3)

7.7 Refer to line 17: ‘Basil!’, cried the lad, clutching the arms of his chair ...’ Comment on Dorian’s state of mind at this
point in the novel. (2)

7.8 Refer to lines 25–26: ‘Yet he could not help feeling infinite pity for the painter ...’ Explain the irony when Dorian
says he felt infinite pity for the painter and what does it reveal about Dorian’s attitude? (3)

7.9 Drawing on your knowledge of the novel as a whole, critically discuss how Basil’s infatuation with Dorian led to his
own demise. (3)
[25]

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November 2022:

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May/June 2022:

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Suggested answers:
Preface:
1. What is the function of the preface? (Introduces themes of Aestheticism and Hedonism. States author’s aims and
gives reader an insight into the kind of novel he/she is about to read.)
2. Which two philosophies are clearly stated in the epigrams? Explain each briefly. (Aestheticism – art for the sake of
art. No meaning to be inferred. Beauty above all. Hedonism – pursuit of sensory pleasure without regard for
consequence.)

Chapter 1:
1. Name the setting of this chapter. (Basil Hallward’s studio in London, England.)
2. Briefly explain your first impressions of Basil Hallward and Lord Henry Wotton. (Both men are educated, cultured
and well-known in London society. Basil seems more ‘down to earth’ than Henry, with his lofty ideas and rather
snooty way of speaking and acting.)
3. What does Basil mean when he states that he has “put too much of myself into it”? (His idolatry of Dorian, as his
muse, is clear in the painting. Basil states that a painter reveals his soul, so he cannot display it.)
4. Henry has curious views on marriage and society. What are those views? (Henry states that deception is essential
in a marriage. He and his wife live largely separate lives and only meet up for the occasional meal. He views society,
as a whole, as stupid and immoral.)
5. How do Basil and Henry’s lifestyles and principles differ? (Basil seems more sensible, realistic and concerned with
ethical behaviour. He lives a simpler life than Henry. Henry is a superficial hedonist who lives for sensory pleasure.
He has little regard for other people’s feelings. He does not seem to live a moral or ethical life. His opinions are
forced on others.)
6. Why does the author describe Nature in such detail in this chapter? How does this link to the debate about natural
and man-made beauty? (The flowers and garden are natural, and their scent and appearances are natural, not
man-made. This contrasts the painting which is man-made. Basil and Henry adore a man-made conception of
beauty, not Nature.)

Chapter 2:
1. Why does Basil not want Henry to meet Dorian? (Basil knows Henry well and is aware of his dubious moral code.
He knows that Dorian is impressionable and innocent and might be swayed by Henry’s exciting ideas. He wants to
protect Dorian against Henry’s negative influence.)
2. Describe Henry’s reaction when he meets Dorian. (Henry is fascinated by Dorian and his beauty. He sees that Dorian
is innocent and passionate. He is drawn to Dorian’s youth and how easily he is manipulated.)
3. What is Dorian’s reaction to meeting Henry? (He is immediately drawn to Henry’s charm and flattery. He finds him
very exciting.)
4. How does Henry win over Dorian? (He flatters Dorian’s beauty and youth.)
5. What is Dorian’s reaction to the picture? (He is amazed at the painting and his own beauty. Then he becomes sad
as he realises that the painting will remain beautiful while he ages and becomes ugly.)
6. Explain the concept of the Faustian Bargain/Pact and link this to the wish that Dorian expresses in this chapter. (Dr
Faustus made a deal with the Devil. He is given infinite knowledge in return for his soul. Dorian wishes for his youth
to remain while the painting ages instead.)
7. With whom does Dorian choose to spend that night? What does this say about his character? (He stays with Henry.
He is fascinated by the new ideas that Henry explains to him. He is impressionable and naïve.)

