OSCAR WILDE’S GOTHIC: THE PRESENCE OF EDGAR ALLAN POE IN THE PICTURE OF DORIAN GRAY A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts with a Major in English in the College of Graduate Studies University of Idaho by Peter Stegner August 2007 Major Professor: Gary Williams, Ph.D. ii AUTHORIZATION TO SUBMIT THESIS This thesis of Peter Stegner, submitted for the degree of Master of Arts with a major in English and titled “Oscar Wilde’s Gothic: The Presence of Edgar Allan Poe in The Picture of Dorian Gray,” has been reviewed in final form. Permission, as indicated by the signatures and dates given below, is now granted to submit final copies to the College of Graduate Studies for approval. Major Professor _____________________________________Date______________ Gary Williams Committee Members _____________________________________Date______________ Walter Hesford _____________________________________Date_______________ Alexander Hammond Department Administrator ____________________________________Date______________ Kurt Olsson Discipline's College Dean _____________________________________Date_______________ Katherine Aiken Final Approval and Acceptance by the College of Graduate Studies _____________________________________Date_______________ Margrit von Braun iii Abstract This thesis examines the influence of Edgar Allan Poe on Oscar Wilde and argues that Wilde used several Gothic motifs and themes in the fashion of Poe in his production of The Picture of Dorian Gray. While many scholars note the significance of Poe in Wilde’s works, there is currently no substantial assessment of Wilde using Poe in his own writings. This study aims to alleviate this gap in scholarship by closely examining the Poe stories that are reflected in The Picture of Dorian Gray, including Poe’s “Metzengerstein,” “The Assignation,” “The Oval Portrait,” “The Imp of the Perverse,” “The Black Cat,” and “William Wilson.” This study offers an extensive review of the relevant literature and locates Poe’s influence on Wilde in the enthusiasm of Charles Baudelaire, who provided a robust following for Poe in Paris. Finally, this study concludes that in using Poe’s Gothic motifs, Wilde was exploring the blurry distinctions between art and reality that were similarly important to Poe. iv Acknowledgments It is difficult to overstate my gratitude to Gary Williams, my major professor on this project and my adviser as an undergraduate at the University of Idaho. With his continual enthusiasm and encouragement over the past six years, he has given me the confidence and determination to complete this thesis. I also wish to express my gratitude to Walter Hesford and Alexander Hammond for their guidance and assistance in this project. I would also like to thank the Interlibrary Loan Staff at the University of Idaho for all of their help in getting to me the necessary materials. Finally, I want to thank Jennifer Polumsky for her continual support throughout my work on this thesis. v Table of Contents Title Page ...................................................................................................................................................... i Authorization to Proceed with Thesis ..................................................................................................... ii Abstract ....................................................................................................................................................... iii Acknowledgements ................................................................................................................................... iv Introduction ......................................................................................................................................1 Chapter I: Survey of the Relevant Literature ...................................................................................9 Chapter II: Wilde’s Reading of Poe through Charles Baudelaire ..................................................41 Chapter III: Reflections of Poe in The Picture of Dorian Gray ....................................................56 Conclusion .....................................................................................................................................96 Works Cited ...................................................................................................................................99 1 Introduction: Influence Studies and The Picture of Dorian Gray 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 willful 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. -Oscar Wilde, The Picture of Dorian Gray I first encountered Oscar Wilde’s writings when I happened to see The Importance of Being Earnest at a local Shakespeare festival. The humor and wit of Wilde’s dialogue captivated me and I left the performance wanting more. Coincidentally, I found more when I enrolled in a course on Victorian literature and was pleased to see Wilde’s only novel, The Picture of Dorian Gray, on the syllabus. Having experienced Wilde through his plays before his prose, I was surprised at the Gothic themes of Wilde’s horror novel and at how far away it strayed from the humorous quips and comical dialogues of his playwriting. Nevertheless, it was the singular difference between Dorian Gray and Wilde’s stage dramas that stirred my interest in the historical and critical backgrounds of Wilde’s writings. There was something alluring about Wilde’s decision to undertake an extended piece of writing with a Gothic magical portrait, a seedy underworld of obsession and pleasure, and a horrific, spectacular ending. As I surveyed the literature more carefully, I found that many scholars were equally interested in Wilde’s Gothic themes in Dorian Gray and more specifically in which writers might have influenced his development of the Gothic in the novel. To be sure, there has been much scholarship on the influence of English writers on Wilde’s writings including Walter Pater and John Ruskin, as well as extended studies of how the French writers Théophile Gautier and Stephane Mallarmé factored into his 2 work. Even so, there are certainly places in such scholarly works where further exploration is necessary, more specifically in the area of American influence on the author. Biographical evidence proves that Wilde was very much interested in his American predecessors and especially the writings of Edgar Allan Poe. In Poe, Wilde found an American who had engaged in the same literary efforts characterized by the Aesthetic movement in which Wilde was absorbed. Wilde also thought