1. Name one character at the dinner party other than DG + LH Who was Lady Margaret Devereux? What is the name of Lord H’s wife? What name does Sibyl use to refer to DG? What play is DG watching when he first sees Sibyl? What does James say he will do if DG wrongs Sibyl? Where is James going?

2. 1. Mr Erskine, Duchess of Harley, Sir Thomas Burdon, Lady Agatha, Mrs Vandeleur, Lord Faudel 2. DG’s mum 3. Victoria 4. Prince Charming 5. Romeo and Juliet 6. KILL HIM! 7. Australia

3. * Dorian’s mother was beautiful * she ran away with a penniless man * she was so beautiful she could have married anyone * she was a romantic * a little heartless at times * Dorian’s father killed in a duel *his father was set up by his father in law * his mother never forgave her father, Dorian’s father, old Kelso * his mother died within a year of the father dying * mother had money Dorian’s history / parentage

4. ‘“Thanks for giving me the information I wanted. I always like to know everything about my new friends and nothing about my old ones.”’ p.32 “So that was the story of Dorian Gray’s parentage, Crudely as it had been told to him, it had yet stirred him by its suggestion of a strange, almost modern romance….It posed the lad, made him more perfect as it were. Behind every exquisite thing that existed, there was something tragic.” p.33 ‘“He would seek to dominate him- had already, indeed, done so. He would make that wonderful spirit his own. There was something fascinating in this son of Love and Death.”’ p. 34 ‘“Thanks for giving me the information I wanted. I always like to know everything about my new friends and nothing about my old ones.”’ p.32 “So that was the story of Dorian Gray’s parentage, Crudely as it had been told to him, it had yet stirred him by its suggestion of a strange, almost modern romance….It posed the lad, made him more perfect as it were. Behind every exquisite thing that existed, there was something tragic.” p.33 ‘“He would seek to dominate him- had already, indeed, done so. He would make that wonderful spirit his own. There was something fascinating in this son of Love and Death.”’ p. 34 Effect this has on Lord H:

5. This information was added in the second edition after Lippincott’s – why do you think Wilde chose to go into the details of DG’s backstory? It highlights the differences between DG and LH; whilst they share the same social setting, DG has not always been a part of it? It creates sympathy for DG by outlining how unforgiving people can be - the mother married ‘ beneath her’ and as a result was rejected by society We have an effective (exaggerated picture) of the beautiful, romantic orphan whose looks and charms may help him find a happy ending? A sense of foreboding is created as we wonder if Dorian will be driven by the same passionate drive as his father? We wonder if DG will be destined to meet the same tragic fate as his parents? There is a sinister edge given when we hear about his vicious grandfather Kelso and we wonder if such qualities are hereditary? Does this make them more ‘forgiveable’ for a Victorian audience?

6. What kind of atmosphere is created at the luncheon party? Stasis of the gentry Dull Interested in maintaining the status quo, “I don’t desire to change anything in England except the weather.” p.37 “ I can sympathise with everything, except suffering”p.37 Lazy, “ must we really see Chicago in order to be educated?....I don’t feel up to the journey.” p.36 Indulgent

7. Coy / Excited? “Dorian bowed to him shyly from the end of the table, a flush of pleasure stealing into his cheek” p.34 Mesmerised/ hypnotized? “He (Lord Henry) felt that the eyes of Dorian were fixed on him…..Dorian Gray never took his gaze off him, but sat like one under a spell….” p.38 Daring “As he was passing out of the door Dorian Gray touched him (Lord Henry) on the arm. ‘Let me come with you…” p.40 Smitten “No one talks so wonderfully as you.” p.40 How does Dorian react to Lord Henry? What effect does his reaction have on Lord H?

