The Picture of Dorian Gray

Oscar Wilde's artistic manifesto establishes the philosophical foundation for the novel through a series of aphoristic statements that articulate his beliefs about art, beauty, and criticism. He firmly declares that art exists solely for beauty's sake and that there is no such thing as moral or immoral art - only well-written or badly-written works.

Wilde challenges conventional Victorian attitudes toward art and morality by asserting that artists should not be concerned with ethical considerations or proving truths. He emphasizes that art is simultaneously surface and symbol, warning that those who attempt to delve beneath either do so at their own risk. The preface also addresses the relationship between artist and critic, suggesting that criticism itself is a form of autobiography, whether high or low.

In what becomes a defining statement of the Aesthetic movement, Wilde concludes that all art is ultimately useless, meaning it serves no practical purpose beyond its own beauty. He draws parallels between different art forms, comparing them to music in form and acting in feeling, while asserting that art mirrors the spectator rather than life itself. These principles set up the thematic framework for the novel's exploration of beauty, morality, and influence.

In artist Basil Hallward's luxuriously appointed studio, Lord Henry Wotton lounges amid the scents of summer flowers and observes a stunning full-length portrait of a beautiful young man. The painting, which Basil considers his masterpiece, becomes the center of an intense discussion between the two men, with Lord Henry insisting it should be exhibited while Basil adamantly refuses, claiming he has put too much of himself into the work.

Through their conversation, we learn that the subject of the portrait is Dorian Gray, a remarkably handsome young man who has become Basil's muse and artistic obsession. Basil reveals how he met Dorian at Lady Brandon's party two months prior, describing an instant and profound connection that has transformed his art. He explains to Lord Henry how Dorian's mere presence has inspired him to see beauty in new ways and has led him to create his best work yet.

The chapter culminates with Lord Henry's growing fascination with Dorian Gray, despite Basil's reluctance to have them meet. Basil fears Lord Henry's notorious influence might corrupt Dorian's 'simple and beautiful nature.' However, fate intervenes when Dorian himself arrives at the studio, setting up an inevitable meeting despite Basil's protests. Throughout their dialogue, the chapter establishes the complex dynamic between Basil and Dorian, while foreshadowing Lord Henry's potential impact on their relationship.

Dorian Gray sits at the piano in Basil's studio when Lord Henry arrives for their first meeting. Despite Basil's previous concerns about Lord Henry's influence, Dorian is immediately drawn to his charming personality and wit. The three men engage in spirited conversation, with Lord Henry's magnetic personality quickly captivating Dorian's attention, much to Basil's unease as he attempts to complete the portrait.

As the sitting progresses, Lord Henry delivers an impassioned monologue about youth and beauty, telling Dorian that these are life's most precious gifts and warning him about their fleeting nature. His words have a profound effect on Dorian, who becomes increasingly aware of his own beauty and mortality. The speech marks a pivotal moment in Dorian's psychological development, as Lord Henry's hedonistic philosophy begins to take root in the young man's mind.

When the portrait is finally completed, Dorian sees himself truly for the first time and is overcome by the reality of Lord Henry's words about aging. In a moment of passionate distress, he declares that he would give his soul if the picture could age instead of him. This declaration leads to tension between the three men, with Basil nearly destroying the painting in frustration. The chapter concludes with Dorian choosing to attend the theater with Lord Henry instead of dining with Basil, symbolizing his first step away from Basil's protective influence and toward Lord Henry's hedonistic worldview.

Lord Henry visits his uncle Lord Fermor to inquire about Dorian Gray's background, revealing the tragic story of Dorian's parentage. His mother, the beautiful Lady Margaret Devereux, had scandalously eloped with a penniless soldier who was later killed in a suspicious duel, possibly orchestrated by Dorian's grandfather, Lord Kelso. Margaret died within a year, leaving young Dorian to inherit the Selby estate and grow up under his grandfather's cold guardianship.

The scene shifts to lunch at Lady Agatha's, where the conversation revolves around American women, marriage, and social reform. Lord Henry dominates the discussion with his characteristic wit and paradoxical statements, particularly regarding his views on suffering and philanthropy. The lunch party includes several notable society figures, and throughout the gathering, Lord Henry continues to exercise his growing influence over Dorian, who watches him with rapt attention.

