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Chapter 13, page 8

Table of Contents

Dorian rose up from the piano, and passed his hand through his hair. "Yes, life has been exquisite," he murmured, "but I am not going to have the same life, Harry. And you must not say these extravagant things to me. You don't know everything about me. I think that if you did, even you would turn from me. You laugh. Don't laugh."

"Why have you stopped playing, Dorian? Go back and play the nocturne over again. Look at that great honey–colored moon that hangs in the dusky air. She is waiting for you to charm her, and if you play she will come closer to the earth. You won't? Let us go to the club, then. It has been a charming evening, and we must end it charmingly. There is some one at the club who wants immensely to know you,––young Lord Poole, Bournmouth's eldest son. He has already copied your neckties, and has begged me to introduce him to you. He is quite delightful, and rather reminds me of you."

"I hope not," said Dorian, with a touch of pathos in his voice. "But I am tired to–night, Harry. I won't go to the club. It is nearly eleven, and I want to go to bed early."

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Chapter 13

Text of Book

Chapter 13, page 1

Chapter 13, page 2

Chapter 13, page 3

Chapter 13, page 4

Chapter 13, page 5

Chapter 13, page 6

Chapter 13, page 7

Chapter 13, page 8

Chapter 13, page 9

Chapter 13, page 10

Chapter 13, page 11

Chapter 13, page 12

Chapter 13, page 13

Chapter 13, page 14

Chapter 13, page 15

Questions

1) What is the main idea of this chapter?

2) Dorian talks with Harry about public suspicions surrounding Basil's death. Then he asks Harry what he thinks: "Harry, did it ever occur to you that Basil was murdered?"

What does "occur" mean?

3) Harry does not think that Basil was murdered: "Why should he be murdered? He was not clever enough to have enemies. Of course he had a wonderful genius for painting."

What does "genius" mean?

4) Dorian has recently tried to do a good deed in order to reverse the damage to his soul. He wonders if this good deed has made an impact on the portrait: "He had spared one innocent thing, at any rate . . . As he thought of Hetty Merton, he began to wonder if the portrait in the locked room had changed. Surely it was not still so horrible as it had been?"

What does "spared" mean?

5) When Dorian's body is discovered, how are the servants able to identify it as his?

6) How does the portrait look at the end?

7) Were there any events that still aren't clear to you?

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Question #4

Dorian begins to regret not having been more honest with Basil. He recognizes the difference between Basil's friendship and Harry Wotton's: "Basil would have helped him to resist Lord Henry's influence, and the still more poisonous influences that came from his own temperament. The love that he bore him––for it was really love––had something noble and intellectual in it."

What does "bore" mean?





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Chapter 9, page 9

Table of Contents

After a few years he could not endure to be long out of England, and gave up the villa that he had shared at Trouville with Lord Henry, as well as the little white walled–in house at Algiers where they had more than once spent the winter. He hated to be separated from the picture that was such a part of his life, and was also afraid that during his absence some one might gain access to the room, in spite of the elaborate bars that he had caused to be placed upon the door.

He was quite conscious that this would tell them nothing. It was true that the portrait still preserved, under all the foulness and ugliness of the face, its marked likeness to himself; but what could they learn from that? He would laugh at any one who tried to taunt him. He had not painted it. What was it to him how vile and full of shame it looked? Even if he told them, would they believe it?

Yet he was afraid. Sometimes when he was down at his great house in Nottinghamshire, entertaining the fashionable young men of his own rank who were his chief companions, and astounding the county by the wanton luxury and gorgeous splendour of his mode of life, he would suddenly leave his guests and rush back to town to see that the door had not been tampered with and that the picture was still there. What if it should be stolen? The mere thought made him cold with horror. Surely the world would know his secret then. Perhaps the world already suspected it.

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Chapter 10, page 5

Table of Contents

"Stop, Basil. You are talking about things of which you know nothing," said Dorian Gray, biting his lip, and with a note of infinite contempt in his voice. "You ask me why Berwick leaves a room when I enter it. It is because I know everything about his life, not because he knows anything about mine. With such blood as he has in his veins, how could his record be clean? You ask me about Henry Ashton and young Perth. Did I teach the one his vices, and the other his debauchery? If Kent's silly son takes his wife from the streets, what is that to me? If Adrian Singleton writes his friend's name across a bill, am I his keeper? I know how people chatter in England. The middle classes air their moral prejudices over their gross dinner–tables, and whisper about what they call the profligacies of their betters in order to try and pretend that they are in smart society and on intimate terms with the people they slander. In this country, it is enough for a man to have distinction and brains for every common tongue to wag against him. And what sort of lives do these people, who pose as being moral, lead themselves? My dear fellow, you forget that we are in the native land of the hypocrite."

