Chapter 9
Avril Lim
Avril Lim
Through the use of censored texts in Chapter 9 of "The Picture of Dorian Gray," Oscar Wilde challenges Victorian society's rigid gender roles, critiques the limitations imposed by societal expectations, and confronts the stigmatization of homosexuality. By subverting conventional notions of masculinity and femininity, Wilde encourages a more fluid understanding of human nature and advocates for the acceptance of diverse expressions of gender and sexuality. These censored passages serve as a powerful critique of the societal norms of the time and contribute to the portrayal of marginalized identities in literature.
In this censored piece of text, Oscar Wilde challenges Victorian society's perception of gender through his description of Dorian Gray. Wilde presents Dorian Gray as a character who defies the strict and limiting gender roles and imposed norms of the era. By juxtaposing Dorian's "rugged and straightforward" traits with "something in his nature that was purely feminine in its tenderness," Wilde subverts conventional Victorian notions of masculinity and femininity. In Victorian society, characteristics like ruggedness and straightforwardness were seen as masculine traits, while tenderness was associated with femininity. By attributing these "feminine" qualities to Dorian Gray, Wilde critiques the societal expectations and limitations imposed on individuals based on their gender. This portrayal challenges the notion that gender identity is fixed and binary, encouraging a more fluid understanding of human nature and defying the rigid constraints of Victorian society.
In the censored text, Basil Hallward hints at a deep and intense emotional connection he has with Dorian Gray that goes beyond the boundaries of a typical friendship. By stating that he has worshipped Dorian with a "romance of feeling," Basil implies that his affection is fueled by more than mere platonic love. The language used suggests a romantic and potentially sexual attraction, specifically a homosexual one.
This subtext of homosexual desire is significant within the context of the time when "The Picture of Dorian Gray" was written. During the late 19th century, homosexuality was heavily stigmatized and even criminalized in many parts of the world, including England where Oscar Wilde, the author of the novel, resided. The mention of a "grande passion" being a privilege of the idle classes adds another layer to the subtext, suggesting that such intense emotions and relationships were often associated with the leisurely pursuits of the aristocracy.
It is worth noting that this particular excerpt, along with other elements of the novel, was used against Oscar Wilde during his trial. Wilde was accused of engaging in "gross indecency," a euphemism for homosexual acts, and the prosecution used the homoerotic themes present in his work as evidence against him. Ultimately, Wilde's trial and subsequent conviction marked a significant moment in the history of LGBTQ+ rights and the persecution faced by individuals due to their sexual orientation.
In the censored text, Basil Hallward confesses to being completely consumed by Dorian Gray. The use of the word "dominated" suggests that Dorian had a powerful influence over Basil, affecting him on a deep emotional and intellectual level. This admission signifies a significant revelation on Basil's part, indicating that his feelings for Dorian go beyond what might be considered a conventional friendship.
The progression of adverbs used—starting with "madly," then "extravagantly," and finally "absurdly"—provides insight into the intensity and nature of Basil's adoration. "Madly" conveys a sense of desperation, emphasizing the passionate and impulsive nature of Basil's love. "Extravagantly" suggests that his affection for Dorian is excessive, going beyond societal norms and expectations. Finally, "absurdly" implies that Basil recognizes the irrational and unreasonable nature of his infatuation, acknowledging that it has reached a point of foolishness.
This passage reveals Basil's realization that his adoration for Dorian has become an all-consuming obsession, highlighting the romantic undertones of his feelings. It's important to note that during the time when Oscar Wilde wrote "The Picture of Dorian Gray," homosexuality was illegal, and same-sex relationships were heavily stigmatized. As a result, this passage, with its implications of romantic love between men, was likely censored due to societal and legal restrictions.
In Chapter 9 of "The Picture of Dorian Gray," Oscar Wilde employs allusions to the Preface of the novel and other works to explore the themes of the independence of art from its creator, the futility of beauty and death, and the contrast between the impossible and the improbable, ultimately challenging Victorian societal norms and perceptions.
In Chapter 9 of "The Picture of Dorian Gray," Oscar Wilde makes several allusions that provide deeper insights into the themes and ideas explored in the novel. One such allusion is found in the statement, "Art conceals the artist far more completely than it ever reveals him," which references the Preface of the novel where Wilde writes, "to reveal art and conceal the artist is art's aim." This allusion underscores the idea that art should stand independently from its creator, emphasizing the importance of the artwork itself rather than the artist's personal identity.