Chapter 3:
1. How does knowing Dorian’s background make the reader feel towards him? (It evokes a sense of sympathy in the
reader. Dorian did not have a happy childhood. Although he is wealthy, he never knew his parents and his
grandfather did not show any affection to him. He was isolated and lonely.)
2. Why, do you think, does Henry want to know so much about Dorian? (He is fascinated by Dorian and wants to
know as much as he can. This might be to further his goal of manipulating him.)
3. Why did Lord Kelso treat Dorian with indifference and a lack of love? (He sees Dorian as the embodiment of his
daughter’s betrayal. She married a soldier – Lord Kelso was against this relationship. Dorian reminds him of this
hurt.)
4. What ‘reward’ does Henry get from his controlling relationship with Dorian? What does Dorian get out of this
relationship? (Henry enjoys influencing Dorian. He hears his own voice/ideas echoed back to him. He remarks that

33
 talking to Dorian is like playing a violin. Dorian’s eyes are opened to the ‘new Hedonism’ Henry espouses. It is an
exciting new world for him.)

Chapter 4:
1. What is revealed about the relationship between Lord and Lady Wotton? (They live separate lives. Not a marriage
of love and commitment. They are not compatible.)
2. Dorian falls in love with Sibyl very quickly. What does this tell us about his character? (He does not know her at all.
He has been influenced by Henry to appreciate beauty, and Sibyl is a very beautiful girl. He is superficial and only
loves her for her appearance and the characters she plays nightly on the stage.)
3. How does Sibyl’s background/social circumstance differ from Dorian’s? (She is unknown, poor, of a low social class
and actually works for a living. Dorian is an aristocrat, wealthy and well-known. He has never worked a job.)
4. Comment on the choice of play in which Dorian first sees Sibyl acting. (She is Juliet in “Romeo and Juliet”. This play
ends tragically with the deaths of the lovers. This foreshadows tragedy in Dorian and Sibyl’s relationship.)

Chapter 5:
1. Describe the relationship between Sibyl and James Vane. (James is very protective of Sibyl and vows to kill any man
who hurts her. Sibyl loves her brother dearly.)
2. Why is Mrs Vane happy for Sibyl to pursue a relationship with Dorian? What does this tell us about her? (He is
wealthy and handsome– she is materialistic and shallow. She might also be looking out for her daughter’s (and her
own) future (financial) well-being. She realises that she needs money to get out of their current situation.)
3. What is the significance of Sibyl calling Dorian “Prince Charming”? (Like a fairytale prince, she believes that Dorian
will save her from her current situation and elevate her status. She does not know his real name. Her love, too, is
shallow.)
4. Where is James going? Why? (Australia – looking for work and a better life.)

Chapter 6:
1. Compare Basil and Henry’s contrasting reactions to Dorian’s engagement. (Basil does not want Dorian to be tied
down to “some vile creature” who would degrade his nature. He does not think the engagement is a good idea, as
Dorian is too young for such a commitment. Henry is entertained by the idea of the engagement and thinks it will
be a lovely diversion for Dorian. He knows that Sibyl is beautiful and that suits his aesthetic principles.)
2. Briefly describe Henry’s views of marriage. (He is cynical and states that marriage makes people unselfish and
unselfish people are boring. He is a hypocrite, as he is married. Marriages, according to Henry, need deceit.)
3. Dorian says that he has had the “arms of Rosalind” around him and “kissed the mouth of Juliet”. How do these
statements reflect the nature of his love for Sibyl? (He is not in love with her, but with the characters she plays
every night. His love is not real; it is shallow.)
4. Explain the reference to the “white narcissus” and why this foreshadows a tragic outcome. (In Greek mythology,
Narcissus fell in love with his own reflection in a pond and subsequently died when he could not part from his
reflection. This reference points to the impending tragedy involving Sibyl, and much later, Dorian himself.)
5. At the end of the chapter, Basil drives to the theatre alone. Why is this? What does his symbolise? (There is only
room for two people in Henry’s carriage. Dorian and Henry drive together,r and Basil follows them. The continuing
split between Dorian and Basil is widening. Dorian has chosen Henry over Basil and Basil is being forced out.)