of Poe as someone unaccepted by American society and thus on a similar literary and political fringe as himself. Beginning with Pater’s assertion that Dorian Gray was good novel following the “manner of Poe” (83) in 1891, there is critical attention to Poe’s influence on Wilde. In Germany in 1917, Walther Fischer found Poe’s döppelgänger motif present in Dorian Gray, Edouard Roditi in 1924 sees Poe-esque elements in Dorian Gray, and in 1950 J. D. Thompson compared Poe’s “Usher” to Wilde’s “The Harlot’s House.” After a twenty-year gap in scholarship, the Wilde-Poe connection was again studied in the 1970s and has continued since. Scholars during this era include Lewis Poteet (1971), Isobel Murray (1972-74), Lawler and Knott (1976), Kerry Powell (1979), Richard Ellmann (1982), Karl Beckson (1998), Jean Paul Riquelme (2000), and Nils Clausson (2003). Therefore, given the fact that Poe is generally recognized as an important contributor to the artistic development of Wilde, it is likely that the connection between the two authors would be fully examined in an extended study. However, other than tangential mention of the similarities between the two authors, there is currently no scholarly project solely dedicated to Poe’s influence on Wilde. 3 In this study, I aim to fill this gap in scholarship, first by basing my work in the aforementioned connections between Wilde and Poe and second by examining closely the explicit links between Poe’s stories and Wilde’s Dorian Gray. For the latter, I aim to prove that Wilde was interested in following a long-established Gothic mode that culminated (at least for Wilde) in Poe’s use of the magic portrait, perversity, and doubling. In Poe’s “Metzengerstein,” “The Assignation,” and “The Oval Portrait,” we can observe a more complicated theme emerging in his emphasis on the unsteady gulf between art and reality. Wilde responded to Poe’s theme, using this complex notion of life influencing art through his magical portrait of Dorian Gray. Wilde also found useful motifs of perversity in Poe’s “Imp of the Perverse” and “The Black Cat” that are echoed in Dorian’s struggle with vice and virtue. Finally, Wilde adapted the doubling of Poe’s “William Wilson” into his own novel to explore the psychological torment of Dorian Gray’s sins transmitted onto a double, in this case a portrait. By emphasizing this connection between Poe and Wilde with this project, I hope to illuminate the attitudinal and stylistic similarities between the two authors in a way that allows for fresh perspectives on and new interpretations of The Picture of Dorian Gray. My research responds directly to scholars interested in the influence of Edgar Allan Poe on the literary landscape of the late nineteenth century and Wilde scholars seeking to explore sources for his works. Given the vast array of scholarship on both authors, I have limited my survey to scholarly works that address the question of what literary works influenced the production of Dorian Gray. Wilde himself argued for the importance of influence studies in “The Critic as Artist”: 4 [H]e who desires to know Shakespeare truly must understand the relations in which Shakespeare stood to the Renaissance and the Reformation, to the age of Elizabeth and the age of James; he must be familiar with the history of the struggle for supremacy between the old classical forms and the new spirit of romance, between the school of Sydney, and Daniel, and Johnson, and the school of Marlowe and Marlowe’s greater son; he must know the materials that were at Shakespeare’s disposal, and the method in which he used them. (Collected Works 1033) For Wilde, source studies are absolutely necessary in literary criticism. Whereas he found knowledge of previous literary methods and materials important for understanding of Shakespeare here, it is necessary to examine the Gothic to truly understand Wilde. By the time of Wilde’s writing of Dorian Gray, the Gothic was a long-established tradition with a multitude of themes and topics ranging from haunted castles, monsters, and vampires to persecution, paranoia, hallucinations and narcotics. Due to this multiplicity of thematic devices in the Gothic mode, it has remained difficult to define and examine precisely what Gothic elements Wilde was tapping into in Dorian Gray. Within the novel, Wilde evokes the reader’s primary emotions of wonder, desire, and horror through a character whose growing depravity is revealed via the supernatural trope of a magical and eventually monstrous portrait. Given Wilde’s brief experimentation with the Gothic,1 these elements of Gothic 1 Wilde’s exploration of the Gothic mode is generally limited to three works, The Picture of Dorian Gray, Salome, and The Sphinx, with Dorian Gray offering the chief example of Wilde’s utilization of the trope. 5 sensationalism have perplexed critics and instigated a debate as to what writers might have enticed Wilde into using the Gothic mode in his formulation of Dorian Gray. Walter Pater initiated the search for sources of Dorian Gray when he wrote in 1891 that the book contains an “adroitly-devised supernatural element after the manner of Poe . . . which makes the quite sufficing interest of an excellent story.” Pater’s connection of Dorian Gray to Poe is important because it shows Wilde moving away from the aesthetic principles of Walter Pater that would eventually change their friendship as well. Denis Donoghue’s Walter Pater: Lover of Strange Souls offers an important study of the friendship between Wilde and Pater that was eventually complicated by Dorian Gray. Donoghue finds that the “friendship […] virtually came to an end in the winter of 1891” (83), when the final version of Dorian Gray was published with the addition of a preface. Donoghue explores why the book seems to forge such an important divergence for the two authors, finding that Wilde’s aesthetic angling in the novel, his depiction of a man corrupted by the aesthetic principles Pater sought to uphold, went too far in their playfulness. In relation to the current study, I would argue that Pater’s association of Dorian Gray to Poe would go a long way in answering the questions Donaghue proposes, because the link questions Pater’s disagreement with his French counterparts on the importance of Poe in the Aesthetic movement. Jean Paul Riquelme takes this argument up in “Toward a History of Gothic and Modernism,” finding that it was Wilde’s use of doubling in Dorian Gray that allowed him to “distance himself from Pater by writing a text that transforms realistic writing in complexly echoic and mythic ways” (593).