"Dorian," cried Hallward, "that is not the question. England is bad enough I know, and English society is all wrong. That is the reason why I want you to be fine. You have not been fine. One has a right to judge of a man by the effect he has over his friends. Yours seem to lose all sense of honour, of goodness, of purity. You have filled them with a madness for pleasure. They have gone down into the depths. You led them there. Yes: you led them there, and yet you can smile, as you are smiling now. And there is worse behind. I know you and Harry are inseparable. Surely for that reason, if for none other, you should not have made his sister's name a by–word."

"Take care, Basil. You go too far."

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Chapter 11, page 3

Table of Contents

The young man was leaning against the mantelshelf, watching him with that strange expression that one sees on the faces of those who are absorbed in a play when some great artist is acting. There was neither real sorrow in it nor real joy. There was simply the passion of the spectator, with perhaps a flicker of triumph in his eyes. He had taken the flower out of his coat, and was smelling it, or pretending to do so.

"What does this mean?" cried Hallward, at last. His own voice sounded shrill and curious in his ears.

"Years ago, when I was a boy," said Dorian Gray, crushing the flower in his hand, "you met me, flattered me, and taught me to be vain of my good looks. One day you introduced me to a friend of yours, who explained to me the wonder of youth, and you finished a portrait of me that revealed to me the wonder of beauty. In a mad moment that, even now, I don't know whether I regret or not, I made a wish, perhaps you would call it a prayer…."

"I remember it! Oh, how well I remember it! No! the thing is impossible. The room is damp. Mildew has got into the canvas. The paints I used had some wretched mineral poison in them. I tell you the thing is impossible."

"Ah, what is impossible?" murmured the young man, going over to the window and leaning his forehead against the cold, mist–stained glass.

"You told me you had destroyed it."

"I was wrong. It has destroyed me."

"I don't believe it is my picture."

"Can't you see your ideal in it?" said Dorian bitterly.

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Chapter 11

Text of Book

Chapter 11, page 1

Chapter 11, page 2

Chapter 11, page 3

Chapter 11, page 4

Chapter 11, page 5

Chapter 11, page 6

Chapter 11, page 7

Chapter 11, page 8

Chapter 11, page 9

Questions

1) What is the main idea of this chapter?

2) When Basil first sees what has become of the portrait, he can't believe that it is the one he painted. He thinks, "It was some foul parody, some infamous, ignoble satire."

What does "foul" mean?

3) The description of Basil's murder is quite graphic, including this sentence: "Something began to trickle on the floor."

What does "trickle" mean?

4) After Dorian has killed Basil, he no longer thinks of Basil as a human being. He does not seem him as a man, or as a friend, but rather as an inanimate object: "The thing was still seated in the chair, straining over the table with bowed head, and humped back, and long fantastic arms."

What does "straining" mean?

5) Dorian thinks about how to avoid being punished for killing Basil. He is relieved to remember that Basil was on his way to Paris when he stopped by to visit. Dorian thinks, "With [Basil's] curious reserved habits, it would be months before any suspicions would be aroused."

What does "reserved" mean?

6) Dorian wakes his servant, Francis, using him to establish an alibi. Afterward, when Francis goes sleepily back to bed, he "shamble[s] down the passage in his slippers."

What does "passage" mean?

7) What does Dorian mean when he claims the portrait "destroyed me"?

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

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Chapter 2, page 6

Table of Contents

"And yet," continued Lord Henry, in his low, musical voice, and with that graceful wave of the hand that was always so characteristic of him, and that he had even in his Eton days, "I believe that if one man were to live out his life fully and completely, were to give form to every feeling, expression to every thought, reality to every dream––I believe that the world would gain such a fresh impulse of joy that we would forget all the maladies of mediaevalism, and return to the Hellenic ideal––to something finer, richer than the Hellenic ideal, it may be. But the bravest man amongst us is afraid of himself. The mutilation of the savage has its tragic survival in the self–denial that mars our lives. We are punished for our refusals. Every impulse that we strive to strangle broods in the mind and poisons us. The body sins once, and has done with its sin, for action is a mode of purification. Nothing remains then but the recollection of a pleasure, or the luxury of a regret. The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful. It has been said that the great events of the world take place in the brain. It is in the brain, and the brain only, that the great sins of the world take place also. You, Mr. Gray, you yourself, with your rose–red youth and your rose–white boyhood, you have had passions that have made you afraid, thoughts that have filled you with terror, day–dreams and sleeping dreams whose mere memory might stain your cheek with shame––"

"Stop!" faltered Dorian Gray, "stop! you bewilder me. I don't know what to say. There is some answer to you, but I cannot find it. Don't speak. Let me think. Or, rather, let me try not to think."

For nearly ten minutes he stood there, motionless, with parted lips and eyes strangely bright. He was dimly conscious that entirely fresh influences were at work within him. Yet they seemed to him to have come really from himself. The few words that Basil's friend had said to him––words spoken by chance, no doubt, and with wilful paradox in them––had touched some secret chord that had never been touched before, but that he felt was now vibrating and throbbing to curious pulses.