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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.

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