feat_summary_path: finished_summaries/sparknotes/The Picture of Dorian Gray/section_8_part_1.txt
feat_book_id: The Picture of Dorian Gray.chapter 17
feat_summary_id: chapter 17
feat_summary: {"name": "Chapter 17", "url": "https://web.archive.org/web/20210228142327/https://www.sparknotes.com/lit/doriangray/section9/", "summary": "A week later, Dorian entertains guests at his estate at Selby. He talks with Lord Henry, the Duchess of Monmouth, and her husband; they discuss the nature and importance of beauty. The duchess criticizes Lord Henry for placing too great a value on beauty. The conversation turns to love; Lord Henry maintains that love, like life, depends upon repeating a great experience over and over again. Dorian agrees and excuses himself from his company. Lord Henry chastises the duchess for her flirtations. Soon, they hear a groan from the other end of the conservatory. They rush to find that Dorian has fallen in a swoon. At dinner, Dorian feels occasional chills of terror as he recalls that, before fainting, he saw the face of James Vane pressed against the conservatory window", "analysis": "Lord Henry's belief, uttered after the fatal hunting accident, that \"estiny does not send us heralds. She is too wise or too cruel for that,\" contrasts with Dorian's experience. In many ways, Basil's portrait of Dorian illustrates how destiny shapes Dorian's life, for while Dorian himself remains immune to the effects of time, his ever-deteriorating likeness in the portrait is indeed an undeniable herald of his ultimate downfall. The picture interrupts the pleasant reality of Dorian's life to remind him of his soul's dissipation. Although the aestheticists believed that art existed for its own sake, Dorian's experience demonstrates the limitations of that view. The painting becomes almost immediately a physical manifestation of conscience; it shows Dorian what is right and what is wrong in a very literal sense, and he frequently inspects the painting after committing an immoral or unethical act to see exactly how his conscience interprets that act. Ultimately, then, and in contrast to Lord Henry's philosophies, The Picture of Dorian Gray emphasizes the relationship between art and morality. In addition to complicating the reader's understanding of art, which, as the novel draws to its close, becomes complex and somewhat paradoxical, Wilde demonstrates his characteristic flair for comedy and biting social satire. In Chapter Seventeen, Dorian's conversation with the Duchess of Monmouth and Lord Henry testifies to one of the skills that made Wilde the most celebrated playwright of his day. His brilliantly witty dialogue is responsible for his status as one of the most effective practitioners of the comedy of manners. A comedy of manners revolves around the complex and sophisticated behavior of the social elite, among whom one's character is determined more by appearance than by moral behavior. Certainly, by this definition, Lord Henry becomes something of a hero in the novel, as, even by his own admission, he cares much more for the beautiful than for the good. Given the increasing seriousness of Dorian's plight and the ever-darkening state of his mind, the bulk of Chapter Seventeen serves as comic relief, as the dialogue between the duchess and Lord Henry is light and full of witticisms. Their exchange points to the relatively shallow nature of their society, in which love and morality amount to an appreciation of surfaces: as another lady of society reminds Dorian in Chapter Fifteen, \"you are made to be good--you look so good.\" Here, morality is a function not of action or belief but of mere appearances. Lord Henry's dismissive conception of England as a land founded on beer, the Bible, and repressive, unimaginative virtues serves as biting commentary of traditional, middle-class English morality. According to Lord Henry, a population whose tastes run to malt liquor and whose morality is determined by Christian dogma is doomed to produce little of artistic value. His sentiments align with the aesthetics' desire to free themselves  from the bonds of conventional morality and sensibilities. Sympathetic as Wilde himself was to Lord Henry's opinions, he provides here a vital counterpoint to these opinions: the duchess's criticism that Lord Henry values beauty too highly begs us to ask the same question of Dorian and the aesthetic philosophy that dominates his life."}
text: 
  A week later Dorian Gray was sitting in the conservatory at Selby
  Royal, talking to the pretty Duchess of Monmouth, who with her husband,
  a jaded-looking man of sixty, was amongst his guests.  It was tea-time,
  and the mellow light of the huge, lace-covered lamp that stood on the
  table lit up the delicate china and hammered silver of the service at
  which the duchess was presiding.  Her white hands were moving daintily
  among the cups, and her full red lips were smiling at something that
  Dorian had whispered to her.  Lord Henry was lying back in a
  silk-draped wicker chair, looking at them.  On a peach-coloured divan
  sat Lady Narborough, pretending to listen to the duke's description of
  the last Brazilian beetle that he had added to his collection.  Three
  young men in elaborate smoking-suits were handing tea-cakes to some of
  the women.  The house-party consisted of twelve people, and there were
  more expected to arrive on the next day.
  