8. What was the ‘ideal’ role of Victorian women?

9. Man must be pleased; but him to please Is woman's pleasure; down the gulf Of his condoled necessities She casts her best, she flings herself. How often flings for nought! and yokes Her heart to an icicle or whim, Whose each impatient word provokes Another, not from her, but him; While she, too gentle even to force His penitence by kind replies, Waits by, expecting his remorse, With pardon in her pitying eyes Man must be pleased; but him to please Is woman's pleasure; down the gulf Of his condoled necessities She casts her best, she flings herself. How often flings for nought! and yokes Her heart to an icicle or whim, Whose each impatient word provokes Another, not from her, but him; While she, too gentle even to force His penitence by kind replies, Waits by, expecting his remorse, With pardon in her pitying eyes Following the publication of Patmore's poem, the term ‘angel in the house’ came to be used in reference to women who embodied the Victorian feminine ideal: a wife and mother who was selflessly devoted to her children and submissive to her husband. The Angel was passive and powerless, meek, charming, graceful, sympathetic, self- sacrificing, pious, and above all-- pure. In his narrative poem, Patmore holds his ‘angel-wife’ Emily up as a model for all women. Following the publication of Patmore's poem, the term ‘angel in the house’ came to be used in reference to women who embodied the Victorian feminine ideal: a wife and mother who was selflessly devoted to her children and submissive to her husband. The Angel was passive and powerless, meek, charming, graceful, sympathetic, self- sacrificing, pious, and above all-- pure. In his narrative poem, Patmore holds his ‘angel-wife’ Emily up as a model for all women.

10. In contrast to the ‘angel of the house’ some Victorian women chose the loose life of an actress…

11. The quotations you have been given are all taken from reviews or accounts given by Victorian men commenting on the effect or performances of real and acclaimed actresses in the late 1800s. Read through each quotation and try and group them into positive and negative representation of women on stage. What kind of imagery is used to describe these women and what are the connotations? How do these descriptions fit with the role of the ‘ideal’ Victorian woman? Do these descriptions have any resonance within the The Picture of Dorian Gray so far?

12. ‘A verdict of death: Oscar Wilde, actresses and Victorian women’ What is the essay arguing about the representation of women in Victorian literature? Can you connect these ideas to the character of Sybil Vane in TPoDG?

13. Find your quotation in your copy of TPoDG. Highlight key words/phrases and annotate your ideas surrounding the representation of women/Sybil Vane with reference to the criticism you have studied. Comment on how far your quotation complies with or contradicts the critical ideas you have read today.

14. “And her voice! I never heard such a voice. It was very low at first, with deep mellow notes, that seemed to fall singingly on one’s ear. Then it became a little louder, and sounded like a flute…In the garden-scene it had all the tremulous ecstasy that one hears just before dawn when nightingales are singing. There were moments, later on, when it had the wild passions of violins. You know how a voice can stir one.” (DG p.45) “Ordinary women never appeal to one’s imagination. 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 any of them…They are quite obvious. But an actress! How different an actress is! Harry! why didn’t you tell me that the only thing worth loving is an actress?” (DG p.46)

15. “‘From her little head to her little feet, she is absolutely and entirely divine…I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe.’ ‘You can dine with me to-night, Dorian, can’t you? He shook his head. ‘To-night she is Imogen,’ he answered, ‘and to-morrow night she will be Juliet.’ ‘When is she Sybil Vane?’ ‘Never.’ ‘I congratulate you.’ ‘How horrid you are! She is all the great heroines of the world in one. She is more than an individual. You laugh but I tell you she is a genius.’” (LH & DG p.48)

16. “‘My dear Dorian, I should think Miss Vane was ill,’ interrupted Hallward. ‘We will come some other night.’ ‘I wish she were ill,’ he rejoined. ‘But she seems to me to be simply callous and cold. She entirely altered. Last night she was a great artist. This evening she is merely a common-place, mediocre actress.’” (DG & BH p.73) “‘Besides, I don’t suppose you will want your wife to act. So what does it matter if she plays Juliet like a wooden doll? She is very lovely, and if she knows as little about life as she does about acting, she will be a delightful experience.’” (LH p.73)

17. “…you freed my soul from prison.” (SV p.74) “I have grown sick of shadows…Take me away, Dorian – take me away with you, where we can be quite alone…” (SV p.75) “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 marvellous, because you had genius and intellect…Without your art you are nothing.” (DG p.75)

18. “electrical shock” “tears the words with her teeth, and spits them out of her mouth, like a wild beast ravening its prey” “entirely inhuman” “horribly fascinating” “inhuman, incredible” “the panther of the stage” “something not human about her” “irresistible power”

19. “a voice that melted your bosom” “ideal, mystical” “bewitched and hardly able to breathe” “spiritual essence” “spellbound, white and wordless” “a voice so exquisitely toned and modulated that it realised the fable of the Sirens. It acted on the hearer like some soothing, intoxicating, Indian drug.” “marred by the mists of pain,/ Like some wan lily overdrenched with rain”

20. Meet the Vane Family! Mrs VaneSibyl VaneJames Vane Character description Referred to by others Referred to by themselves