Havelock Ellis’ Sexual Inversion was written long after, and obviously makes reference to, The Picture of Dorian Gray, but the imagery that Wilde uses is reflected in Ellis’ description of the sexually inverted boy. There are moments when the resonance in ideas and language is practically uncanny. The third paragraph in Chapter IX of Dorian Gray describes Dorian’s rising infamy in London as well as how that infamy is undermined by his beauty. In the excerpt from Ellis, he is interviewing H.C., a young male sex worker who goes by the name Dorian Gray. Ellis’ description of H.C. is eerily similar to how we read Dorian described early in the novel. The more encompassing connection however, is that for both of them, their outward beauty is a tool and a mask that allows them to commit many sins with seemingly little reproach. Despite his profession in the sex work industry, which even to this day is considered “sinful” and morally corrupt, H.C. is described by Ellis as having the “beauty of an angel” and his voice the “purity of a clarinet.” These kinds of descriptions are commonly reserved for people — particularly women, which connects this to some of the other readings about Urnings having a feminine spirit — who are considered morally and spiritually pure. Similarly, on page 91, Dorian is described as having “the look of one who kept himself unspotted from the world.” His beauty is so pure in fact, that “his mere presence seemed to recall to them the innocence they had tarnished.” These two young men are able to operate, somewhat, successfully as “sinners” because their outward “purity” makes their critics doubt themselves rather than doubt the beauty of the boys.
The Picture of Dorian Gray
The sexuality of Basil
While in class we talked mostly about how the descriptions of Dorian and Lord Henry point to their homosexual desires, we did not speak as much about the descriptions of Basil who, is the mostly clearly homosexual character out of all the others. He openly reveals his romantic desire when he tells Dorian in chapter 7: “I have worshipped you with far more romance of feeling that a man usually gives to a friend. Somehow I have never loved a woman. I suppose I never had time” (70). Dorian’s physical features as a boyish, his musical talent, characterize him as an invert, what men with same-sex attraction were called by sexologists, as well as his relationship to Lord Henry. The relationship between Lord Henry and Dorian, older man as mentor and younger man as mentee, reflect the homosexual relationships of the Greek Dorians. Lord Henry Wotton’s voice is described as musical as well. They never reveal outright their feelings towards each other or towards other men, Basil is the only one that does so. Subtle hints are not needed to inform the reader of his sexuality. It is in this passage on page 70 that Basil’s innermost thoughts and feelings are revealed to the reader and by John Addington Symonds standards he would be considered an “urning,” not just a man with same-sex desire, but a very feminine individual. Symonds writes,
The body of a male is visible to the eyes, is mensurable and ponderable, is clearly marked in its specific organs. But what we call his soul–his passions, inclinations, sensibilities, emotional characteristics, sexual desires–eludes the observation of the senses. . . . And when I find that the soul, this element of instinct and emotion and desire existing in a male, had been directed in its sexual appetite from earliest boyhood towards persons of the male sex, I have the right to qualify it with the attribute of femininity.”
The fact that Basil has such feelings for Dorian is enough to qualify him as a feminine man, or as having a feminine soul.
Bibliography
Symonds, John Addington. A Problem in Modern Ethics. 1896
Wilde, Oscar. The Picture of Dorian Gray. 1890. Ed. Michael Wilson. Watersgreen House Classics. 2015.
Basil Hallward vs. The Labouchère Amendment
The Labouchère Amendment mentions that “[a]ny male person who in public or private commits or is a party to the commission of or procures or attempts to procure the commission by any male person of any act of gross indecency with another male person shall be guilty of a misdemeanor…” (Sexology Handout). If this is the status quo of law at the time, then it is worth noting that Basil’s admiration toward Dorian puts him in situation where he could be charged for said crime. His commission of Basil to model for his artwork may seem like artistic interest at first. However, it is at first hinted, and then revealed that Basil had ulterior motives for his artwork. He confesses to Dorian: “I wanted to have you all to myself. I was only happy when I was with you. When I was away from you, you were still present in my art. It was all wrong and foolish. It is all wrong and foolish still. Of course I never let you know anything about this. It would have been impossible.” (79). The best pieces of Basil’s artwork are driven by his passion for Dorian. He redirects his sexual desire for the youth through artistic expression. While this is within the legal guidelines of the written laws of the time, it could be argued that Basil’s actions are that of gross indecency. This would especially be the case should his feelings for Dorian come to light. That is why he refused to have the artwork shown at first. He tells Dorian, “I grew afraid that the world would know of my idolatry. I felt, Dorian, that I had told too much” (79). It is clear that Basil is trying to appease his passions at his own risk. Even though he is aware of it, emotions can cause people to disregard their own well-being for the satisfaction of their passion.