







































Aisthesis      Volume 11,  20209

Deviating from the Norm: A Queer !eory Analysis of !e 
Picture of Dorian Gray

by Katie Nguyen

Introduction      
 Oscar Wilde’s !e Picture of Dorian Gray can 
be read as a cautionary tale against decadence and 
depravity. But in a queer reading, Dorian Gray’s 
relationships with male characters can be understood 
in terms of same sex attraction, o"ering a cautionary 
tale that exempli#es the consequences of outing 
oneself as a homosexual individual in a traditional 
society. Or, to put it another way, the novel shows 
how Dorian is a victim of a heteronormative society. 
Homosexual identity emerges throughout the novel 
in key ways, as seen through Basil’s idolatrous worship 
of Dorian and the robust ties of male bonding. Due 
to  his privileged standing, Dorian is able to explore 
same-sex relationships with members from the 
upper and lower rungs of society. !is paper o"ers a 
queer interpretation of the novel by analyzing coded 
language, applying René Girard’s theory of desire to 
relationships, and investigating Wilde’s #xation on 
the proletariat class.
 Queer scholarship and studies in LGBT history 
o"er a framework for considering gay identity 
in the novel. Eve Sedgwick’s Between Men was 
instrumental in interpreting male relationships, 
particularly her concepts of male homosocial 
bonding and the erotic triangle. !e paper also cites 
Je"rey Weeks’ work, which draws into question who 
is categorized as a homosexual individual, as one 
may participate in sexual acts with members of the 
same sex and not identify as gay (100, 114). Rather 
than fetishizing or forcing individuals to conform to 
a sexual orientation, self-identi#cation is a crucial 
aspect when beginning to understand the nuances of 
sexuality. While homosexuality “cannot be reduced 
to one particular form or pattern” (Weeks 100), 
theorists have laid down groundwork and indicators 
to look for when identifying queer activity at work 
in a text. Ideally, the aim of this essay is to provide 
supplementary evidence as to how queer identity is 
represented in Dorian Gray. Since classics have been 
traditionally subjected to a heterosexual reading, the 

erasure of gay presences is detrimental, implying 
heterosexuality as the hegemonic—and perhaps the 
only appropriate—orientation to have (Summers 
xvii). 

Coded Language in Dorian Gray
 Coded language in Dorian Gray o$en takes 
the form of peculiar diction and allusions to Greek 
mythology, history, and culture. When queering 
Dorian Gray, I de#ne code words as those that have a 
sexual and homoerotic e"ect or indicate something 
other than what a heterosexual account could explain. 
Although coded language deliberately conceals the 
implication, inferences can contextualize queer 
identities at work throughout the novel. 
 For example, attraction is evident when Basil 
describes how Dorian’s in%uence a"ects his art. 
Yet Basil downplays his feelings as “curious artistic 
idolatry” (Wilde 13), despite his devotion being 
infatuation. !e words “personality” and “in%uence” 
indicate Basil’s idolatrous worship because the 
peculiar usage of these words implies same-sex 
attraction. !is is notable when Basil tells Lord Henry 
that “As long as I live, the personality of Dorian Gray 
will dominate me” (14). Basil also asserts that Dorian’s 
“personality had been the great turning-point in his 
art” (114), and “his personality has suggested to 
me an entirely new manner in art, an entirely new 
mode of style. I see things di"erently, I think of them 
di"erently… [as if] some subtle in%uence passed 
from him to me’” (12). Dorian’s “personality” and 
“in%uence” evidently dominate Basil’s art and his 
perception. Joseph Bristow notes how “‘Personality’ 
– a word repeatedly turned to by Wilde throughout 
the trials – both eludes and yet signals the object 
of homosexual attraction” (55). “Personality” and 
“in%uence” imply same-sex attraction between the 
characters, suggesting an exhilarating, but forbidden 
relationship between Basil and Dorian. As Dennis 
Allen notes, “the relations of the novel’s three 
main characters are based on a rather curious idea 



Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  202010

of ‘in%uence’” (119), which may suggest that the 
peculiar way Basil describes Dorian implies desire. 
When Basil recalls his #rst meeting with Dorian to 
Lord Henry, he explains solemnly: 

A curious sensation of terror came over me. I 
knew that I had come face to face with someone 
whose mere personality was so fascinating that, 
if I allowed it to do so, it would absorb my whole 
nature, my whole soul, my very art itself. I did 
not want any external in%uence in my life. You 
know yourself, Harry, how independent I am by 
nature. I have always been my own master; had 
at least always been so, till I met Dorian Gray. 
(Wilde 8) 

