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Chapter 1, page 12

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"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry––too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

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Chapter 2, page 2

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"You have not spoiled my pleasure in meeting you, Mr. Gray," said Lord Henry, stepping forward and extending his hand. "My aunt has often spoken to me about you. You are one of her favourites, and, I am afraid, one of her victims also."

"I am in Lady Agatha's black books at present," answered Dorian with a funny look of penitence. "I promised to go to a club in Whitechapel with her last Tuesday, and I really forgot all about it. We were to have played a duet together––three duets, I believe. I don't know what she will say to me. I am far too frightened to call."

"Oh, I will make your peace with my aunt. She is quite devoted to you. And I don't think it really matters about your not being there. The audience probably thought it was a duet. When Aunt Agatha sits down to the piano, she makes quite enough noise for two people."

"That is very horrid to her, and not very nice to me," answered Dorian, laughing.

Lord Henry looked at him. Yes, he was certainly wonderfully handsome, with his finely curved scarlet lips, his frank blue eyes, his crisp gold hair. There was something in his face that made one trust him at once. All the candour of youth was there, as well as all youth's passionate purity. One felt that he had kept himself unspotted from the world. No wonder Basil Hallward worshipped him.

"You are too charming to go in for philanthropy, Mr. Gray––far too charming." And Lord Henry flung himself down on the divan and opened his cigarette–case.

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Chapter 2, page 18

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At half–past twelve next day Lord Henry Wotton strolled from Curzon Street over to the Albany to call on his uncle, Lord Fermor, a genial if somewhat rough–mannered old bachelor, whom the outside world called selfish because it derived no particular benefit from him, but who was considered generous by Society as he fed the people who amused him. His father had been our ambassador at Madrid when Isabella was young and Prim unthought of, but had retired from the diplomatic service in a capricious moment of annoyance on not being offered the Embassy at Paris, a post to which he considered that he was fully entitled by reason of his birth, his indolence, the good English of his dispatches, and his inordinate passion for pleasure. The son, who had been his father's secretary, had resigned along with his chief, somewhat foolishly as was thought at the time, and on succeeding some months later to the title, had set himself to the serious study of the great aristocratic art of doing absolutely nothing. He had two large town houses, but preferred to live in chambers as it was less trouble, and took most of his meals at his club. He paid some attention to the management of his collieries in the Midland counties, excusing himself for this taint of industry on the ground that the one advantage of having coal was that it enabled a gentleman to afford the decency of burning wood on his own hearth. In politics he was a Tory, except when the Tories were in office, during which period he roundly abused them for being a pack of Radicals. He was a hero to his valet, who bullied him, and a terror to most of his relations, whom he bullied in turn. Only England could have produced him, and he always said that the country was going to the dogs. His principles were out of date, but there was a good deal to be said for his prejudices.

When Lord Henry entered the room, he found his uncle sitting in a rough shooting–coat, smoking a cheroot and grumbling over The Times. "Well, Harry," said the old gentleman, "what brings you out so early? I thought you dandies never got up till two, and were not visible till five."

"Pure family affection, I assure you, Uncle George. I want to get something out of you."

"Money, I suppose," said Lord Fermor, making a wry face. "Well, sit down and tell me all about it. Young people, nowadays, imagine that money is everything."

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Chapter 3, page 6

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"I will tell you, Harry, but you mustn't be unsympathetic about it. After all, it never would have happened if I had not met you. You filled me with a wild desire to know everything about life. For days after I met you, something seemed to throb in my veins. As I lounged in the park, or strolled down Piccadilly, I used to look at every one who passed me and wonder, with a mad curiosity, what sort of lives they led. Some of them fascinated me. Others filled me with terror. There was an exquisite poison in the air. I had a passion for sensations…. Well, one evening about seven o'clock, I determined to go out in search of some adventure. I felt that this grey monstrous London of ours, with its myriads of people, its sordid sinners, and its splendid sins, as you once phrased it, must have something in store for me. I fancied a thousand things. The mere danger gave me a sense of delight. I remembered what you had said to me on that wonderful evening when we first dined together, about the search for beauty being the real secret of life. I don't know what I expected, but I went out and wandered eastward, soon losing my way in a labyrinth of grimy streets and black grassless squares. About half–past eight I passed by an absurd little theatre, with great flaring gas–jets and gaudy play–bills. A hideous Jew, in the most amazing waistcoat I ever beheld in my life, was standing at the entrance, smoking a vile cigar. He had greasy ringlets, and an enormous diamond blazed in the centre of a soiled shirt. 'Have a box, my Lord?' he said, when he saw me, and he took off his hat with an air of gorgeous servility. There was something about him, Harry, that amused me. He was such a monster. You will laugh at me, I know, but I really went in and paid a whole guinea for the stage–box. To the present day I can't make out why I did so; and yet if I hadn't––my dear Harry, if I hadn't––I should have missed the greatest romance of my life. I see you are laughing. It is horrid of you!"