As the gathering concludes, Lord Henry's magnetic personality has thoroughly enchanted the assembly, particularly Dorian. When the party breaks up, Dorian chooses to accompany Lord Henry to the park instead of keeping his promise to visit Basil Hallward, further cementing the shift in Dorian's allegiances and demonstrating Lord Henry's increasing influence over the young man. The chapter ends with Dorian explicitly seeking out Lord Henry's company and conversation, drawn to his philosophical perspectives on life and pleasure.

One month after their initial meetings, Dorian Gray visits Lord Henry's house and encounters Lady Henry, whose scattered and nervous personality provides a stark contrast to her husband's calculated demeanor. Their awkward interaction, filled with her rambling commentary about music and parties, ends with Lord Henry's arrival and her hasty departure, after which Lord Henry cynically advises Dorian never to marry a woman with straw-colored hair - or better yet, never to marry at all.

Dorian then reveals he has fallen in love with an actress named Sibyl Vane, whom he discovered in a shabby theater in London's East End. He describes how, inspired by Lord Henry's philosophies about seeking new experiences, he ventured into this unfamiliar part of the city and found himself captivated by Sibyl's performances in various Shakespearean roles. The stark contrast between the theater's tawdry conditions, poor supporting cast, and Sibyl's transcendent talent creates a romantic fantasy that has completely enchanted Dorian, who has been returning night after night to watch her perform.

The chapter delves deeper into Dorian's growing obsession with Sibyl, as he explains to Lord Henry how he managed to meet her backstage through the persistent efforts of the theater's Jewish manager. Dorian speaks of Sibyl's innocence and artistic genius with the fervor of first love, while Lord Henry maintains his characteristic cynicism about romance and women in general. The chapter concludes with Lord Henry's private reflections on how successfully his influence has shaped Dorian's development, followed by his receipt of a late-night telegram announcing Dorian's impulsive engagement to Sibyl Vane.

Sibyl Vane's family life reveals a stark contrast between her romantic idealism and harsh reality. In their dingy sitting room, Sibyl expresses her joy about 'Prince Charming' (Dorian) to her mother, Mrs. Vane, a faded actress who is more concerned with practical matters and the fifty pounds advanced to them by Mr. Isaacs, the theater manager. Mrs. Vane's mercenary attitude toward Sibyl's romance becomes clear as she focuses primarily on whether the unknown gentleman caller is wealthy.

The dynamic shifts with the arrival of James Vane, Sibyl's protective brother who is about to leave for Australia. James harbors deep suspicions about Sibyl's mysterious admirer and shows intense concern for his sister's welfare. During a private conversation with his mother, James discovers the painful truth about his parents' relationship - his father was not married to his mother, a revelation that intensifies his protective instincts toward Sibyl.

The chapter culminates in a walk through London where Sibyl and James's contrasting perspectives on life become evident. While Sibyl romantically daydreams about her brother's future adventures in Australia, James remains preoccupied with his sister's safety. The tension peaks when Sibyl spots Dorian Gray driving past in a carriage, leading to James's vehement promise to kill him if he ever wrongs his sister. The chapter ends with James's departure, leaving both his mother and sister behind, but not before extracting a solemn oath to protect Sibyl from any potential harm.

Lord Henry informs Basil Hallward of Dorian Gray's sudden engagement to Sibyl Vane, finally revealing the identity of the mysterious 'Prince Charming' who has captivated the young actress. This news leads to a heated discussion about the appropriateness of such a match, with Basil expressing concern about Dorian marrying beneath his social station and potentially ruining his life, while Lord Henry maintains his characteristic cynical attitude toward marriage while simultaneously encouraging the match as an interesting experience. Their conversation reveals the stark differences in how each man views Dorian's future and happiness.