Basil’s #rst encounter with Dorian evokes a sexual 
revelation, symbolizing Basil’s outing and self-
identi#cation of his own sexuality. “In%uence” and 
“personality” signify Basil’s yearning for Dorian, but 
for every confession wrestled from Basil, either from 
Lord Henry or Dorian, Basil’s feelings are trivialized 
or pitied. However, Basil reiterates how Dorian’s 
in%uence has an extraordinary e"ect on his work, 
leading to the prominent confession at the end of 
chapter nine, in which Basil confesses: 

Your personality had the most extraordinary 
in%uence over me. I was dominated, soul, brain, 
and power by you. You became to me the visible 
incarnation of that unseen ideal whose memory 
haunts us artists like an exquisite dream. I 
worshipped you. I grew jealous of everyone to 
whom you spoke. I wanted to have you all to 
myself. I was only happy when I was with you. 
When you were away from me you were still 
present in my art…Of course, I never let you 
know anything about this. It would have been 
impossible. You would not have understood it; I 
hardly understood it myself…Weeks and weeks 
went on, and I grew more and more absorbed in 
you. (117) 

Basil’s declarations are solemn; he reveals his feelings 
multiple times, restating himself until they become 
clear. Moments of confession and “identi#cation in 
the text tend to occur twice; just as Dorian ‘realizes’ 
himself when he hears Lord Henry’s words and 
again when he views the portrait; the painting leads 
Basil to confess, #rst to Lord Henry, and then to 
Dorian” (Ohi 109-110). Yet, one announcement of 
attraction is not enough, since the characters assert 
their feelings multiple times. Since Dorian dismisses 

Basil as having “a very disappointing confession,” 
Basil downplays his feelings and responds with, 
“‘Why, what did you expect, Dorian?’” (Wilde 119). 
Dorian muses how Basil’s declaration explains “the 
painter’s absurd #ts of jealously, his wild devotion, 
his extravagant panegyrics, his curious reticences—
he understood them all now, and he felt sorry” (120). 
Even when Dorian dismisses Basil’s feelings, Basil 
clings to the comfort of Dorian as his companion and 
muse. Desire is understood through coded language 
because Basil voices his attraction in a subtle, but 
suggestive manner.  
 Furthermore, Greek references serve as 
prominent code words throughout Dorian Gray, 
perhaps because ancient Greek society was more 
accepting of homosexuality. Names such as 
“Narcissus” and “Adonis” are used to describe Dorian 
(Wilde 5, 109, 118), along with Greek references 
such as “ivory Hermes” or “silver Faun” (28). !omas 
Heacox notes how Greek allusions made during the 
Victorian age discretely referred to homosexual love 
because:

reference to things Greek, then—to literature 
and culture and myth and historical characters 
and places—constitute, in a homosexual context, 
a prolix expansion of one unspoken word. Names 
and places vibrate and resonate with meaning, 
but all come to rest on a single theme; all such 
words mean the same word, the only word that 
dare not speak its name. (58) 

 Moreover, when examining Greek allusions, the 
context of certain names—Narcissus and Adonis—
resonates with a homoerotic quality. When Basil 
tells Lord Henry how he placed too much of himself 
in Dorian’s portrait, Lord Henry exclaims, “‘Too 
much of yourself in it! Upon my word, Basil, I didn’t 
know you were so vain; and I really can’t see any 
resemblance between you, with your rugged, strong 
face and your coal-black hair, and this young Adonis, 
who looks as if he was made of ivory and rose-leaves. 
Why, my dear Basil, he is a Narcissus’” (Wilde 5). 
Lord Henry depicts Dorian with a Hellenic quality 
of “ivory and rose-leaves,” and compares Dorian to 
beautiful youths. By romanticizing Dorian through 
a comparison to Greek #gures, he becomes an 
embodiment for forbidden desire. 
 Wilde uses Greek references to represent 
homosexuality without being overly explicit in his 
writing. Even Lord Henry muses how “‘the world 



Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  202011

would gain such a fresh impulse of joy… [if we] 
return to the Hellenic ideal…But the bravest man 
among us is afraid of himself ’” (20). Lord Henry, 
who has a penchant for dispensing unorthodox 
thoughts, paradoxical statements, and philosophy, 
vocalizes what other characters are afraid of 
pursuing. In this way, Lord Henry’s character 
allows Wilde to criticize the society he lives in and 
make Lord Henry a proponent of homosexuality. 
As Nils Clausson notes, “Lord Henry’s philosophy 
of unfettered self-development can be read as an 
implicit recommendation to homosexuals to realize 
their true being, despite the misguided restraints of 
society and religion” (347). Lord Henry encourages 
Dorian and others to pursue what they are afraid 
of because “the aim of life is self-development. To 
realize one’s nature perfectly—that is what each of us 
is here for. People are afraid of themselves nowadays. 
!ey have forgotten the highest of all duties, the 
duty that one owes to one’s self ’” (20). Lord Henry’s 
philosophy is to experiment, understand, and better 
oneself because strictly adhering to society’s whims 
will mar one’s happiness. !is philosophy is especially 
applicable to individuals who are questioning their 
sexuality.
 In addition to coded language, the portrayal 
of music in the novel is also associated with 
homosexuality. Every time music is associated with 
Lord Henry, it heralds desire and adds a homoerotic 
quality to each scene. While Dorian, Alan Campbell, 
and Lady Henry share an a&nity for music, only 
Lady Henry admits to being afraid of good music. 
She states how it “it makes me too romantic. I have 
simply worshipped pianists…I don’t know what it 
is about them. Perhaps they are foreigners” (Wilde 
49). Lady Henry confesses that music dominates her 
senses and makes her afraid of losing her bearings, 
while Lord Henry muses, “nothing can cure the soul 
but the senses, just as nothing can cure the senses 
but the soul” (23). In this context, he provides a 
connection between the senses and soul. If one 
deprives the senses from the soul, or the soul from 
the senses, both will stagnate. Clausson states: 

Lord Henry articulates here an early theory of 
the evils of repression. For it is the repression of 
the same-sex sexuality, and not the sexual acts 
themselves, that poisons and mutilates the mind 
and the soul. Consequently, liberation from 

that repression is seen as necessary for the full 
development of the individual personality. (348) 

By repressing one’s sexuality, the individual mars 
his own happiness by never truly “outing” himself. 
If the gay male chooses to live his life in secrecy, he 
will never develop as his own individual. Instead, he 
will only perpetuate the view of homosexuality as a 
malady.  
 Furthermore, music is used as a form of coded 
language in Dorian and Alan Campbell’s relationship. 
Campbell “was an excellent musician” and “played 
both the violin and piano better than most amateurs; 
in fact, it was music that had #rst brought him and 
Dorian Gray together—music and that inde#nable 
attraction that Dorian seemed to be able to exercise 
whenever he wished” (Wilde 170). However, while 
music attracted them to each other, it became a 
deterrent to Campbell. !eir intimacy lasted “for 
eighteen months” and both would always be “seen 
together at the Opera, and wherever good music was 
going on” (170). !en Campbell “appeared almost to 
dislike hearing music, and would never himself play, 
giving as his excuse, when he was called upon, that 
he was so absorbed in science that he had no time le$ 
in which to practice” (170). “Music” is a substitute 
word for Campbell’s desires. By rejecting music, he 
ultimately denies his attraction to Dorian. Campbell 
willfully represses and rejects his gay identity, thus 
destroying his “individual personality” as noted by 
Clausson. Campbell proceeded to keep his distance 
from Dorian and, “Whether or not a quarrel had 
taken place between them no one ever knew. But 
suddenly people remarked that they scarcely spoke 
when they met, and that Campbell seemed always to 
go away early from any part at which Dorian Gray 
was present” (Wilde 170). Again, Campbell su"ers 
from what Clausson calls “the evils of repression,” 
thus straining his relationship with Dorian. 
 Lord Henry is o$en described as possessing 
music-like qualities, making him an important 
character for analyzing homoerotic subtext. Such 
is evident when he speaks to Dorian for the #rst 
time. Lord Henry is described with hands of a 
“curious charm” and his voice was “like music, and 
seemed to have a language of their own” (Wilde 23). 
!is “language” Lord Henry speaks of is a coded 
language. Since Lord Henry speaks with “musical 
words said with musical utterance” (61), he compares 



Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  202012

his in%uence over Dorian akin to “playing upon an 
exquisite violin. He [Dorian] answered to every touch 
and thrill of the bow” (39), and in return, Lord Henry 
wanted Dorian “to play to me” on his violin instead 
(43). When Lord Henry theorizes how “pleasure is 
the only thing worth having,” he is described with 
having a “slow, melodious voice” when he speaks 
(82). !e most notable usage of music occurs 
when Lord Henry and Dorian are together, moving 
conveniently to a music room (218), where Dorian 
plays Lord Henry a nocturne (221). As Dorian plays 
the piano, Lord Henry confesses to him: 

