Chapter 11

IZZY NG

THESIS STATEMENT:

In Chapter 11 of The Picture of Dorian Gray, Oscar Wilde delves expertly into the themes of aestheticism, hedonism, and duplicity as he investigates the essence of art and its enormous impact on existence. Oscar Wilde implements the use of metaphors, juxtaposition, and hyperbole and explores Dorian's compelling transgression into hedonism and aestheticism, exposing Dorian's moral degradation and transfixion with sensual pleasures.

CENTRAL THEMES

HEDONISM

In Chapter 11, Dorian Gray's hedonistic tendencies are brought to the forefront; Wilde through Dorian’s pursuit of pleasure and beauty, he compounds the degradation of his morality. As Dorian understands more about Lord Henry’s hedonistic lifestyle, it seems the “more he knew, the more he desired to know. He had mad hungers that grew more ravenous as he fed them”. The metaphor of hunger emphasises Dorian's insatiable appetite for new experiences, and the diacope exposes how Dorian loses himself to his indulgences, becoming increasingly more enraptured by his sensual pleasures; indeed, they are personified as being “mad”, connoting how he is losing control. This is contrasted against Dorian’s decaying sense of morality, as “he looked on evil simply as a mode through which he could realize his conception of the beautiful”. The juxtaposition of evil and beauty reveals that for Dorian, the two seem inseparable; his association with evil reflects to the reader how far from morality Dorian has fallen and evil becomes a lens through which he examines the world. Through this, Wilde impacts upon the reader a warning about the dangers of excessive indulgence in hedonism.

"The more he knew, the more he desired to know. He had mad hungers that grew more ravenous as he fed them."

"Even those who had heard the most evil things against him" "Could not believe anything to his dishonour when they saw him. He had always the look of one who had kept himself unspotted from the world."

VICTORIAN FACADE

The relationship between hedonism and reality is reflected in how appearance disguises reality; Chapter 11 explores the theme of the Victorian facade, which refers to the societal expectations and norms of the era, and how Dorian employs his appearance as a means to disguise his hedonism. Wilde critiques the hypocrisy and shallowness of Victorian society; people who had “heard the most evil things” about Dorian “could not believe anything to his dishonour when they saw him”. He critically exposes the hollow and superficial nature of Victorian society that would assess the morality of a person through what they merely looked like. In being beautiful, Dorian evades recourse for his sins and iniquities. His fair appearance masks his immoral self. Wilde explores this further when he remarks that society “is never very ready to believe anything to the detriment of those who are both rich and fascinating”. Materialism and class are foremost the defining qualities of virtues and morals, and Wilde lays bare the superficiality of Victorian society to judge someone like Dorian merely by their wealth, allowing them more agency to commit evils.

MORTALITY & LIFE'S PURPOSE

This chapter also compels the reader to consider how Dorian Gray is transfixed by sensual pleasures as life’s sole purpose; it is derived from his own sense of mortality. Dorian considers a “fear that seemed to him at times to be almost too great to be borne”; the personification here refers to the painting he has concealed, his own mortality and ageing. Dorian is acutely aware but chooses to ignore his own vices and ageing in this chapter, concealing the portrait, fearing “ the real degradation of his life” that it represents. Instead, Dorian considers the “creation of such worlds” where hedonistic pleasures are at the forefront, where the past has no place, “to be the true object” of life; it entails various indulgences to the five senses of which he expands upon. In the metaphor of the “worlds”, Dorian exposes how these pursuits encapsulate his life and a reflection of his own mortality. His own sense of mortality is further laid bare when Dorian examines the paintings of his ancestors. He remarks that they were “strange terrible figures that had passed across the stage of the world”; the metaphor reflects the brevity and mortality of life and Dorian is aware of this as he looks upon the dead that he had descended from. To Dorian, they “made sin so marvellous and evil so full of subtlety”; the polysyndeton captures the entrancing appeal of immorality, of hedonism and of evil that compels Dorian to dedicate his existence to them.