Dorian arrives at dinner in a state of euphoric joy, describing his previous evening at the theater where he watched Sibyl perform as Rosalind in Shakespeare's As You Like It. He rapturously details her performance, her costume, and their romantic encounter afterward, during which they kissed and became secretly engaged. His passionate declaration that he has 'found his wife in Shakespeare's plays' demonstrates his complete immersion in romantic idealism, though Lord Henry subtly questions whether marriage was explicitly discussed.

The dinner conversation evolves into a philosophical debate about pleasure, goodness, and morality. Dorian claims that Sibyl's influence makes him want to reject Lord Henry's hedonistic teachings, while Lord Henry continues to espouse his theories about individualism and pleasure being nature's sign of approval. The chapter concludes with the three men departing for the theater to watch Sibyl perform, with Basil traveling separately and experiencing a profound sense of loss, feeling that Dorian will never again be to him what he once was.

Dorian, Lord Henry, and Basil arrive at the crowded theater despite its shabby conditions. The atmosphere is stifling, with poorly dressed patrons and an oppressive heat, though Dorian remains convinced that Sibyl's genius will transcend the surroundings. However, when Sibyl takes the stage as Juliet, her performance is shockingly poor. Her delivery is artificial, her gestures mechanical, and she fails to bring any life to Shakespeare's words. The audience grows restless and begins to hiss, while Dorian watches in horror as his 'divine' actress performs like a wooden puppet.

After the disastrous performance, Dorian rushes backstage to confront Sibyl, only to find her in a state of ecstatic joy. She explains that her poor performance stems from her realization that, having experienced real love with Dorian, she can no longer pretend on stage. What was once her entire reality now seems hollow and false to her. This revelation, rather than moving Dorian, infuriates him. He cruelly rejects her, declaring that without her art she is nothing to him, and that she has killed his love by destroying the very thing that made her special.

Following his harsh dismissal of Sibyl, Dorian wanders through London's streets until dawn, eventually finding himself at Covent Garden among the flower markets. Upon returning home, he notices something disturbing about Basil's portrait of him - the expression seems to have changed, showing a touch of cruelty around the mouth. This observation leads him to recall his wish that the portrait would age while he remained young, and he realizes with horror that the painting has begun to record his sins. Struck by guilt over his treatment of Sibyl, he resolves to make amends, marry her, and resist Lord Henry's influence, though this decision comes only after seeing the physical manifestation of his cruelty in the portrait.

Dorian wakes late the day after Sibyl's disastrous performance and leisurely attends to his correspondence, including an unopened letter from Lord Henry. After examining his reflection in the portrait, he confirms with horror that it has indeed changed, showing the cruelty around the mouth that he had first noticed the previous night. Struck by this supernatural transformation, Dorian resolves to make amends with Sibyl, convinced that the portrait will serve as his moral conscience throughout life.

Lord Henry arrives with devastating news: Sibyl Vane has committed suicide by poison in her dressing room. Dorian's initial reaction is one of shocked horror, but under Lord Henry's influence, his response quickly transforms into a detached aesthetic appreciation of the tragedy. Lord Henry helps him reframe the event as an artistic drama rather than a real tragedy, suggesting that Sibyl was never real but merely a collection of theatrical roles, and that her death possesses 'all the terrible beauty of a Greek tragedy.'

Left alone, Dorian examines the portrait again and makes a fateful choice. Rather than resist the portrait's power or pray for it to stop changing, he embraces its role as the bearer of his sins while he maintains his youth and beauty. He decides to treat life as an experiment in hedonism, accepting that the portrait will record the corruption of his soul while he remains forever young. The chapter ends with Dorian attending the opera with Lord Henry, having chosen to pursue pleasure rather than mourn Sibyl's death, marking his first decisive step toward embracing Lord Henry's philosophy of unrestrained hedonism.

Still reeling from the news of Sibyl's death, Dorian receives an unexpected visit from Basil, who comes to offer comfort but expresses shock at learning Dorian had attended the opera instead of dealing with the tragedy. Their conversation reveals the stark transformation in Dorian's character, as he dismissively speaks of Sibyl's death and claims that not speaking about something makes it as if it never happened. When Basil expresses horror at this callousness, Dorian defends himself by embracing Lord Henry's philosophies about emotions and pleasure, openly acknowledging Henry's influence on his newfound worldview.

