THE MORALITY OF "DORIAN GRAY."

The question of the morality of "Dorian Gray" was dealt with very fully during the trial of the Marquis of Queensberry for libel, and also in the subsequent trials of Wilde himself, when, the libel action having collapsed, Wilde was transferred from the witness-box to the dock.

At the trial of Lord Queensberry at the Old Bailey on April 3rd, 1895, Sir Edward Clarke, in his opening speech for the prosecution, referred to what he called "an extremely curious count at the end of the plea," namely, that in July, 1890, Mr. Wilde published, or caused to be published, with his name upon the title page, a certain immoral and indecent work, with the title of "The Picture of Dorian Gray," which was intended to be understood by the readers to describe the relations, intimacies and passions of certain persons guilty of unnatural practices. That, said Sir Edward, was a very gross allegation. The volume could be bought at any bookstall in London. It had Mr. Wilde's name on the title page, and had been published five years. The story of the book was that of a young man of good birth, great wealth and great personal beauty, whose friend paints a picture of him. Dorian Gray expresses the wish that he would remain as in the picture, while the picture aged with the years. His wish was granted, and he soon knew that upon the picture and not upon his own face the scars of trouble and bad conduct were falling. In the end he stabbed the picture and fell dead. The picture was restored to its pristine beauty, while his friends find on the floor the body of a hideous old man. "I shall be surprised," said Counsel in conclusion, "if my learned friend (Mr. Carson) can pitch upon any passage in that book which does more than describe as novelists and dramatists may, nay, must, describe the passions and the fashions of life."

Lord Queensberry's Counsel was Mr. (now Sir Edward) Carson, M.P. He proceeded, after Sir Edward's Clarke's speech, to cross-examine Mr. Wilde on the subject of his writings.

Counsel: You are of opinion, I believe, that there is no such thing as an immoral book?

Witness: Yes.

Am I right in saying that you do not consider the effect in creating morality or immorality?—Certainly, I do not.

So far as your works are concerned you pose as not being concerned about morality or immorality?—I do not know whether you use the word "pose" in any particular sense.

It is a favourite word of your own?—Is it? I have no pose in this matter. In writing a play or a book I am concerned entirely with literature, that is, with art. I aim not at doing good or evil, but in trying to make a thing that will have some quality of beauty.

After the criticisms that were passed on "Dorian Gray" was it modified a good deal?—No. Additions were made. In one case it was pointed out to me—not in a newspaper or anything of that sort, but by the only critic of the century whose opinion I set high, Mr. Walter Pater—that a certain passage was liable to misconstruction, and I made one addition.

This is in your introduction to "Dorian Gray": "There is no such thing as a moral or an immoral book. Books are well written or badly written. That is all."—That expresses my view of art.

Then, I take it that no matter how immoral a book may be, if it is well written it is, in your opinion, a good book?—Yes; if it were well written so as to produce a sense of beauty which is the highest sense of which a human being can be capable. If it were badly written it would produce a sense of disgust.

Then a well-written book putting forward perverted moral views may be a good book?—No work of art ever puts forward views. Views belong to people who are not artists.

A novel of "a certain kind" might be a good book?—I do not know what you mean by "a novel of a certain kind."

Then I will suggest "Dorian Gray" as open to the interpretation of being a novel of that kind.—That could only be to brutes and illiterates.

An illiterate person reading "Dorian Gray" might consider it such a novel?—The views of illiterates on art are unaccountable. I am concerned only with my view of art. I do not care twopence what other people think of it.

The majority of persons would come under your definition of Philistines and illiterates?—I have found wonderful exceptions.

Do you think the majority of people live up to the position you are giving us?—I am afraid they are not cultivated enough.

Not cultivated enough to draw the distinction between a good book and a bad book?—Certainly not.

The affection and love of the artist of "Dorian Gray" might lead an ordinary individual to believe that it might have a certain tendency?—I have no knowledge of the views of ordinary individuals.

You did not prevent the ordinary individual from buying your book?—I have never discouraged him.

Mr. Carson then read an extract extending to several pages from "Dorian Gray," using the version as it appeared in Lippincott's Magazine[34], describing the meeting of Dorian Gray and the painter Basil Hallward. "Now, I ask you, Mr. Wilde," added Counsel, "do you consider that that description of the feeling of one man towards another, a youth just grown up, was a proper or an improper feeling?"—"I think," replied the author, "it is the most perfect description of what an artist would feel on meeting a beautiful personality which was in some way necessary to his art and life."

Counsel: You think that is a feeling a young man should have towards another?

Witness: Yes, as an artist.

Mr. Carson proceeded to read another long extract. Mr. Wilde asked for a copy, and was given one of the complete edition. Mr. Carson in calling his attention to the place, remarked, "I believe it was left out in the purged edition?"

Witness: I do not call it purged.

Counsel: Yes, I know that; but we will see.

Mr. Carson then read a lengthy passage from "Dorian Gray" as originally published[35], and said, "Do you mean to say that that passage describes the natural feeling of one man towards another?"—"It would be the influence produced on an artist by a beautiful personality," was the reply.

Counsel: A beautiful person?

Witness: I said "a beautiful personality." You can describe it as you like. Dorian Gray was a most remarkable personality.