Chapter 7:
1. Give a reason for Sibyl’s bad acting. (Before she meets Dorian, Sibyl puts all her passion into her acting. She uses
acting as a way to escape her horrid circumstances. When she meets Dorian, she dedicates all her passion and
energy to him. She no longer feels the need to pretend on stage. As a result, her acting is terrible.)
2. Name three ways in which she disappoints Dorian with her acting. (She was “listless”, seemed unhappy, lines were
delivered in an “artificial manner”, gestures were artificial, she had no connection with the dialogue.)
3. Why does Dorian break up with Sibyl? (Dorian fell in love with Sibyl’s beauty and the characters she played so well.
Now that she has destroyed that perception by acting so badly, Dorian is devastated. He does not want to be with
the real Sibyl; he wants the good actress.)
4. Give an example of the theme of narcissism in this chapter. (When he breaks up with Sibyl, Dorian is selfish and
does not care about anyone other than himself. He even blames Sibyl for his ‘heartache’ and makes himself out to
be the victim in the situation.)
5. What has happened to the portrait when Dorian examines it? What is his solution to this? (He sees a curled, cruel
sneer on the portrait. He remembers his wish (the Faustian Bargain) and resolves to use the portrait as a moral

34
 guide. He decides to live a more upright life to keep the painting beautiful. He decides to apologise to Sibyl and to
marry her.)

Chapter 8:
1. How does Dorian view the change to the portrait as both a blessing and “terrible”? (The disfigurement of the
portrait is terrible because he realises how cruelly he treated Sibyl. Also, so once beautiful portrait is now ugly. He
sees it as a blessing, as he can use the portrait as a moral guide. He could use it as a conscience.)
2. Discuss the relevance of Dorian referring to the portrait as the ‘thing’. (By referring to it as the “thing”, Dorian takes
away any of its humanity or “life”. It also reflects his dislike of the portrait because he can see how his action has
changed it. It has started to show the corruption of his soul.)
3. Describe how Sibyl dies. (She drinks poison shortly after Dorian leaves her.)
4. How does Dorian react to the news of her death? (His reaction is typically selfish and shocking. He is horrified for
a moment and then worried that he will be implicated in her death. He does not mourn for her. He makes her death
all about himself, like a typical narcissist.)
5. Dorian says that “there is nothing to keep me straight”. Explain the role that Sybil might have played in his life. (She
could have been a moral guide to Dorian because he would never wish to hurt her. He might have lived a good and
moral life if he married her.)
6. Briefly describe the conversation that Henry and Dorian have regarding her death and how they view it. (They are
shallow and have no sympathy for her or her family. They view her death as the ultimate work of Art. Henry is
envious that Dorian has had a woman kill herself over him! Dorian is excited that his first love letter is addressed to
a dead girl. They are deplorable.)
7. Why does Henry state that Sybil “never really died”? (According to Henry, Sibyl never really ‘lived’, therefor she
cannot die. She was only alive in the characters that she played on stage.)
8. What does Dorian do later that night? What does this show about him? (He goes to the theatre with Henry. He is
not distraught about Sibyl’s death. He is callous.)
9. What conclusion has Dorian reached and how will this affect his future? (He accepts that Sibyl is gone and that he
must never think of her again. He decides to live his life focused on the search for pleasure, passion and wild joy
leading to wild sin. Eternal youth is now possible for him, and the portrait will carry the burden of his sins. He will
live a Hedonistic life without regard for other people. He will, ultimately, destroy many people and himself.)