The interaction takes a dramatic turn when Basil requests to see his portrait of Dorian, which has been hidden behind a screen. Dorian reacts with unexpected terror and adamantly refuses to let Basil view the painting, even threatening to end their friendship if he attempts to look at it. The situation becomes more complicated when Basil reveals his plans to exhibit the portrait in Paris, leading to an intense confrontation where Dorian desperately tries to prevent this from happening.

The chapter reaches its emotional climax when Basil makes a profound confession about his feelings toward Dorian, revealing that his obsession with painting Dorian stemmed from an intense personal worship and artistic inspiration. He explains how Dorian's influence dominated his art and life, and how the portrait captured this deep connection. Dorian, meanwhile, feels relief that Basil's confession has diverted attention from the portrait's true secret, though he expresses pity for his friend's romantic devotion. The chapter ends with Dorian resolving to hide the portrait more securely, recognizing the risk of its discovery as too great to bear.

Following his decision to hide the portrait, Dorian meticulously arranges for its relocation to his old schoolroom at the top of the house. After carefully managing his servants Victor and Mrs. Leaf, he selects a luxurious purple-and-gold Venetian coverlet to wrap the painting, grimly noting its past use as a funeral pall. Before hiding it away, he examines the portrait one final time, finding its corruption more intensified than ever, with the face showing a horrible cruelty that far exceeds Basil's earlier reproaches about Sibyl Vane.

Dorian orchestrates the portrait's move with the help of Mr. Hubbard, a frame-maker from South Audley Street, and his assistant. The painting is transported to the long-abandoned schoolroom, a space that holds bitter memories of Dorian's childhood and his grandfather's cruelty. Once the portrait is safely hidden away, Dorian reflects on the possibility that his nature might still improve, though he acknowledges the inevitable aging and corruption that awaits the painted image, recalling with disgust the aged appearance of his grandfather.

Later that afternoon, Dorian discovers a newspaper article about Sibyl Vane's inquest, which concludes with a verdict of death by misadventure. His irritation at Lord Henry for sending him this marked article quickly gives way to fascination with a mysterious yellow book that arrives simultaneously. This French novel, focusing on a young Parisian's psychological experiences, captivates Dorian with its decadent style and exploration of sensual experience. The chapter concludes with Dorian arriving late to dinner with Lord Henry, having been completely absorbed by the poisonous influence of this new book.

Dorian's growing obsession with the mysterious yellow book Lord Henry gave him becomes a source of profound influence over his life. He orders nine copies bound in different colors to match his moods, seeing in its hero a prefiguring of himself. Unlike the book's protagonist, however, Dorian never develops a fear of mirrors, instead taking pleasure in comparing his eternally youthful reflection to his increasingly corrupted portrait.

As the years pass, Dorian pursues an extraordinary range of passions and collections, each serving as a means of temporary escape from his mounting guilt and fear. He becomes fascinated with music, gathering exotic instruments from around the world; he studies perfumes and their psychological effects; and he develops an extensive collection of jewels and precious stones, learning their mythical properties and historical significance. His most notable passion becomes ecclesiastical vestments and textiles, amassing an impressive collection of religious garments that seems to reflect his conflicted relationship with spirituality and sin.

Despite his carefully cultivated public persona and continued beauty, rumors about Dorian's secret life begin to circulate through London society. He is seen in dangerous parts of the city, consorting with criminals, and his periodic disappearances become notorious. While his wealth and charm protect him from outright ostracism, former friends begin to avoid him, and women who once adored him now pale at his presence. His paranoia about the portrait intensifies, causing him to make sudden trips from his country estate to London just to ensure its safety. In his private moments, Dorian begins to identify with historical figures known for their depravity, seeing in them reflections of his own corrupt nature, while the yellow book serves as both his guide and his poison.

On the eve of his thirty-eighth birthday, Dorian Gray encounters Basil Hallward on his way home from dining with Lord Henry. Despite Dorian's attempt to avoid recognition, Basil catches up with him and insists on speaking with him before departing for Paris. Though Dorian attempts to deflect the conversation with casual pleasantries, Basil's urgency suggests a more serious matter, and they proceed to Dorian's home.