You are really wonderful, Dorian. You have never 
looked more charming than you do tonight. 
You remind me of the day I saw you #rst. You 
were rather cheeky, very shy, and absolutely 
extraordinary. You have changed, of course, but 
not in appearance…!ere are moments when 
the odor of lilas blancs passes suddenly across 
me, and I have to live the strangest month of my 
life over again. I wish I could change places with 
you, Dorian…You are the type of what the age is 
searching for, and what it is afraid it has found. 
I am so glad you have never done anything—
never carved a statue, or painted a picture, or 
produced anything outside of yourself! You have 
set yourself to music. Your days are your sonnets. 
(221-223)

With evening as a backdrop, the atmosphere is ripe 
with romantic undertones, especially when Lord 
Henry and Dorian move to the music room a$er 
dinner. A$er noting that “it has been a charming 
evening, and we must end it charmingly,” Lord Henry 
says that he wants to introduce Dorian to someone 
new. Dorian declines, and Lord Henry asks Dorian 
to stay the night since he has never heard Dorian 
play “so well as tonight. !ere was something in your 
touch that was wonderful. It had more expression 
than I had ever heard from it before” (223). !rough 
a queer analysis, Lord Henry’s attraction to Dorian 
is apparent. He wants Dorian to stay the night but 
when Dorian declines, Lord Henry #nds himself, 
like Campbell, con%icted. 
      !roughout the novel, code words are prevalent 
throughout the text, suggesting same-sex attraction 
through confessions, music, and Greek references. In 
addition to code words, homosexual identity can also 
be explored through René Girard’s theory of desire. 

!e next section uses Girard’s theory to analyze how 
characters fall into a pattern of triangular rivalry.

Triangle of Desire in Dorian Gray
 Triangular, or mimetic desire, as René Girard 
proposes, “is not based on the spontaneity of 
the subject’s desire, but rather the desires that 
surround the subject. He argues that humans do 
not themselves know what to desire; as a result, they 
imitate the desires of others” (Palaver 35). Girard’s 
theory suggests that desire is borrowed from another 
individual, spreading from person to person. Since 
envy arises when an individual wants to possess 
what someone else has (such as an object, success, 
wealth, or a relationship), a rivalry may develop, and 
competition will increase subject desirability. Since 
rivalry stems from imitated desires, both contenders 
only want to possess “the desires that surround the 
subject” (Palaver 35). !e desired subject becomes 
an attractive accessory to the individual by asserting 
status, possession, or value. !is mode of thinking 
perpetuates the cycle of desire. 
 When applying Girard’s theory to Basil, Dorian, 
and Lord Henry, there is a strong emphasis on the 
trio’s dynamic in the opening chapters. Basil and 
Lord Henry compete for Dorian’s attention and both 
want to possess his a"ections, creating tension. It is 
only a$er Basil explains how Dorian in%uences his 
art that Lord Henry becomes interested in Dorian. 
If Basil kept his interest hidden, Lord Henry would 
have dismissed Basil’s painting as merely another 
commission. Instead, Basil tells Lord Henry of 
his encounter with Dorian, gaining Lord Henry’s 
attention. Lord Henry later successfully monopolizes 
Dorian’s attention, much to Basil’s chagrin. Both 
men compete for Dorian’s a"ection, forming Girard’s 
triangle. 
 Later in the novel, Basil and Lord Henry want 
Dorian’s portrait, making Dorian feel displaced 
because his identity is embodied within the portrait, 
rather than himself (Bristow 56). Lord Henry jests, “I 
wish you chaps would not squabble over the picture. 
You had much better let me have it, Basil. !is silly 
boy doesn’t really want it, and I really do,” but Dorian 
exclaims, “If you let anyone have it but me, Basil, I 
shall never forgive you!” (Wilde 30). Lord Henry 
wants to possess Dorian’s portrait, but Basil reassures 
Dorian that Dorian himself owns the portrait and 
no one else can have it. Later, Lord Henry suggests 



Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  202013

attending a play together. Basil declines, saying 
he is busy and would prefer to “‘stay with the real 
Dorian’” (31), the one in the portrait. Basil refers to 
the portrait as the “real Dorian” because the artist 
believes the portrait represents Dorian’s innocent 
nature before Lord Henry’s corruption. In the end, 
Dorian symbolically stabs the painting—himself—
and merges back into a single entity. Rather than 
Dorian feeling threatened by his split identity, it 
could be that he wants to be the object of desire. By 
becoming the “status of the object” and “choosing to 
be desired by the other [the gazer], Dorian makes 
his wish to be eternally young and beautiful” (Allen 
119). Dorian wishes to possess the gaze of others and 
visually dominate them. Once he is cognizant of his 
beauty, Dorian trades his soul in exchange for being 
an object of aesthetic appeal to others.  
 It is important here to emphasize how the 
“triangular relationship of Basil, Dorian, and Lord 
Henry makes sense only in homosexual terms” 
(Sedgwick 176). Basil worships Dorian to the 
extent that the idolatry is clearly romantic; Dorian’s 
exceptional beauty and in%uence snare men and 
women alike. Even Lord Henry cannot escape 
his attraction to Dorian. Lord Henry’s “oblique 
confession of seduction” makes Dorian question 
and come to terms with his sexual identity (Ohi 
110). !e trio’s relationship makes the most sense in 
a homosexual context because it would be di&cult 
to provide a heterosexual account as to why Basil 
is #xated on Dorian, or why Lord Henry attributes 
Greek #gures to Dorian, if Greek allusions act 
as code for homosexuality. It seems plausible to 
accept the idea of Basil having feelings for Dorian, 
as Dorian later realized Basil was incredibly fond of 
him, noting “the love that he bore him—for it was 
really love—had nothing in it that was not noble 
and intellectual” (Wilde 122). Dorian acknowledges 
Basil’s feelings, which exist between a spiritual and 
romantic love. 
 Another factor to consider is the trio’s lack 
of female relationships. While Wilde introduces 
heterosexual reinforcements, Dorian’s relationships 
with women seldom %ourish. He desires Sibyl Vane 
only for her acting abilities in bringing Shakespeare’s 
characters to life. From Imogen to Rosalind and 
Cordelia to Juliet, Dorian only adores Sibyl when she 
takes on a role other than herself. When Lord Henry 
asks when she is ever Sibyl Vane, Dorian responds 

with “Never” (Wilde 58), because it is only when she 
acts that she is truly alive to Dorian. Again, Girard’s 
theory is applicable. Dorian only desires her acting, 
not Sibyl herself. Dorian wants to possess her for her 
acting, but #rst he must free her from her contractor 
(Wilde 59). A competition between Dorian and 
the theater contractor arises, since both want to 
own Sibyl because of her talent. Even spectators are 
captivated by her, causing Dorian to realize her value 
and how he can pro#t from it. He plans to obtain 
a West End theater to “bring her out properly,” and 
proclaims that her aptitude for acting “will make the 
world as mad as she made me” (59). But Dorian’s 
love frees her from imitating a passion she does not 
feel, ruining her performance entirely (90). Sibyl 
professes how performing while in love would be a 
“profanation” since: 

the words I had to speak were unreal, were not 
my words, were not what I wanted to say. You 
[Dorian] had brought me something higher, 
something of which all art is but a re%ection. You 
had made me understand what love really is…
You are more to me than all art can ever be. What 
have I to do with the puppets of a play? When I 
came on to-night I could not understand how it 
was that everything had gone from me. I thought 
I was going to be wonderful. I found that I could 
do nothing. Suddenly it dawned on my soul what 
it all meant. (90-91)

Sibyl is aware how her acting is a mimicry of false 
passions. Once she is conscious of the arti#cial 
world she performs in, she can no longer entertain 
because Dorian’s love destroys her. In repulsion, he 
reproaches Sibyl and expresses how she could have 
been “famous, splendid, [and] magni#cent. !e 
world would have worshipped you, and you would 
have borne my name. What are you now? A third-
rate actress with a pretty face” (91). A$er denouncing 
Sibyl, Dorian realizes his love only stems from her 
performances. He views her as an object of desire 
and only wishes to possess the attractive qualities 
that surround her. Once she loses the only quality 
that drew Dorian, her existence becomes futile in his 
world. 
 As for Basil and Lord Henry, Basil seldom 
mentions his female acquaintances, and Lord Henry’s 
wife divorces him near the end of the novel. Since 
the three main characters are unable (or unwilling) 
to maintain heterosexual partners, this suggests the 



Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  202014

trio lacks a need for female counterparts; they have 
come to terms with their gay identity. As Cohen 
notes, Wilde introduces 

the feminine into a world that systematically 
denies it, [and] Dorian’s attraction to the young 
actress Sibyl Vane (a vain portent?) seems to 
violate the male-identi#ed world…Yet, Sibyl’s 
presence can never actually disturb the novel’s 
male logic, for her appearance merely shows how 
much an overtly heterosexual discourse depends 
on male-de#ned representations of female 
experience. For Dorian, Sibyl exists only in the 
drama. (809) 