Chapter 9:
1. What shocks Basil about Dorian’s behaviour after Sybil’s death? (Basil is shocked that Dorian went to the theatre.
He thought Dorian would be too distraught to even contemplate, let alone experience, a night out with Henry.)
2. Basil blames Henry for the change in Dorian’s behaviour. Is this justified? Explain your answer. (Henry definitely has
a negative influence over Dorian. However, Dorian makes his own decisions and is responsible for his own actions.
He has a choice between Basil’s good influence and Henry’s negative influence. He CHOOSES Henry.)
3. “If one doesn’t talk about a thing, it never happened.” Who says this and how does this reflect the society in which
the novel is set? (Dorian says this to Basil after Sibyl’s death, but he heard it from Henry. This reflects the
superficiality and lack of substance of this society. They are living in an unrealistic world; they only look at the
positives and things that make them happy. They ignore everything that is unpleasant.)
4. Dorian makes a comparison between Henry and Basil. Discuss the differences, according to him. (Dorian describes
Basil as ‘better’ than Henry but utterly boring. He is too ‘afraid of life’. Henry is seen as ‘stronger’ than Basil because
he embraces all his whims and fancies. He enjoys excess and is exciting. Basil is too reserved and cautious and
moralistic.)
5. How does Dorian manipulate Basil into NOT showing him the portrait? (Dorian manages to coerce Basil into telling
him the reason why will not exhibit the painting – his idolatry of Dorian would be on public display and could be
disastrous for Basil. Once Basil tells Dorian this, Dorian refuses to share his secret – the change to the portrait. This
proves Basil’s loyalty and honesty and Dorian’s cunning and disloyalty.)
6. To what conclusion does Dorian come at the end of the chapter? (The portrait must be hidden out of sight.)

Chapter 10:
1. Why does Dorian choose the old schoolroom in which to hide the portrait? (He has the only key; people never go
in there; it represents Dorian’s unhappy childhood which was filled with INNOCENCE. Now the portrait degrades
that room and its memories.)
2. How does Mr Hubbard’s role reflect the role of class distinction in London society? (Mr Hubbard is respectful and
subservient. Although he is a businessman, he goes to great trouble to please Dorian. This proves that upper-class

35
 gentlemen did not work and were never expected to do anything useful. This was beneath them and left to the
lower classes.)
3. How does the yellow book influence Dorian? (Its lead character leads a life of hedonistic joys and sins. Dorian is
fascinated by his life and how much he experiences. He vows to live the same life of joy and sin and pleasure.)
4. What, do you think, was Henry’s intention for sending Dorian the yellow book? (Henry is trying to manipulate and
‘educate’ Dorian further about the world. Henry sees the world as a decadent place and wishes to show Dorian the
joys, and also the darker side. Dorian is, after all, a social experiment for Henry. This furthers that agenda.)
5. Dorian’s fear of the painting is revealed. He also states his true thoughts about Basil and Henry. Outline these fears
and the comments made about the influence of these two characters in Dorian’s life. (He fears the painting because
it will absorb the horrors and stains of his sins – it will become hideous but never die. The blemishes of his life will
remain depicted forever. Dorian admits that Basil’s moral compass and goodness could be protection from Henry’s
influence and his own “poisonous temperament’. Thus, Basil is seen as the moral guide and Henry as the tempter
and disciple of immoral behaviour and thoughts.)
6. Why is Dorian angry about the report in the St James’s Gazette? (Dorian does not want to be reminded of Sibyl’s
death, as it is unpleasant.)

Chapter 11:
1. Suggest a reason for the long time lapse from the previous chapter to this one. (The reader is able to see the
changes that have come over Dorian over time, rather than read about them as they take place. It shows a
cumulative view of how Dorian has degenerated and that his behaviour is now the subject of much interest to those
around him.)
2. How does the theme of appearance vs reality fit in this chapter? (Despite his vile behaviour, Dorian stays young
and beautiful. Those who know him can “not believe anything to his dishonour” because of his outer appearance.
In reality, his life is filled with sordid actions which has caused the portrait to become grotesque and macabre.)
3. Why does Dorian amass so many beautiful objects? (He wants to surround himself with beauty and Art at all times.
This counters, and acts as an escape, from the fear of aging and the darkness of his soul.)
4. Provide proof that the yellow book has become an obsession of Dorian’s. (He orders nine copies of this book and
has them bound in different colours to reflect his moods. The text states that he could not “free himself” from its
influence for many years.)
5. Discuss how the ‘relationship’ between Dorian and the painting is developing in this chapter and how it affects his
behaviour. (Dorian has a love/hate relationship with the portrait. He gloats about how his appearance stays perfect
while the portrait deteriorates. He even enjoys the fact that he has made the portrait become so hideous by his
actions. On the other hand, he is terrified by how the painting reflects his stained soul and the destruction of his
beauty because of who he really is. Nonetheless, he does not change his behaviour and carries on his path of
hedonism and sin.)