"For these treasures, and everything that he collected in his lovely house, were to be to him means of forgetfulness, modes by which he could escape, for a season, from the fear that seemed to him at times to be almost too great to be borne. "

"It was the creation of such worlds as these that seemed to Dorian Gray to be the true object, or amongst the true objects, of life"

Evidently, in Chapter 11, Wilde exposes Dorian’s rapid spiral into hedonistic pleasures; his youthful appearance belies the degradation of his morality, which is reflected in the painting. Dorian’s life purpose merely becomes the intense and overwhelming sensual pleasures in his life. It is at this critical juncture of the novel that the reader realises Dorian has fallen too far into the depredations of immorality, and it establishes the trajectory for the rest of the novel. Dorian will continue to remain beautiful, growingly increasingly sinister as he does until the portrait, the symbol of Dorian’s true self, exposes him at the climax. Through Dorian Gray in this chapter, Wilde warns his reader against the depredations of immorality and hedonism; Dorian’s spiral into his decadence, is paralleled by the increasingly wickedness of the painting. He exposes that such vices in life do not come without cost; Wilde himself confesses that “Dorian is what [he] would like to be”, yet in choosing to punish Dorian for his vices at the novel’s end, he purports to the reader that such desires must come with forethought and temperance.

CONTEMPORARY CONNECTIONS

Bodiam Castle

BACKGROUND KNOWLEDGE

Bodiam Castle is a castle built in 1385. After the English Civil War in 1641, the castle was left in ruins as a consequence of the lord’s failure to pay the fines levied against him, dismantling the castle in the process. Today, although the castle looks picturesque, graceful, and serene on the outside, which has been partially restored, the interiors of the castle remain in ruins and dilapidated.

AESTHETICISM

Moreover, the castle is a reflection of aestheticism and its pursuit of beauty at all costs. In this chapter, Dorian becomes increasingly captivated by his youthful appearance. He indulges in hedonism and immorality and is driven by his desire to preserve his external beauty, in much the same way that only the physical exterior of the castle has been restored. Dorian would “place his white hands beside the coarse bloated hands of the picture, and smile” and he would “mock the misshapen body and the failing limbs”. Dorian is willing to sacrifice his morality and engage in acts of cruelty in pursuit of aesthetic pleasure and views the portrait’s ugliness with scorn and disdain. Not only does this show his superficiality and his adherence to aesthetic philosophies, he is becoming disconnected from his own soul, objectifying himself in the process.

ILLUSION VS REALITY

This castle exemplifies the theme of illusions versus reality, and explores the stark contrast between Dorian’s external appearance and the increasing moral corruption of his soul and portrait as depicted in Chapter 11. It is an artful reflection of appearance and reality in Victorian people, who maintained conservative and sombre appearances to disguise their interior feelings. Similarly, as Dorian indulges in the life of hedonism and sensual pleasures, he “grew more and more enamoured of his own beauty, more and more interested in the corruption of his own soul”. The parallelism expresses the contrast of his physical appearance which remains untouched by time, with the ugliness and ageing of the portrait that Dorian has hidden. In much the same way that the castle’s elegant exterior conceals the secret of its ruined interior to visitors outside, Dorian Gray in Chapter 11 goes to great measures to shield his depraved portrait, including “elaborate bars” that he had “placed upon the door”, connoting a visual image of being imprisoned.

GOTHIC HORROR

Finally, the castle captures the element of Gothicism that pervades not only in this chapter but throughout the whole novel. Gothicism invokes feelings of terror, fear, and death, which Chapter 11 reflects. Dorian’s transformation and corruption is paralleled by how the castle was once whole, but fell to ruin - a classic gothic setting and trope. As Dorian Gray examines the portraits of his ancestors in this chapter, he remarks that they were “strange terrible figures that had passed across the stage of the world and made sin so marvelous and evil so full of subtlety”. The metaphor of the stage exhibits Dorian’s role in acting like a functioning member of society on the outside, much like how the castle appears functional in its exterior. Yet, the gothic element of evil is accentuated here, juxtaposed against how Dorian perceives evil to be “marvelous” and “subtle”; it exhibits the moral corruption of his soul. The castle exemplifies how in Victorian societies, people mask behind their insecurities and put on a show to meet societal expectations. However, behind closed doors, they all have hidden crude, vile habits that showcase their true identities. This castle acts like a metaphor for Dorian Gray, showcasing how, at night, he transforms into a vile, crude creature, which alludes to the moral degradation of his soul, adding to the terror of this gothic literature.

MYTHICAL ALLUSIONS

FAUSTIAN BARGAIN

BACKGROUND INFORMATION:

The Faustian bargain is a deal that involves someone trading their soul or something else of enormous importance in exchange for a short-term gain that is much less valuable, and as a result, the person who sells their soul to the devil must suffer eternal damnation. This story comes from German folklore, where Faustus makes a deal with a demon named Mephistopheles, who comes to him on the devil's behalf. Faustus believes he already knows as much as he can learn from reading books. He wants more: supreme knowledge and the ability to do magic. Through Mephistopheles, he makes a deal with the devil to sell his soul in exchange for twenty-four years of magical knowledge. At the end of the twenty-four years, Faustus realizes that he has wasted his time and tries to reverse his deal with the devil. He fails and is dragged to hell.