  "What are you two talking about?" said Lord Henry, strolling over to
  the table and putting his cup down.  "I hope Dorian has told you about
  my plan for rechristening everything, Gladys.  It is a delightful idea."
  
  "But I don't want to be rechristened, Harry," rejoined the duchess,
  looking up at him with her wonderful eyes.  "I am quite satisfied with
  my own name, and I am sure Mr. Gray should be satisfied with his."
  
  "My dear Gladys, I would not alter either name for the world.  They are
  both perfect.  I was thinking chiefly of flowers.  Yesterday I cut an
  orchid, for my button-hole. It was a marvellous spotted thing, as
  effective as the seven deadly sins.  In a thoughtless moment I asked
  one of the gardeners what it was called.  He told me it was a fine
  specimen of _Robinsoniana_, or something dreadful of that kind.  It is a
  sad truth, but we have lost the faculty of giving lovely names to
  things.  Names are everything.  I never quarrel with actions.  My one
  quarrel is with words.  That is the reason I hate vulgar realism in
  literature.  The man who could call a spade a spade should be compelled
  to use one.  It is the only thing he is fit for."
  
  "Then what should we call you, Harry?" she asked.
  
  "His name is Prince Paradox," said Dorian.
  
  "I recognize him in a flash," exclaimed the duchess.
  
  "I won't hear of it," laughed Lord Henry, sinking into a chair.  "From
  a label there is no escape!  I refuse the title."
  
  "Royalties may not abdicate," fell as a warning from pretty lips.
  
  "You wish me to defend my throne, then?"
  
  "Yes."
  
  "I give the truths of to-morrow."
  
  "I prefer the mistakes of to-day," she answered.
  
  "You disarm me, Gladys," he cried, catching the wilfulness of her mood.
  
  "Of your shield, Harry, not of your spear."
  
  "I never tilt against beauty," he said, with a wave of his hand.
  
  "That is your error, Harry, believe me.  You value beauty far too much."
  
  "How can you say that?  I admit that I think that it is better to be
  beautiful than to be good.  But on the other hand, no one is more ready
  than I am to acknowledge that it is better to be good than to be ugly."
  
  "Ugliness is one of the seven deadly sins, then?" cried the duchess.
  "What becomes of your simile about the orchid?"
  
  "Ugliness is one of the seven deadly virtues, Gladys.  You, as a good
  Tory, must not underrate them.  Beer, the Bible, and the seven deadly
  virtues have made our England what she is."
  
  "You don't like your country, then?" she asked.
  
  "I live in it."
  
  "That you may censure it the better."
  
  "Would you have me take the verdict of Europe on it?" he inquired.
  
  "What do they say of us?"
  
  "That Tartuffe has emigrated to England and opened a shop."
  
  "Is that yours, Harry?"
  
  "I give it to you."
  
  "I could not use it.  It is too true."
  
  "You need not be afraid.  Our countrymen never recognize a description."
  
  "They are practical."
  
  "They are more cunning than practical.  When they make up their ledger,
  they balance stupidity by wealth, and vice by hypocrisy."
  
  "Still, we have done great things."
  
  "Great things have been thrust on us, Gladys."
  
  "We have carried their burden."
  
  "Only as far as the Stock Exchange."
  
  She shook her head.  "I believe in the race," she cried.
  
  "It represents the survival of the pushing."
  
  "It has development."
  
  "Decay fascinates me more."
  
  "What of art?" she asked.
  
  "It is a malady."
  
  "Love?"
  
  "An illusion."
  
  "Religion?"
  
  "The fashionable substitute for belief."
  
  "You are a sceptic."
  
  "Never!  Scepticism is the beginning of faith."
  