Chapter 12:
1. Once again there is time lapse and Dorian is now 38. Why, do you think, does his appearance make him a topic of
conversation in society? (He should appear older now but does not. People wonder about this.)
2. Why does Basil come to see Dorian? (He wants to say goodbye before leaving for Paris. He also wants to discuss
the rumours about Dorian WITH Dorian. He is still a good friend and would like to help Dorian, if he can.)
3. Why does Basil state that he does not believe the rumours about Dorian? (He still believes in Dorian’s beauty and
innocence. He wants to believe that his (once) muse is still the innocent and pure boy he met years earlier.)
4. Describe Dorian’s reaction to Basil’s accusations. (He becomes distressed and decides to show Basil the ‘diary’ of
his soul – the portrait.)
5. “I should have to see your soul”. How does Basil’s statement function as a catalyst to what happens next? (Dorian
decides to show him the portrait, as Dorian knows it is a visible embodiment of his soul. Dorian kills Basil.)
6. What is the ‘diary’ to which Dorian refers, and how is it a day-by-day record of his life? (The portrait – it has aged
and become uglier every time Dorian sinned.)
7. Show how this chapter reinforces Basil as a true friend of Dorian’s. (He really wanted to help Dorian and was even
willing to pray with him for atonement. He risks his friendship with Dorian and is brutally honest with him.)

Chapter 13:
1. Describe Basil’s reaction to the painting. (He is horrified at the subject matter and then confused: he recognises the
brushstrokes and frame but not the subject. He then realises what happened when Dorian explains the Faustian
Bargain to him. He is shocked and disgusted.)

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2. “I worshipped you too much. We are both punished.” (Basil) In what way in each of them punished? (Basil is
punished because he blames himself for praising Dorian’s beauty and drawing his attention to it. This caused Dorian
to become obsessed with being young forever. Dorian is punished because he has destroyed his soul, thinking that
it would be saved by the painting.)
3. Why does Dorian murder Basil? (An uncontrollable feeling of hatred overcomes him. He hates Basil for painting the
portrait. He hates him for making him realise how good-looking he is.)
4. Describe Dorian’s reaction to the murder. (He is strangely calm and immediately sets to work to create an alibi for
himself.)
5. How does Dorian create his alibi? (He leaves his house unnoticed and rings the bell. Francis opens the door, and
Dorian asks him what the time is. Thus, no-one knows he was home when Basil was murdered.)
6. Why would Basil not be missed for a long time? (He made it clear that he would be going to Paris for months. He
has also previously disappeared for months at a time.)
7. How can this chapter be seen as a turning point in the novel? (Despite Dorian’s previous vile actions, he has never
resorted to murder.)

Chapter 14:
1. How does Dorian feel when he wakes up the next morning? (He is strangely calm at first and slept well. Then he
remembers the previous night and sets to work to get rid of the body.)
2. Describe Alan Campbell’s reaction to Dorian’s pleas. (He refuses the help Dorian. He is disgusted just to be in
Dorian’s presence.)
3. How does Dorian get Alan to dispose of Basil’s body? (He blackmails him with a letter which contains some
unnamed information which would destroy Alan.)
4. Discuss the changes to the painting at this time. (There is blood on the painting.)