Dorian Gray's initial wish for eternal youth is similar to Faust's desire for limitless knowledge and pleasure, Dorian Gray expresses his infatuation to remain forever young and beautiful. He makes a conscious wish that his portrait ages and bears the consequences of his immoral actions while he remains youthful and unblemished. This fixation is almost sacrilegious, as he devotes his entire being to maintaining his pristine appearance. Much like the devil in the Faustian legend, Lord Henry corrupts Dorian Gray. He introduces Dorian to a hedonistic and immoral lifestyle, encouraging him to indulge in his desires without considering the moral consequences. Lord Henry's charms and philosophical ideas act as the catalyst for Dorian's transformation. As Dorian indulges in a life of debauchery and immoral acts, the portrait ages and shows the effects of his corrupt behavior, which acts as a visual representation of his soul. This supernatural connection between Dorian and the portrait mirrors the consequences of Faust's pact, where his soul is ultimately claimed by the devil. As Dorian becomes more involved in a life of sin and decadence, he becomes increasingly callous and immoral. He pursues pleasure without regard for the well-being of others and commits various immoral acts. This descent into darkness and corruption reflects Faust's gradual loss of his moral compass and descent into damnation. In the end, Dorian realizes the extent of his own corruption and wishes to restore his soul. He tries to destroy the portrait, which represents his sinful self, but in doing so, he brings about his own demise. This echoes the tragic ending of the Faust legend, where Faust's soul is ultimately claimed by the devil.

ARTISTIC RESPONSE

Wilde Bistro 2

WELCOME to Wilde Bistro. We are thrilled to share with you the foods related to Chapter 11 of The Picture of Dorian Gray. The range from vibrant starters to exquisite main courses and our rich desserts reflects the true meanings behind this chapter.

Main Courses

LOBSTER AND CAVIAR

HEDONISM

This lobster dish is a representation of the excessive hedonism and gustatory vices that Dorian indulges in. Dorian states that “the highest respectability is of much less value than the possession of a good chef”; it reveals that paramount to Dorian is the hedonistic pleasure of life. This lobster beautifully encapsulates it. Lobster is already a luxurious dish, valued in all cuisines across the world, rich in flavour, and expensive to purchase. This dish further elevates that through the use of expensive caviar, and through its decadent presentation, sitting atop a green garnish.

ILLUSION VS. REALITY

Moreover, the outer shell of lobsters protect it from the soft vulnerability within; for Dorian, this could represent how his appearance to society is a mere concealment for the vices within, embodied by his portrait. Dorian “would throw open to the world his beautiful house”, creating an appearance for society, yet masking the delicate luxuries concealed within.

Dessert

BLACK FOREST CAKE

GOTHIC HORROR

A Black Forest Gateau is a perfect representation as a dessert for our full-course menu. It is excessively decadent and rich, representative of the vices of and indulgences of Dorian Gray; every ingredient in the cake compounds its sweetness, making it a perfect complement to my full-course menu.

Black Forest Gateau, in the name itself, invokes Gothic horror, as the name comes from the Black Forest region in Bavaria, which is a classic setting for gothic stories. It is a mountainous, dark forest, isolated from civilization, containing fantastic castles that connote stories of lost travelers and the supernatural, invoking fear and trepidation.

In my cake, I have utilized cherries and jam to provide a striking contrast to the darkness of the chocolate. I wanted to achieve a connotation of blood and soft flesh beneath the dark and hard exterior of the cake. In much the same way that Dorian concealed the “real degradation of his life” and hides his vices behind a “purple-and-gold pall as a curtain”, the cake conceals the true and horrific nature of its interior, almost provoking revulsion and terror in its consumer.

Dorian was also “almost saddened by the reflection of the ruin that time brought on beautiful and wonderful things”; this is reflected in the construction of my cake, which connotes the ruinous exteriors of abandoned castles and settings that are classical to Gothic literature. The dilapidated appearance of the chocolate on the exterior of the cake reflects the crumbling exteriors of many once beautiful buildings, inspiring horror and fascination. Yet, its sweet taste is also suggestive of the sublime, the compelling mixture of fascination and horror, making this cake exemplary of the Gothic trope.

PHOTOS OF MY CAKE

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