Inside the library, Basil confronts Dorian about the terrible rumors circulating through London society. He details how numerous gentlemen, including the Duke of Berwick and Lord Staveley, now shun Dorian's company, and recounts a series of tragic events involving young men in Dorian's orbit - including suicides, ruined reputations, and scandals. Basil also mentions Lady Gwendolen's ruined reputation and disturbing reports of Dorian being seen leaving questionable establishments at dawn. Throughout this litany of accusations, Basil maintains his belief in Dorian's inherent goodness, citing his unchanged, youthful appearance as evidence against the possibility of such corruption.

The confrontation reaches its climax when Basil declares he must see Dorian's soul to truly know him. This statement triggers an almost manic response in Dorian, who decides to show Basil the truth. With a mixture of pride, contempt, and terrible joy, Dorian insists on leading Basil upstairs to see something that will answer all his questions. Despite Basil's growing unease and final plea for Dorian to simply deny the accusations, Dorian remains resolute in his decision to reveal his secret, suggesting they examine his 'diary' upstairs.

Following their confrontation in the library, Dorian leads Basil upstairs to the old schoolroom where the portrait is hidden. Despite Basil's growing unease, Dorian insists on revealing what he calls his 'soul,' tearing away the curtain to expose the horrifically transformed painting. Basil reacts with shock and disgust upon seeing the corrupted image, which still bears traces of his brushwork and signature. The portrait has become a hideous reflection of Dorian's sins, while Dorian himself remains youthful and beautiful.

As Basil struggles to comprehend the supernatural transformation of his masterpiece, Dorian explains the fateful wish he made years ago. The conversation grows increasingly tense as Basil, horrified by the evidence of Dorian's evil nature, urges him to pray for forgiveness. However, Dorian's initial vulnerability gives way to an overwhelming hatred for Basil, triggered by the portrait's sinister influence. In a sudden burst of violence, Dorian seizes a knife and brutally murders Basil, stabbing him repeatedly until the painter lies dead.

After the murder, Dorian displays a chilling composure as he methodically begins covering his tracks. He steps out onto the balcony to observe the quiet London night, then carefully gathers evidence, including the lamp and Basil's belongings, hiding them in a secret compartment. In a calculated move to establish an alibi, Dorian leaves the house and rings his own doorbell, pretending to have forgotten his key. He questions Victor about Basil's visit, craftily establishing that Basil had supposedly left to catch a train to Paris. The chapter concludes with Dorian searching for the name of Alan Campbell in a directory, suggesting further machinations to come.

The morning after Basil's murder, Dorian wakes peacefully, appearing like an innocent youth despite his heinous actions. As the events of the previous night flood back into his consciousness, he methodically begins his day with careful attention to his appearance and routine, determined to maintain his composure. His calculated normalcy is interrupted only by his urgent need to contact Alan Campbell, to whom he sends an urgent message.

When Alan arrives, he initially refuses any association with Dorian, revealing a bitter end to their once-intimate friendship. Dorian desperately explains that Basil's corpse sits in a locked room upstairs and begs Alan to use his scientific expertise to destroy all evidence of the body. When Alan repeatedly refuses, Dorian resorts to blackmail, presenting him with a letter containing information so damaging that it forces Alan's compliance, though the specific details remain unknown to the reader.

The destruction of Basil's body is arranged with clinical precision, with Alan requesting specific chemical equipment and materials. Dorian carefully manages the household staff, sending his servant Francis to Richmond on an errand about orchids to ensure privacy. When they finally enter the room containing Basil's body, Dorian cannot bring himself to look at the corpse but notices with horror that his portrait appears to have blood dripping from its painted hand. After Campbell completes his grim task, he leaves with a cold farewell, making it clear their paths should never cross again. The chapter ends with Dorian returning to find the room empty, with only the lingering smell of nitric acid as evidence of what transpired.

