I never read Dorian Gray before this class, and while I anticipated Dorian would psychologically deteriorate after Lord Henry’s remarks, I did not expect him to kill Basil. I think the fact that Basil was murdered by his greatest source of artistic inspiration is an interesting way for Wilde to explore the relationship between an artist and his muse, and more deeply, the dangers of putting one’s “soul” into a work of art. While Basil refused to exhibit the portrait because it exposed too much of his soul, it is really the portrait’s representation of Dorian’s soul that is the downfall of the two men. Wilde warns us in the preface about searching for meaning in art; he says, “to reveal art and conceal the artist is the art’s aim” (17). In considering Dorian not only a source of inspiration but a form of art itself, Basil reveals both himself and Dorian in the portrait. Given the fact that the portrait contains pieces of both men, it is significant that Dorian describes the portrait as motivating his violence: “Dorian Gray glanced at the picture, and suddenly an uncontrollable feeling of hatred for Basil Hallward came over him, as though it had been suggested to him by the image on the canvas, whispered into his ear by those grinning lips” (117). As I re-read this passage, perhaps this suggestion by the canvas is another layer of commentary on looking for meaning in art because clearly the portrait did not actually whisper in Dorian’s ear. The portrait simply reflects, and as a result, intensifies, what Dorian already thinks and feels, more specifically, the growing wickedness of his character.
I finished this chapter with a few questions in mind. The first and more superficial is what will Dorian do with the body, but also how did the portrait change if Basil did not paint the grin in the first place? Is it possible that so much of the identities of Basil and Dorian are in the painting that they are hallucinating the same thing, and the picture is actually unchanged? I am suspicious of Lord Henry even though he is not a painter. Logistics of the painting aside, when I read the first few chapters, I thought this book could be read as a psychological study of the relationship between artist and muse and the toll that being one’s source of inspiration can take on a person. I think that element is still important, but in these last 50 pages, I’ve begun to think the novel could be read as a cautionary tale as well.