Bloom's Literary Themes - ymerleksi - home
Bloom's Literary Themes - ymerleksi - home
Bloom's Literary Themes - ymerleksi - home
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The Picture of Dorian Gray 155<br />
and Henry, he becomes fascinated first with his own beauty<br />
but then with a growing ugliness that he recognizes as also<br />
himself ” (503).<br />
5. Jeff Nunokawa and Amy Sickels in their biography of Oscar<br />
Wilde point out the parallels between Dorian Gray and the<br />
author himself:<br />
The novel’s protagonist and the men who surround<br />
him are covered in the codes of homosexuality through<br />
which Wilde and men like him communicated with one<br />
another. Dorian Gray is constantly likened to homosexuals<br />
of other times such as Antinous, the emperor<br />
Hadrian’s lover, or to various other famous and infamous<br />
homosexuals from history. Dorian Gray’s portrait<br />
allows the original to lead a double life, such as the one<br />
that Wilde and his friends knew (57).<br />
These biographers also point out that with the publication of<br />
this novel where he “invited inevitable comparisons between<br />
himself and the characters that he created, Wilde courted the<br />
danger of blowing the door off his own closet”. They go on to<br />
say, the novel “would supply ammunition to his persecutors and<br />
prosecutors and thus help bring on the disaster that cost Wilde<br />
all but his life” (59).<br />
6. Ellie Ragland-Sullivan in the essay, “The Phenomenon of<br />
Aging” takes a different approach in analyzing Wilde’s failure to<br />
understand or accept the need for secrecy and conformity in his<br />
private life: “ When the Marquess of Queensberry accused Wilde<br />
of sodomy, Wilde insisted, against advice, on prosecuting the<br />
Marquess for criminal libel. After his release from prison Wilde,<br />
seeking refuge in a Catholic retreat, was refused this courtesy.<br />
He was also shunned by friends, wife, and children. Yet despite<br />
his own guilty torments, one senses that Wilde could never<br />
comprehend how such dire consequences could follow from his<br />
pursuit of sensual pleasures and his practice of a kind of love<br />
shared by great artists of the past. In Lacanian terms one might<br />
say that he never understood that his real crime was to have<br />
elevated Desire above Law” (480). One could argue that Basil<br />
seems to be having this conversation with Dorian who fails to<br />
understand the priority of moral law over desire.