Another allusion in Chapter 9 is seen in the line, "Her death has all the pathetic uselessness of martyrdom, all its wasted beauty," which echoes the statement in the Preface that "all art is quite useless." Here, Wilde suggests that death, like martyrdom, can possess an aesthetic beauty that is ultimately futile. This allusion reinforces the notion that art, including the portrayal of death, serves no practical purpose but exists for its own sake, highlighting the inherent aestheticism that permeates the novel.
Additionally, the line, "Harry spends his days in saying what is incredible, and his evenings in doing what is improbable," alludes to Vivian's statement in "The Decay of Lying" that "man can believe the impossible, but man can never believe the improbable." This allusion highlights the contrast between what is considered impossible and what is deemed improbable in society. Wilde challenges the notion that certain things are impossible, suggesting that it is merely an excuse people use to justify their actions.
While not directly an allusion, the statement, "Even now I cannot help feeling that it is a mistake to think that the passions one feels in creation are ever really shown in the work one creates. Art is always more abstract than we fancy," challenges the concept of aestheticism. It questions the idea that art can fully capture and express the artist's emotions. This thought reflects the influence of neo-plasticism art*, which emerged in Europe in 1917, emphasizing that art is merely the plastic expression of our aesthetic emotions.
The interplay of cultural appropriation, illusion versus reality, and the revelation of hidden truths in narratives such as the association between Qi Pao and Orientalism, the Amphibian mask as a metaphor, and the weaving contest between Arachne and Athena in Gothic horror literature, reflects a critical exploration of power dynamics, cultural critique, and the complexities of human nature.
by Hans von Aachen
by Titian
The association between the Qi Pao and Orientalism can be understood as a manifestation of cultural exoticism and the fetishization of the East. The Qi Pao, a traditional Chinese dress, is often depicted in Western contexts as a symbol of the mysterious and alluring "otherness" of the East, perpetuating stereotypes and reinforcing the power dynamics inherent in Orientalist discourse.
The Amphibian mask serves as a metaphor for the contrast between illusion and reality. It represents the blending of the beautiful Qi Pao and the scenic backdrop, creating a visually appealing spectacle that captures attention. However, beneath this aesthetic allure lies the truth of reality, which may not be as enchanting or captivating as the illusion suggests.
The portraits depicting the weaving contest between Arachne and Athena symbolizes duplicity. Athena, representing the gods, praises their divine power and superiority, while Arachne criticizes the gods for their immoral actions. This contest reveals the dark side of the gods, exposing their crimes, sins, and inhumane acts. This narrative can be seen as a form of gothic horror, where the gods' brutality and cruelty are exposed, much like Dorian Gray's picture revealing his true nature and inhumanity
In both cases, the contrast between appearance and reality is a central theme. The Qi Pao and scenic illusion create an attractive façade that masks the underlying power dynamics and cultural appropriation present in Orientalism. Similarly, the weaving contest and Dorian Gray's picture both serve as metaphors for the revelation of hidden truths, exposing the dark and immoral aspects of the gods and Dorian Gray, respectively. These narratives challenge the notion of surface-level beauty and reveal the underlying complexities and flaws within both the gods and human nature.
The presence of Orientalism in "The Picture of Dorian Gray," with its references to various cultures such as Persia, Japan, China, Turkey, Spain, and France, provides a lens through which we can examine the contemporary issue of objectification and fetishization of Asians in the modern world. Orientalism, as depicted in the novel, perpetuates a distorted and exoticized view of Eastern cultures, reducing them to mere objects of fascination. In the novel, the portrayal of Eastern cultures often aligns with the prevailing Orientalist tropes of the time, characterized by a fascination with the "mysteries" and "exoticism" associated with the East. This exoticization tends to objectify and fetishize Asian individuals, relegating them to be superficial symbols of sensuality, mystery, and otherness.
Unfortunately, this objectification and fetishization of Asians is still present in contemporary society. In various media forms, Asians are frequently portrayed through narrow and stereotypical lenses, perpetuating harmful caricatures and reinforcing a limited understanding of their diverse cultures and identities. Asian individuals are often objectified as exotic and submissive, with elements of Asian cultures, such as traditional garments, hairstyles, or religious symbols, often appropriated from their original contexts, and used for superficial trends or fashion statements, reducing them to mere accessories or commodities for consumption.