Perversion and degeneracy in The Picture of Dorian Gray
The Picture of Dorian Gray as first published in Lippincott's Magazine
Front cover to the Lippincott’s Magazine publication of The Picture of Dorian Gray, Oscar Wilde’s only novel, July 1890.View images from this item (9)
Henry Keen's illustrations to The Picture of Dorian Gray
Cover to 1925 illustrated edition of Dorian Gray. The butterfly symbolises two central themes in the novel: transformation and beauty.View images from this item (7)
‘Effeminate’, ‘unmanly’ and ‘perverted’Almost as soon as it was published in Lippincott’s, reviewers expressed their disgust. It was called ‘effeminate’, ‘unmanly’, ‘leprous’, and full of ‘esoteric prurience’ . Worst of all, it was openly French – written under the influence of naughty French decadence. Very recently, the translator of an Emile Zola novel had been prosecuted for obscenity, for daring to issue an English edition of Zola’s vile Parisian filth. The book that corrupts Dorian Gray, an unnamed ‘yellow book’, was self-evidently the weird and perverse French novel by Joris-Karl Huysmans, Against Nature (1884), about a decadent last scion of a degenerate aristocratic house pleasuring himself and defying boredom with a series of increasingly perverse investigations.
The most famous review of Dorian Gray was in the conservative Scots Observer (edited by the poet W E Henley), which came very close to accusing Wilde of the crime of gross indecency that had been made illegal in the 1885 Criminal Amendment Act. Dorian Gray, the review said, was fit ‘for none but outlawed noblemen and perverted telegraph boys.’ This was a reference to the recent ‘Cleveland Street Affair’, the discovery that a male brothel had been used by aristocrats to pay telegraph boys for sex. In the novel, Dorian Gray is openly asked by Basil Hallward, ‘Why is your friendship so fatal to young men?’ There is a litany of suggestive rumours listed about Dorian that imply blackmail, ruin, exile or shameful suicide. Dorian’s portrait is completed by an artist who openly expresses ‘that I adored you madly, extravagantly, absurdly’ (ch. 12).
The Criminal Law Amendment Act, 1885
The 1885 Criminal Law Amendment Act outlawing ‘gross indecency’ between men.View images from this item (6)
Coded ‘gay’ sensibilitiesAs a result of this and other reviews, the main lending library, W H Smith’s, withdrew this edition of Lippincott’s. Wilde defended the novel in the press, but was pressured by George Ward, who was to publish a single volume version, as well as his friends, to tone things down in the book form. For the 1891 version, Wilde added an extra six chapters and lots more detail, but did little to alter the tone of the book or the tendencies the novel explored. Indeed, in the long chapter eleven, a litany of Dorian Gray’s life as a collector and researcher of exotic and esoteric objects of beauty, Wilde even coded in a long history of what might now be regarded as ‘gay’ taste or sensibility, with references to Alexander the Great, decadent Roman Emperors and Latin poets, Edward II and his lover Piers Gaveston, Walter Pater’s injunctions to experience only the most intense pleasures in his Studies in the Renaissance (1873), trips to Algiers to appreciate the beautiful boys, and murky doings with sailors in Blue Gate Fields, the notorious dock area in London’s East End. Wilde would do this kind of coding again in his most famous play, The Importance of Being Earnest. The opening night of that play on Valentine’s Day in 1895 confirmed Wilde as the greatest literary celebrity of his day, but also began the series of events that would result in his complete disgrace and downfall only a few weeks later.
‘Those who read the symbol do so at their peril’Of course, reading Dorian Gray as just a ‘gay’ text, looking for clues, tends only to repeat the way the awful prosecuting counsel (Wilde’s university friend in Dublin Edward Carson) mined the book for prurient clues at his trial in 1895. Wilde wrote a brilliant epigrammatic preface that was designed to catch out readers looking for secrets: ‘Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril.’ His defence of the aestheticist ‘art for art’s sake’ doctrine was there too: ‘There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all’ (Preface). There is actually no explicit statement of what Dorian’s vices really are: it is left to the lurid imagination of the reader to detail them. The trajectory of the book is seemingly towards the punishment of the abandonment of morals by the aesthete. Yet these defensive tactics did not, in the end, protect Wilde from an Establishment that disliked his political, aesthetic and sexual transgressions.
'Dogmas for the Use of the Ages' by Oscar Wilde
'There is no such thing as a moral or an immoral book’: Oscar Wilde’s manuscript drafts of epigrams, here titled 'Dogmas for the Use of the Ages', later used for the Preface to Dorian Gray.View images from this item (4)
Copyright: © Estate of Oscar Wilde
1891 edition of The Picture of Dorian Gray
The copy of Dorian Gray, inscribed by Oscar Wilde to Lionel Johnson, that was lent to Lord Alfred Douglas with whom Wilde later formed a relationship with.View images from this item (12)
Photographs of Oscar Wilde, 1877-1905
Photograph of Oscar Wilde and Lord Alfred Douglas.View images from this item (13)
The text in this article is available under the Creative Commons License.