May I take it that you, as an artist, have never known the feeling described here?—I have never allowed any personality to dominate my heart.

Then you have never known the feeling you describe?—No; it is a work of fiction.

So far as you are concerned you have no experience as to its being a natural feeling?—I think it is perfectly natural for any artist to admire intensely and love a young man. It is an incident in the life of almost every artist.

But let us go over it phrase by phrase. "I quite admit that I adored you madly." What do you say to that? Have you ever adored a young man madly?—No; not madly. I prefer love; that is a higher form.

Never mind about that. Let us keep down to the level we are at now.—I have never given adoration to any body except myself. (Loud laughter.)

I suppose you think that a very smart thing?—Not at all.

Then you never had that feeling?—No; the whole idea was borrowed from Shakespeare, I regret to say; yes, from Shakespeare's sonnets.

Mr. Carson, continuing to read: "I adored you extravagantly?"—Do you mean financially?

Oh, yes, financially. Do you think we are talking about finance?—I do not know what you are talking about.

Don't you? Well, I hope, I shall make myself very plain before I have done. "I was jealous of every one to whom you spoke." Have you ever been jealous of a young man?—Never in my life.

"I wanted to have you all to myself." Did you ever have that feeling?—No, I should consider it an intense nuisance, an intense bore.

"I grew afraid that the world would know of my idolatry." Why should he grow afraid that the world should know of it?—Because there are people in the world who cannot understand the intense devotion, affection and admiration that an artist can feel for a wonderful and beautiful personality. These are the conditions under which we live. I regret them.

These unfortunate people, that have not the high understanding that you have, might put it down to something wrong?—Undoubtedly; to any point they chose. I am not concerned with the ignorance of others.

In another passage Dorian Gray receives a book.[36] Was the book to which you refer a moral book?—Not well written?

Pressed further upon this point, and as to whether the book he had in mind was not of a certain tendency, Mr. Wilde declined with some warmth to be cross-examined upon the work of another artist. It was, he said, "an impertinence and a vulgarity." He admitted that he had in his mind a French book entitled A Rebours. Mr. Carson wanted to elicit Mr. Wilde's view as to the morality of that book, but Sir Edward Clarke succeeded, on an appeal to the Judge, in stopping any further reference to it.

Counsel then quoted another extract[37] from the Lippincott version of "Dorian Gray," in which the artist tells Dorian of the scandals about him, and finally asks, "Why is your friendship so fateful to young men?" Asked whether the passage in its ordinary meaning did not suggest a certain charge, witness stated that it described Dorian Gray as a man of very corrupt influence, though there was no statement as to the nature of his influence. "But as a matter of fact," he added, "I do not think that one person influences another, nor do I think there is any bad influence in the world."

Counsel: A man never corrupts a youth?—I think not.

Nothing could corrupt him?—If you are talking of separate ages.

Mr. Carson: No, Sir, I am talking common sense.

Witness: I do not think one person influences another.

You do not think that flattering a young man, making love to him, in fact, would be likely to corrupt him?—No.

On the assembling of the court on the following day, Mr. Wilde, who arrived ten minutes late, after saying to the Judge, "My lord, pray accept my apologies for being late in the witness-box," was examined by Sir Edward Clarke. In reference to "Dorian Gray" the witness said: "Mr. Walter Pater wrote me several letters about it, and in consequence of what he said I modified one passage. The book was very widely reviewed, among others by Mr. Pater himself. I wrote a reply to the review that appeared in the Scots Observer."

The subject then dropped.

On the last day of Mr. Wilde's first trial at the Criminal Central Court, May 1st, 1895, the Judge, Mr. Justice Charles, in his summing-up, dealt with "the literary part of the case," and again "Dorian Gray" came under consideration. The Judge said that a very large portion of the evidence of Mr. Wilde at the trial of Lord Queensberry was devoted to what Sir Edward Clarke had called "the literary part of the case." It was attempted to show by cross-examination of Mr. Wilde, as to works he had published, especially in regard to the book called "Dorian Gray," that he was a man of most unprincipled character with regard to the relation of men to boys. His lordship said he had not read that book, and he assumed that the jury had not, but they had been told it was the story of a youth of vicious character, whose face did not reveal the abysses of wretchedness into which he had fallen, but a picture painted by an artist friend revealed all the consequences of his passion. In the end he stabs the picture, whereupon he himself falls dead, and on his vicious face appear all the signs which before had been upon the picture. His lordship did not think that in a criminal case the jury should place any unfavourable inference upon the fact that Mr. Wilde was the author of "Dorian Gray." It was, unfortunately, true that some of their most distinguished and noble-minded writers, who had spent their lives in producing wholesome literature had given to the world books which were painful to persons, of ordinary modesty and decency, to read. Sir Edward Clarke had quoted from Coleridge, "Judge no man by his books," but his lordship would prefer to say "Confound no man with the characters of the persons he creates." Because a novelist put into the mouth of his villain the most abominable sentiments it must not be assumed that he shared them.

It will be remembered that on this occasion the jury were unable to agree on a verdict as to whether Mr. Wilde was guilty or not of the charges brought against him.

In the second trial, which began on May 22nd following, the subject of his books was not mentioned.