Chapter 15:
1. Dorian is agitated at the dinner party. Does this point to a guilty conscience? Explain your answer. (It could point
to a guilty conscience or just that Dorian is struggling to carry on with this double life. He is expected to be sociable
after he murdered possibly the only friend he ever had.)
2. Why does he burn Basil’s coat, hat and bag when he gets home? (He needs to destroy any evidence linking him to
Basil’s murder/disappearance. Out of sight, out of mind?)
3. Dorian’s addictions are mentioned in this chapter. How do his addictions add to our understanding of Dorian’s
character? (Dorian has an addictive and obsessive personality. He becomes easily obsessed with his beauty. This
later becomes cravings brought on my sensory pleasures. He is in the clutches of his addictions – he cannot function
without some kind of stimulus. He is no longer in control of his actions, and he lives from one high to the next. He
realises that opium will make him forget about his current actions.)

Chapter 16:
1. Describe the contrast in the setting at the beginning of this chapter to the previous chapter. How does this link to
Dorian’s ‘double life’? (Chapter 15 takes place in the opulent and beautiful home of Lady Narborough. He is stylishly
dressed and there are servants everywhere. Chapter 16 opens with Dorian mad journey in search of opium. It is
dark and seedy. Dorian is in disguise as a commoner. Dorian leads a double life as aristocrat and drug user.)
2. “To cure the soul by means of the senses, and the senses by means of the soul.” Comment on how this statement
applies to the events of this chapter. (Dorian cures his ‘soul’ – feelings – by using opium and going into a delirious
trance. He lives for sensory highs to feel better.)
3. How does James Vane ‘recognise’ Dorian? (A lady calls him “Prince Charming”.)
4. In your opinion, is James Vane justified is seeking revenge for Sibyl? (Yes/no – discuss. Looking out for his sister,
even after her death. Honourable. OR No-one has the right to seek revenge.)
5. Discuss the irony in the name ‘Prince Charming”. Link this to Sibyl Vane’s use of the name. (Fairytale Prince
Charming would SAVE the princess, not ruin her. He would be the perfect gentleman without any flaws. Sibyl
thought Dorian would save her from her poor life. He does the opposite. Rather than saving the damsels, Dorian
destroys them.)

Chapter 17:
1. Henry states that “it is better to be beautiful than to be good” and it is “better to be good than to be ugly”. How
has Henry lived up to this philosophy? Name the theme referred to here. (Henry refers to the idea that beauty is
to be more valued than morals. But he also values morals over ugliness. He references the theme of beauty and

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 ugliness. Henry has lived a hedonistic life, but never as deprived as Dorian’s actions. Although he is far from perfect,
Henry is not as cruel or depraved as Dorian is.)
2. Dorian states that he has never searched for happiness, only for pleasure. Is there a difference between these two
concepts? Explain your answer. (Happiness may be defined as a sense or feeling of contentment, peace or well-
being. Pleasure is more related to the physical senses and not connected to an emotion. Dorian has never sought
happiness, just pleasure.)
3. Why is Dorian so afraid when he sees James Vane’s face in the window? (He realises that James has come to get
his revenge for what happened to Sybil. Dorian fears for his life because he knows he will pay with his soul if he
dies. This horrifies him.)
4. Does the reader have sympathy for Dorian at this stage? Justify your answer. (Yes? No? Discuss. Dorian’s fear is
both pitiable and pitiful at this stage. He seems a bit pathetic. He has had so many opportunities to be better and
yet, never repented or atoned. He has ruined so many lives.)

Chapter 18:
1. Why is Dorian so relieved when he realises James has been killed? (James cannot kill him. He does not have to think
of Sybil again or his part in her suicide.)
2. Does the reader have sympathy for James when he is killed? Explain your answer. (Yes! He came so close to
avenging his sister. He is killed in a senseless accident and Dorian ‘gets away’ with another dead body. His death is
needless.)