"I am not laughing, Dorian; at least I am not laughing at you. But you should not say the greatest romance of your life. You should say the first romance of your life. You will always be loved, and you will always be in love with love. A grande passion is the privilege of people who have nothing to do. That is the one use of the idle classes of a country. Don't be afraid. There are exquisite things in store for you. This is merely the beginning."

"Do you think my nature so shallow?" cried Dorian Gray angrily.

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Question #5

Dorian explains his view of the difference between "ordinary women" and actresses: "They are limited to their century. No glamour ever transfigures them. One knows their minds as easily as one knows their bonnets. One can always find them. There is no mystery in one of them. They ride in the Park in the morning, and chatter at tea–parties in the afternoon. They have their stereotyped smile, and their fashionable manner. They are quite obvious. But an actress! How different an actress is!"

What does "stereotyped" mean?





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Chapter 4, page 11

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"Come away, Jim; come away," she whispered. He followed her doggedly as she passed through the crowd. He felt glad at what he had said.

When they reached the Achilles Statue, she turned round. There was pity in her eyes that became laughter on her lips. She shook her head at him. "You are foolish, Jim, utterly foolish; a bad–tempered boy, that is all. How can you say such horrible things? You don't know what you are talking about. You are simply jealous and unkind. Ah! I wish you would fall in love. Love makes people good, and what you said was wicked."

"I am sixteen," he answered, "and I know what I am about. Mother is no help to you. She doesn't understand how to look after you. I wish now that I was not going to Australia at all. I have a great mind to chuck the whole thing up. I would, if my articles hadn't been signed."

"Oh, don't be so serious, Jim. You are like one of the heroes of those silly melodramas Mother used to be so fond of acting in. I am not going to quarrel with you. I have seen him, and oh! to see him is perfect happiness. We won't quarrel. I know you would never harm any one I love, would you?"

"Not as long as you love him, I suppose," was the sullen answer.

"I shall love him for ever!" she cried.

"And he?"

"For ever, too!"

"He had better."

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Chapter 5, page 8

Table of Contents

She looked at him in wonder, and laughed. He made no answer. She came across to him, and stroked his hair with her little fingers. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him.

Then he leaped up, and went to the door. "Yes," he cried, "you have killed my love. You used to stir my imagination. Now you don't even stir my curiosity. You simply produce no effect. I loved you because you were wonderful, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow and stupid. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don't know what you were to me, once. Why, once . . . . Oh, I can't bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! What are you without your art? Nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have belonged to me. What are you now? A third–rate actress with a pretty face."

The girl grew white, and trembled. She clinched her hands together, and her voice seemed to catch in her throat. "You are not serious, Dorian?" she murmured. "You are acting."

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Chapter 5

Text of Book

Chapter 5, page 1

Chapter 5, page 2

Chapter 5, page 3

Chapter 5, page 4

Chapter 5, page 5

Chapter 5, page 6

Chapter 5, page 7

Chapter 5, page 8

Chapter 5, page 9

Chapter 5, page 10

Chapter 5, page 11

Chapter 5, page 12

Chapter 5, page 13

Questions

1) What is the main idea of this chapter?

2) Setting the scene inside the theater, the author describes the audience: "The youths in the gallery had taken off their coats and waistcoats and hung them over the side. They talked to each other across the theatre, and shared their oranges with the tawdry painted girls who sat by them. Some women were laughing in the pit; their voices were horribly shrill and discordant. The sound of the popping of corks came from the bar."

What does "discordant" mean?

3) Sibyl's acting performance is described as being a complete failure: she spoke the words as if they conveyed no meaning to her. It was not nervousness. Indeed, so far from being nervous, she seemed absolutely self–contained. It was simply bad art."

What does "convey" mean?

4) Backstage after the play, Dorian is surprised to learn that Sibyl's bad performance was intentional. She doesn't care that he and his friends were bored. "She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her."

What does "dominate" mean?

5) Sibyl explains that falling in love with Dorian in real life has ruined her enjoyment of acting. She now sees the theater and all it contains as an "empty pageant". She wants Dorian to take her away from the theater because, "Even if I could do it, it would be profanation for me to play at being in love. You have made me see that."

What does "profanation" mean?

6) When Dorian tells Sibyl he has fallen out of love with her, she becomes upset, which causes Dorian to feel even less kindly toward her: "There is always something ridiculous about the passions of people whom one has ceased to love. Sibyl Vane seemed to him to be absurdly melodramatic. Her tears and sobs annoyed him."

What does "melodramatic" mean?

7) Even though it seems impossible, Dorian believes that his portrait will age while he remains young. He thinks that the painting will serve as his conscience, reminding him of what he has done right or wrong. He feel sorry for the painting then, and thinks, "Its gold would wither into gray. Its red and white roses would die. For every sin that he committed, a stain would fleck and wreck its fairness."

What does "wither" mean?

8) After Dorian has noticed the change in his portrait, he reflects on his behavior toward Sibyl.

How does he feel about the way he treated her?

9) Were there any events that weren't clear to you?