Women in Dorian Gray are marginalized characters, 
only relevant when involved in idle chatter with the 
male leads. Lord Henry’s wife exempli#es this, as she 
is seen only once in the novel when Dorian has a brief 
conversation with her while waiting for Lord Henry 
to arrive (Wilde 48-50). A$erwards, she is hardly 
mentioned. Another example is when Lord Henry 
speaks to the Duchess of Monmouth. Interestingly 
enough, the Duchess is portrayed as a clever woman 
with wit matching Dorian and Lord Henry, as seen by 
their exchanges (200, 211). A$er the banter ends, the 
Duchess’ presence conveniently fades. Her residence 
is then used for plot purposes, as the setting leads 
to Dorian’s encounter with James Vane. Again, the 
novel is dominated by a male cast, and women in 
Dorian Gray hardly impact male bonding. As for 
Basil, he never mentions his own relationships but 
his #xation on Dorian is apparent. Likewise, Allen 
con#rms how “Wilde does not overtly articulate the 
relations between the novel’s three central males 
as homosexual, yet even to the casual reader the 
a&nities between Dorian, Lord Henry, and Basil 
seem to extend beyond the homosocial ties of male 
bonding” (116). Dorian, Basil, and Lord Henry’s 
relationship transcends friendship and shi$s into 
the sphere of male desire. In Dorian’s world, male 
interactions overshadow all feminine aspects. !e 
camaraderie between the three main characters 
easily overpowers heterosexual reinforcements. 

Fixation on the Proletariat Class
 A$er reexamining the trio’s relationship 
through Girard’s theory of desire, it’s important to 
analyze how Dorian’s social class factors into the 
relationships he pursues. Dorian’s association with 

nameless working-class men are intentionally vague 
and suggestive, and it’s implied he can get away with 
his actions because seldom anyone pays heed to those 
in the lower stratum of society. !is allows Dorian to 
pursue what society deems as perversions because his 
interactions with the lower class will only circulate 
among them. !rough Dorian’s relationships with 
working-class men, Wilde intentionally allows queer 
identity to %ourish through cross-class liaisons. 
 During this era, upper-class men o$en engaged 
in %ings with their lower-class counterparts; sexual 
encounters served as an experiment or transaction 
between social groups (Weeks 118). Despite the 
disparity between upper and lower classes, a “cash 
nexus with all its class resonances pervaded all sorts 
of relationships” (118). In some cases, working-class 
men participated in sexual exchanges for money. 
Weeks further suggests that “there was a much 
more clearly de#ned sense of same-sex self-identity 
among men of the upper and middle classes,” 
allowing these individuals to engage in “frequent 
homosexual encounters” because of their “mobility 
and money” (119). Wilde, himself, was from a 
reputable middle-class family, which enabled him 
to navigate societal lines, seeking any relationship 
he desired. In addition, Richard Ellmann con#rms 
that Wilde pursued relationships with working class 
youths (389), thus drawing parallels between the 
author’s personal preferences and Dorian’s frequent 
excursions to lower class establishments, such as 
rundown theaters or back alley pubs. !ese parallels 
between author and character support the possibility 
that Dorian’s interactions are homosexual in intent.
 Given Dorian’s privileged standing, it would 
be unusual for him to marry someone from a 
lower social class. When Basil learns of Dorian’s 
engagement to Sibyl, he is astonished. He remarks 
to Lord Henry, “But think of Dorian’s birth, and 
position, and wealth. It would be absurd for him to 
marry so much beneath him” (Wilde 77), and Basil 
calls it a “silly infatuation” (78). Lord Henry agrees, 
saying, “As for the marriage, of course that would be 
silly, but there are other and more interesting bonds 
between men and women. I will certainly encourage 
them. !ey have the charm of being fashionable” 
(79). Lord Henry comments how other “bonds” have 
the thrill of novelty, which could include same-sex 
trysts or experimental encounters. Even so, as part of 



Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  2020

the upper class, Dorian’s wealth and position enable 
him to pursue a variety of experiences and cross-
class liaisons with both men and women. 
 Furthermore, Dorian’s relationship with 
proletariat women is noteworthy because “his 
impossible liaisons with the lower-class Sybil and, 
later, the village girl, Hetty Merton…signal Dorian’s 
displacement from conventional heterosexuality” 
(Bristow 61). Even Dorian’s nightly excursions 
to red-light districts are clear indicators of his 
unconventional sexuality. His disguises for these 
outings re%ect secrecy, since he “learns that what 
he takes pleasure in is not permitted in public; his 
delights are consigned to secrecy” (61). His preference 
for the working class is evident, ranging from Sibyl 
Vane to Hetty Merton, to the foreign sailors and 
thieves; furthermore, it’s Dorian’s mobility across 
class lines that enables him to experiment with his 
sexuality. !ough he fraternizes with both men and 
women, his preference is indisputably with working 
class men, as he seemingly #nds novelty in those 
who belong to a di"erent social class.
 As opposed to Dorian’s relationship with 
women, his interactions with male counterparts 
are vaguely written or omitted. Bristow asserts 
that “Wilde is strategically silent about Dorian’s 
barely glimpsed life along the shadowy docks” (60), 
insinuating his “secret relations” with men are sexual 
in nature. Dorian is allegedly “seen brawling with 
foreign sailors in a low den,” and he “consorted with 
thieves and coiners and knew the mysteries of their 
trade” (Wilde 145). “!e mysteries of their trade” is 
possibly a euphemism for the ability to solicit other 
individuals. As Weeks points out, “!e common use 
of the term ‘trade’ for any sort of sexual transaction, 
whether or not money was involved, indicated this 
graphically and it certainly seems to have been used 
in this sense by the mid-nineteenth century, as a vivid 
metaphor for sexual barter” (118). Dorian learns 
how to o"er propositions to other men because his 
wealth allows him to seek sexual grati#cation from 
willing individuals. A$er all, “Beautiful sins, like 
beautiful things, are the privilege of the rich” (Wilde 
83). Although the novel renders Dorian’s reasons 
for going out open ended, his interests are clear. !e 
proletariat class entices Dorian repeatedly to opium 
dens, tawdry theaters, brothels, or establishments 
o"ering cheap thrills with the working class. Weeks 
concludes: 

in writings on male homosexuality of the late 
nineteenth century there was a widespread belief 
that the working class was relatively indi"erent 
to homosexual behavior, partly because they 
were ‘closer to nature’, and the two great swathes 
of male prostitution, with working-class youths 
in their teens, and with Guardsmen…!ese 
classes and gender interactions (working class 
= real men = closeness to nature) were to play 
important roles in the homosexual world. (120)

Virility, ruggedness, and manual labor are 
stereotypically associated with the working-class 
male, suggesting true masculinity is achieved through 
a labored body. Working class males were perceived 
to have a closer resemblance to nature because of 
their physicality. !e “closeness to nature” could also 
reference the Garden of Eden, an unadulterated time 
when man was content and unaware of vices. Dorian’s 
liaisons satisfy his carnality because these men 
accept or are indi"erent to his behavior. His conduct 
displaces him from conventional heterosexuality, 
yet the lower class tolerates him either because they 
are indi"erent or because he has wealth to pursue 
his sexual preferences for men. !e ambiguous 
and absent details surrounding these relationships 
could be a signal for homosexuality shrouded in 
intentional silence. 

Dorian Gray and Queer !eory 
 Wilde’s biography and scholarship on Dorian Gray 
reinforce queer desire between the central characters. 
Dorian’s concealment of his identity re%ected the 
author’s own predicament, as homosexuality was 
considered a perversion and malady during his 
lifetime. Wilde used Lord Henry, Basil, and Dorian 
as an outlet, exploring male relationships and their 
consequences. While most of the male characters 
su"ered tragedies, such as Lord Henry’s divorce, 
those exhibiting an interest in a member of the same 
sex paid the ultimate price: death. Prime examples 
include Basil’s murder, Alan Campbell’s suicide, and 
Dorian’s own fate when he stabbed the portrait. !e 
implication must be that only in death can one be 
accepted, forgiven, or liberated from a homophobic 
society. Even Wilde himself su"ered a similar end. 
He was prosecuted, his novel was used against him in 
his trials, and he was sentenced to years of hard labor 
before dying penniless on his deathbed. Despite the 
tragedy he faced, his novel lives on as a testament 

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Aisthesis      Volume 11,  2020