Hours after disposing of Basil's body, Dorian attends a dinner party at Lady Narborough's house, maintaining an outwardly composed demeanor despite his inner turmoil. His ability to play this social role while harboring his dark secret gives him a perverse thrill, though he finds himself unable to eat and drinks champagne excessively throughout the evening. The party itself is deliberately small and rather dull, filled with tedious guests, though enlivened somewhat by Lord Henry's wit.

Throughout the evening, various conversations unfold about marriage, romance, and society, with Lord Henry delivering his usual cynical observations. Lady Narborough attempts to play matchmaker for Dorian, while discussion turns to various society figures including Madame de Ferrol and her multiple marriages. Despite participating in the witty banter, Dorian remains noticeably distracted, leading to concerned inquiries from both Lord Henry and Lady Narborough about his strange mood.

After dinner, when questioned by Lord Henry about his early departure the previous night, Dorian becomes defensive and evasive, struggling to maintain his composure. He leaves the party early, claiming he must go home, and upon returning to his house, is overcome with paranoia about the evidence of his crime. He burns Basil's coat and bag in the library fireplace, taking forty-five minutes to destroy all traces. The chapter concludes with Dorian retrieving a green paste from an ornate Chinese box and departing his house at midnight in disguise, hiring a hansom cab to take him to an undisclosed location, suggesting a descent into even darker activities.

Departing from Lady Narborough's dinner party with the mysterious green paste, Dorian travels by hansom cab through London's seedy districts, seeking an opium den to forget his murder of Basil Hallward. Throughout the journey, he obsessively repeats Lord Henry's words about curing the soul through the senses, attempting to justify his actions while wrestling with his guilt. The rain-soaked journey through increasingly dangerous neighborhoods reflects his descent into the depths of depravity as he seeks chemical oblivion.

In the opium den, Dorian encounters Adrian Singleton, now abandoned by his family and former friends, finding solace only in opium. Their brief and uncomfortable exchange demonstrates Dorian's restless pursuit of forgetfulness and his callous disregard for the wreckage he leaves in his wake as he moves on to another den.

The chapter reaches its climax when James Vane ambushes Dorian in a dark archway. The confrontation nearly ends in Dorian's death, but he cleverly exploits his supernatural youth by proving he couldn't possibly be the man who drove Sibyl to suicide eighteen years ago. After James releases him, a prostitute who recognizes Dorian reveals the truth to James - that Dorian is indeed the same man who ruined her life eighteen years earlier, but his appearance hasn't changed. By the time James realizes his mistake, Dorian has vanished into the night, narrowly escaping justice once again.

A week after his harrowing encounter with James Vane in the opium den, Dorian attempts to escape his torment by hosting an elegant house party at Selby Royal. During afternoon tea in the conservatory, he engages in flirtatious conversation with the Duchess of Monmouth while other guests, including Lord Henry and Lady Narborough, socialize around them. The refined, civilized atmosphere creates a stark contrast to his recent violent experiences, representing his desperate attempt to lose himself in society's distractions.

The conversation flows with the sharp wit and cynical observations that define this social circle, touching on themes of beauty, romance, and social conventions. Lord Henry delivers his usual paradoxical remarks, while the Duchess matches his verbal sparring with equal sophistication. Their discussion reveals the superficial nature of their world, with references to Dorian's old nickname 'Prince Charming' causing him visible discomfort and suggesting his ongoing struggle with his past.

The chapter reaches a dramatic climax when Dorian, who has gone to fetch orchids for the Duchess, suddenly collapses with a stifled groan. After being revived in the blue drawing-room, he appears terrified and initially refuses to be left alone. The cause of his collapse is revealed to be the sight of James Vane's face pressed against the conservatory window, indicating that his past has literally come back to haunt him. Despite his terror, Dorian insists on joining the dinner party, displaying a wild gaiety that masks his fear of being alone with his thoughts and the very real threat that James Vane represents.

Terror consumes Dorian for three days after spotting James Vane through the conservatory window, confining him to his room as his imagination conjures vivid horrors. Wrestling with both guilt over Basil's murder and fear of Vane's vengeance, he finally ventures out to join a shooting party at Selby Royal, attempting to lose himself in the pleasures of country life and flirtation with the Duchess of Monmouth.