Chapter 19:
1. Dorian tells Henry that he wants to be good and lead a better life. Henry replies that Dorian is “quite perfect”. Why
does Henry have this opinion? (He created Dorian! Of course he would be proud of his ‘work’. If Dorian changes,
he might have to do the same? Henry enjoys the hedonism and immoral life he leads and shares with Dorian.)
2. What good deed has Dorian already done to start his reformation, and comment on whether this is, in fact, a good
deed. (He ‘spares’ Hetty Merton. He leaves her before he ruins her. It is not a good deed, per say, it is just not a BAD
deed.)
3. What are the two current scandals being discussed? (Alan Campbell’s suicide and Henry’s divorce. Or Basil’s
disappearance)
4. How does Henry react when Dorian confesses to killing Basil? Why? (He says that he cannot believe it and that
murder is too common for Dorian. He says crime is “vulgar” and that Dorian is incapable of murder. Only
commoners lay claim to being criminals.)
5. In chapter 10, Dorian is fascinated with the yellow book. Now he asks Henry never to lend it to anyone. What does
this tell the reader about a possible change in Dorian’s character? (Dorian realises the disastrous impact the book
had on his life. He does not want that to happen to anyone else. He might be becoming a better person? He also
‘spares’ Hettie Merton??)
6. Henry asks: “What does is profit a man if he gains the whole world and lose his soul?” This hugely affects Dorian.
Discuss the implications of this. (Dorian lost his soul the day he made the Faustian Bargain. He realises that he is
doomed and will never regain the innocence or pure soul.)
7. Does the reader feel sympathy for Henry regarding his divorce? Explain your answer. (No. Henry treated his wife
horribly and deserves NO sympathy.)
8. Why, do you think, did Alan Campbell commit suicide? (He could not live with the sword of Dorian’s letter hanging
over his head. He knows what he did with Basil’s body and that he helped Dorian get away with murder.)
9. Discuss the anti-climactic ending of the chapter. (Dorian and Henry carry on as if nothing was discussed. Dorian
does not admit to Henry that he REALLY wants to change and can no longer see him.)

Chapter 20:
1. Dorian smashes a mirror. Why does he do this? What is his conclusion? (He sees his beautiful face in the mirror and
hates it. He longs for real innocence and realises that he has committed so many evil deeds. He regrets the Faustian
Bargain, and blames all of his sins on it. Henry gave him the mirror.)
2. Why does Dorian stab the painting? (He thought that the painting might have changed for the better since he
decided to live a better life. It did not! He sees no change and in a fit of rage, decides to get rid of it. The painting
has to be destroyed for him to forget his blackened past.)
3. Is Dorian’s death at the end of the novel a fitting conclusion? Explain your answer. (Yes – justice? No - ? DISCUSS)

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September 2023:

7.1 Place the above extract in context. (3)

• Dorian Gray and Lord Henry are at Basil Hallward’s studio.
• Basil is completing a portrait of Dorian Gray.
• Lord Henry meets Dorian for the first time and is intrigued by the impressionable young Dorian.
• Basil admits to Lord Henry that Dorian is his muse and reveals that he has put too much of himself in the portrait.
• Lord Henry’s interest in Dorian Gray is awoken.
[Award 3 marks for three distinct points.]

7.2 Refer to lines 1–3: ‘When your youth goes … no triumphs left for you’. Explain how this comment reflects the
Principals of Aestheticism. (3)
• The Principals of Aestheticism encourages people to prioritise beauty and the pursuit of personal gratification.
• Lord Henry encourages Dorian to live his life fully and to use his beauty to his advantage.
• Lord Henry implies that without youth and beauty, Dorian will not experience happiness.
[Award 1 mark for an understanding of Aestheticism and 2 marks for a discussion.]

7.3 Refer to line 6: ‘Time is jealous of you … lilies and roses’. Explain the effectiveness of the image in these lines. (3)
• Lord Henry personifies Time as being jealous of Dorian’s youth.
• Lord Henry associates Dorian’s youthful beauty to flowers. As lilies and roses will wither over time, so Dorian’s fair
complexion/beauty will disappear with time.
• The image is effective as it suggests that Time is powerful and has the ability to take Dorian’s most valued possession,
his youth and good looks. However, Dorian manages to withstand the power of Time by making the fatal wish.
[Award 3 marks for a comment on the effectiveness of the image]