to those who struggled with their queer identities 
and wished to be accepted by society. !rough his 
characters, Wilde was able to #nd other avenues to 
express himself, and thus, help contribute to queer 
literature.  
 Finally, while the hallmark of Dorian Gray is 
the aging portrait and its Faustian elements, his 
story ultimately depicted a fatal attraction and a life 
condemned to secrecy. It is unfortunate for Wilde, 
and other individuals during his time, to have lived 
their lives in fear because of their sexuality. Wilde’s 
predicament mirrored Dorian’s, as Dorian was 
afraid of being exposed. To reduce the apprehension 
of being outed, Dorian pursued nocturnal 
escapades and a&liated with the lower class in their 
environment. His cross-class liaisons were unusual, 
but it o"ered him the novelty he desired that was 
frowned upon by those of his status. As for the 
relationship of Basil, Dorian, and Lord Henry, their 
dynamic extends beyond the normal ties of male 
bonding, as suggested by their confessions, the use 
of Greek allusions, and coded language. It would be 
unconvincing to acknowledge these indicators as a 
sign of close friendship and nothing else, as moments 
of attraction were acted upon. Despite author and 
character alike su"ering for their sexuality, the only 
liberation each had was in secrecy and death. 
 Even as multiple characters in Dorian Gray 
experienced tragedies, attraction, and revelations, 
Wilde only re%ected his society’s views through 
Dorian’s death. Dorian exuded a fatal attraction 
to everyone he met, corrupting and leading others 
astray, similar to how Wilde’s society viewed 
homosexual individuals. Today, now in a more 
tolerant society, a queer theory approach recovers 
the gay identity hidden away by heterosexual 
reinforcements. While there are other ways to 
interpret the novel, Dorian Gray bene#ts from this 
approach because of its exploration and emphasis 
on male bonds and desire. !roughout his novel, 
Wilde depicted his experiences and indulgences and 
ultimately represented his queer identity through 
Lord Henry, Basil, and Dorian. He was able to use 
these characters as an outlet for his sexuality and thus 
immortalized his testament to male love through 
Dorian Gray. 

Works Cited
Allen, Dennis W. “‘!e Perfect Type of the Perfect 

Pleasure’: Homosexual Desire in !e Picture 
of Dorian Gray.”' Sexuality in Victorian Fiction, 
vol. 15, University of Oklahoma Press, 1993, pp. 
110–136.

Bristow, Joseph. “Wilde, Dorian Gray, and Gross 
Indecency.”'Sexual Sameness: Textual Di"erences 
in Lesbian and Gay Writing, edited by Joseph 
Bristow, Routledge, 1992, pp. 44–63. 

Clausson, Nils. “‘Culture and Corruption’: Paterian 
Self-Development versus Gothic Degeneration 
in Oscar Wilde’s ‘!e Picture of Dorian 
Gray.’”'Papers on Language & Literature, vol. 39, 
no. 4, 2003, pp. 339–364.

Cohen, Ed. “Writing Gone Wilde: Homoerotic 
Desire in the Closet of Representation.”' Pmla, 
vol. 102, no. 5, Oct. 1987, pp. 801–810.

de Lauretis, Teresa. “Habit Changes.”' Figures of 
Resistance: Essays in Feminist !eory, edited by 
Patricia White, University of Illinois Press, 2007, 
pp. 199–216.

Ellmann, Richard.' Oscar Wilde. Knopf, 1988. 

Halperin, David M. “!e Normalization of Queer 
!eory.”' Journal of Homosexuality, vol. 45, no. 
2-4, Feb. 2003, pp. 339–343.

Heacox, !omas L. “‘Idealized !rough Greece’: 
Hellenism and Homoeroticism in Works by 
Wilde, Symonds, Mann, and Forster.”' Sexuality 
and Culture, vol. 8, no. 2, 2004, pp. 52–79.

Ohi, Kevin. “Narcissists Anonymous: Reading and 
Dorian Gray’s New Worlds.”' Innocence and 
Rapture: !e Erotic Child in Pater, Wilde, James, 
and Nabokov, Palgrave Macmillan, 2005, pp. 
61–121.

Palaver, Wolfgang.' René Girard’s Mimetic !eory. 
Translated by Gabriel Borrud, Michigan State 
University Press, 2013.

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Deviating from the Norm: A Queer !eory Analysis of !e Picture of Dorian Gray

Aisthesis      Volume 11,  2020

Sedgwick, Eve Kosofsky.' Between Men: English 
Literature and Male Homosexual Desire. 
Columbia University Press, 1985. 

Summers, Claude J., editor. Gay and Lesbian Literary 
Heritage: A Reader’s Companion to the Writers 
and !eir Works, from Antiquity to the Present, 
2nd ed., Routledge, 2002.

Tyson, Lois. “Lesbian, Gay, and Queer 
Criticism.”'Critical !eory Today: A User-Friendly 
Guide. 2nd ed., Routledge, 2006, pp. 317–355.

Weeks, Je"rey. “!e Construction of 
Homosexuality.”' Sex, Politics and Society: !e 
Regulation of Sexuality since 1800, Routledge, 
2017, pp. 102–134.

Wilde, Oscar.'!e Picture of Dorian Gray. Barnes & 
Noble Classics, 2003. 

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