During the hunt, a tragic incident occurs when Sir Geoffrey Clouston accidentally shoots a beater who steps into the line of fire. The event deeply disturbs Dorian, who had just moments before tried to prevent Sir Geoffrey from shooting a hare, seeing it as an ill omen. The death of the beater triggers Dorian's paranoia, leading him to see omens and threats everywhere, much to Lord Henry's cynical amusement. Their subsequent conversation reveals Dorian's deteriorating mental state as he confesses his terror of death and his desire to escape on his yacht.

The chapter reaches its climax when the head-keeper arrives with news about the dead beater's identity. Upon learning that the victim appears to be an unknown sailor with tattoos, Dorian rushes to the Home Farm to view the body. In a moment of dark triumph, he discovers that the dead man is indeed James Vane, whose accidental death has freed him from the threat of revenge. The chapter ends with Dorian riding home in tears of relief, knowing that his last major threat has been eliminated through chance rather than his own actions.

Dorian attempts to reform his life after James Vane's death, telling Lord Henry about his first good deed - sparing a country girl named Hetty from corruption by abandoning their planned elopement. Lord Henry mockingly dismisses this act of mercy as a missed opportunity for pleasure, suggesting darkly that Hetty might have drowned herself like Ophelia. Their conversation reveals the continuing tension between Dorian's desire for redemption and Lord Henry's persistent influence toward hedonism.

The discussion turns to Basil Hallward's disappearance, which has been the talk of London society for six weeks. The police remain baffled, with Scotland Yard believing Basil left for Paris while French authorities claim he never arrived. In a moment of dangerous candor, Dorian asks Lord Henry if he believes Basil was murdered, even hinting at his own guilt. Lord Henry dismissively rejects the possibility, declaring Basil too dull to have enemies, and reminiscing about the portrait that was supposedly lost or stolen.

The chapter concludes with an extended meditation on youth and age, as Lord Henry envies Dorian's perpetual beauty while remaining ignorant of its supernatural cause. When Lord Henry quotes the biblical passage about gaining the world but losing one's soul, Dorian reacts with alarm, insisting that the soul is a terrible reality that can be poisoned or perfected. Despite Dorian's attempts to confess or seek redemption, Lord Henry continues to praise his unchanged beauty and perfect life, unwittingly tormenting him with reminders of his corrupt bargain. The evening ends with Dorian refusing to play more music or visit the club, claiming he has changed, while Lord Henry insists their friendship will remain unaltered.

Dorian walks home through the streets of London, reflecting on his recent attempts at goodness, particularly regarding Hetty. His weariness with his own notoriety becomes apparent as he overhears people whispering his name, making him long for the anonymity he found in the village where he met her. His thoughts turn to his deception of the girl, having pretended to be poor, and the innocent joy she represented - everything he had lost.

Once home, Dorian contemplates Lord Henry's question about whether one can truly change. He examines his past sins, particularly his corruption of others and his fateful wish regarding the portrait. In a moment of self-loathing, he destroys the mirror Lord Henry had given him years ago, seeing his beauty as a curse that has ruined his life. The destruction of his reflection becomes symbolic of his desperate desire to escape his own image and the vanity that has defined him.

He attempts to rationalize his various crimes - James Vane's death, Alan Campbell's suicide, and Basil's murder - but finds himself most troubled by the living death of his own soul. Convinced that his recent act of sparing Hetty might have improved the portrait, Dorian ventures to the locked room to examine it. To his horror, he discovers the painting looks even worse, with enhanced signs of cunning and hypocrisy in the face, and more prominent bloodstains on the hands. This revelation forces him to confront the true motives behind his 'good deed' - whether it was vanity, curiosity, or hypocrisy.

In a final act of desperation, Dorian takes the knife that killed Basil and stabs the portrait, attempting to destroy the evidence of his corrupted soul. The action results in his own death, as servants and passersby discover his body - aged, withered, and unrecognizable except for his rings - while the portrait returns to its original beautiful state, preserving the image of his youth and innocence forever.