7.4 Refer to line 11: ‘The moment I met you … unconscious of what you really are.’ Based on your knowledge of the
novel as a whole, critically discuss whether Lord Henry is responsible for the change in Dorian’s character. (4)
• Lord Henry takes advantage of Dorian’s naivety. He introduces Dorian to the idea that life should be lived for beauty.
• Lord Henry discusses the importance of Aestheticism and tells Dorian to appreciate his youth and beauty.
• Ultimately, Lord Henry’s influence leads Dorian to making the fatal wish. His influence, by gifting Dorian the Yellow
Book, encourages Dorian to surround himself with beautiful people/things. Dorian changes from being naïve and
innocent to selfish, narcissistic and pleasure-seeking. Dorian is aware of the negative influence he has on others but
chooses to shift the blame to protect himself.
[Candidates might argue that Lord Henry is not responsible for a change in Dorian’s character. Dorian on his own accord
displays signs of wilfulness and petulance from the start of the novel. The potential to be selfish and narcissistic was
always there.]
[Credit valid alternative/mixed responses.]
[Award 3 marks for a critical discussion. A change in Dorian’s character must be shown.]

7.5 Refer to line 15: ‘Dorian Gray listened, open-eyed and wondering.’ What impression does the author create of
Dorian Gray in these lines? (2)
• Dorian is young and impressionable.
• He is intrigued by Lord Henry’s theories.
• He is enchanted by Lord Henry who opens up a new world that is based purely on the appreciation of beauty and
outward appearance.
[Award 2 marks only if the impression and a discussion is given.]

7.6 Refer to lines 1–3: ‘Basil, he said, … exhibit my picture?’ Briefly describe the events that led to the confrontation
between Basil and Dorian. (3)
• Sibyl Vane has committed suicide.
• Basil visits Dorian the following morning to console Dorian.
• Basil is shocked at Dorian’s nonchalant response to Sibyl’s death.
• Dorian requests that Basil paint a portrait of Sibyl. Basil agrees and requests to see the portrait of Dorian.
• Basil exposes his ‘secret’ to Dorian, explaining that he admires Dorian’s beauty and sees him as his artistic muse.
[Award 3 marks for three relevant and distinct points.]

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7.7 Refer to line 17: ‘Basil!’, cried the lad, clutching the arms of his chair.’ Comment on Dorian’s state of mind at this
point in the novel. (2)
• Dorian is dismayed/frightened/taken aback by Basil’s question regarding the portrait.
• At this point Dorian is fearful that Basil is aware of the changing portrait.
• Dorian’s secret life will be exposed and therefore ruin him.
• However, Basil is unaware of the changing portrait and continues to reveal his infatuation with Dorian.
[Award 1 mark for a reference to Dorian’s state of mind and 1 mark for a discussion thereof.]

7.8 Refer to lines 25–26: ‘Yet he could not help feeling infinite pity for the painter.’ Explain the irony of when Dorian
says he felt infinite pity for the pointer and what does it reveal about Dorian’s attitude. (3)
• Dorian does not pity Basil. He is mocking the sincerity of Basil’s confession.
• Dorian shows no concern for Basil’s feelings. His main concern is to protect his own secret.
• It reveals Dorian’s lack awareness and empathy for others.
[Award 1 mark for a reference to Dorian’s attitude and 2 marks for discussing the irony.]

7.9 Drawing on your knowledge of the novel as a whole, critically discuss how Basil’s infatuation with Dorian leads to
his own demise. (3)
• Basil idolises Dorian thereby feeding his narcissism.
• The portrait Basil paints allows Dorian to conceal his sinful behaviour, however, Dorian is unable to avoid feelings of
guilt/regret.
• Dorian blames Basil for painting the portrait. This leads to Dorian’s feelings of anger and consequently killing Basil.
• His infatuation with Dorian leads to him not wanting to acknowledge how morally depraved Dorian has become,
which results in his murder.
[Award 3 marks for a critical discussion.]

November 2022 Contextual:

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