1. Chapter 3
LO: to understand how Wilde uses Chapter 3 as social critique; to understand Wilde’s presentation of Dorian and Lord Henry
Gothic always remains the symbolic sites of a culture’s discursive struggle to define and claim possession of the civilised, and to abject, or throw off, what is seen as being other to that civilised self. (David Punter & Glennis Byron)
Starter: considering what you already know about Victorian society and culture, what do you think we can expect society to consider ‘civilised’ and what would be considered ‘other’?

2. The origins of the Gothic
The word ‘gothic’ originally referred to the pre-medieval Goth tribe of Eastern Germany; they came to be associated with barbarism, as opposed to the Romans who were associated with civilisation.
Gothic art had a significant influence on medieval art and architecture.
In the 19th Century, the Gothic Revival was a movement in art and architecture that drew on the forms associated with the Goths and early medieval art; this again was set in opposition to the clean lines and order of ‘Classical’ art and architecture.
In literature, this same division existed: the Gothic is associated with disorder, excess and transgression of the order and clear limits of the classical.
In The Picture of Dorian Gray, we see this tension in Wilde’s presentation of London Society – the conflict between a world that operated on strict rules, and individual excess and passion.

3. Remind yourself of p.29-33 (until ‘the direction of Berkeley Square.’)
Wilde paints a highly satirical portrait of Lord Fermor – what does this suggest about London Society and its values? (29-30)
How does Lord Henry describe Dorian to Lord Fermor? (31) What again does it suggest about Society’s values?
What is significant about Dorian Gray’s background (31-2)?

4. The orphan
‘So that was the story of Dorian Gray’s parentage. Crudely as it had been told to him, it had stirred him by its suggestion of a strange, almost modern romance.’ (33)
The romantic orphan is a common stock literary figure, and particularly in Victorian fiction – like Oliver Twist, Jane Eyre, Becky Sharp, Pip, Esther Summerson.
The plot would have hung on their search for their inheritance, place in society or validation through marriage.
As parentless, they are without the restrictions of other children. They are often presented as innocent and innately good (like Annie, Harry Potter, Oliver etc.), and through their interactions with the world expose its evils and corruptions.
Discussion questions
How far does Dorian differ from this depiction? How does his background make him ‘liminal’?
Why does Wilde show Lord Henry’s response through free indirect discourse? In what ways could you argue that Lord Henry ‘commodifies’ (Gagner) Dorian?

5. Lord Henry
Organise these quotations from Lord Henry’s description of Dorian (33-4;38).
What does Wilde suggest about both characters through this passage?

6. The party (34-40) – find evidence for the following:
Marriage is treated flippantly
Women described only superficially
Society is hypocritical
The upper classes are dismissive of the lower classes
Women’s function is to validate the views of men
Lord Henry’s epigramsare powerful

7. In reading Chapter 3, how do you understand this quotation better?
Plenary
Gothic always remains the symbolic sites of a culture’s discursive struggle to define and claim possession of the civilised, and to abject, or throw off, what is seen as being other to that civilised self. (David Punter & Glennis Byron)
In reading Chapter 3, how do you understand this quotation better?

8. Homework Read the extract from ‘The Renaissance’.
Don’t worry if you don’t understand it all – but do persevere, using the notes to help you, and bring your questions to the next lesson.