  "What are you?"
  
  "To define is to limit."
  
  "Give me a clue."
  
  "Threads snap.  You would lose your way in the labyrinth."
  
  "You bewilder me.  Let us talk of some one else."
  
  "Our host is a delightful topic.  Years ago he was christened Prince
  Charming."
  
  "Ah! don't remind me of that," cried Dorian Gray.
  
  "Our host is rather horrid this evening," answered the duchess,
  colouring.  "I believe he thinks that Monmouth married me on purely
  scientific principles as the best specimen he could find of a modern
  butterfly."
  
  "Well, I hope he won't stick pins into you, Duchess," laughed Dorian.
  
  "Oh! my maid does that already, Mr. Gray, when she is annoyed with me."
  
  "And what does she get annoyed with you about, Duchess?"
  
  "For the most trivial things, Mr. Gray, I assure you.  Usually because
  I come in at ten minutes to nine and tell her that I must be dressed by
  half-past eight."
  
  "How unreasonable of her!  You should give her warning."
  
  "I daren't, Mr. Gray.  Why, she invents hats for me.  You remember the
  one I wore at Lady Hilstone's garden-party?  You don't, but it is nice
  of you to pretend that you do.  Well, she made it out of nothing.  All
  good hats are made out of nothing."
  
  "Like all good reputations, Gladys," interrupted Lord Henry.  "Every
  effect that one produces gives one an enemy.  To be popular one must be
  a mediocrity."
  
  "Not with women," said the duchess, shaking her head; "and women rule
  the world.  I assure you we can't bear mediocrities.  We women, as some
  one says, love with our ears, just as you men love with your eyes, if
  you ever love at all."
  
  "It seems to me that we never do anything else," murmured Dorian.
  
  "Ah! then, you never really love, Mr. Gray," answered the duchess with
  mock sadness.
  
  "My dear Gladys!" cried Lord Henry.  "How can you say that?  Romance
  lives by repetition, and repetition converts an appetite into an art.
  Besides, each time that one loves is the only time one has ever loved.
  Difference of object does not alter singleness of passion.  It merely
  intensifies it.  We can have in life but one great experience at best,
  and the secret of life is to reproduce that experience as often as
  possible."
  
  "Even when one has been wounded by it, Harry?" asked the duchess after
  a pause.
  
  "Especially when one has been wounded by it," answered Lord Henry.
  
  The duchess turned and looked at Dorian Gray with a curious expression
  in her eyes.  "What do you say to that, Mr. Gray?" she inquired.
  
  Dorian hesitated for a moment.  Then he threw his head back and
  laughed.  "I always agree with Harry, Duchess."
  
  "Even when he is wrong?"
  
  "Harry is never wrong, Duchess."
  
  "And does his philosophy make you happy?"
  
  "I have never searched for happiness.  Who wants happiness?  I have
  searched for pleasure."
  
  "And found it, Mr. Gray?"
  
  "Often.  Too often."
  
  The duchess sighed.  "I am searching for peace," she said, "and if I
  don't go and dress, I shall have none this evening."
  
  "Let me get you some orchids, Duchess," cried Dorian, starting to his
  feet and walking down the conservatory.
  
  "You are flirting disgracefully with him," said Lord Henry to his
  cousin.  "You had better take care.  He is very fascinating."
  
  "If he were not, there would be no battle."
  
  "Greek meets Greek, then?"
  
  "I am on the side of the Trojans.  They fought for a woman."
  
  "They were defeated."
  
  "There are worse things than capture," she answered.
  
  "You gallop with a loose rein."
  
  "Pace gives life," was the _riposte_.
  
  "I shall write it in my diary to-night."
  
  "What?"
  
  "That a burnt child loves the fire."
  
  "I am not even singed.  My wings are untouched."
  
  "You use them for everything, except flight."
  
  "Courage has passed from men to women.  It is a new experience for us."
  
  "You have a rival."
  
  "Who?"
  
  He laughed.  "Lady Narborough," he whispered.  "She perfectly adores
  him."
  
  "You fill me with apprehension.  The appeal to antiquity is fatal to us
  who are romanticists."
  
  "Romanticists!  You have all the methods of science."
  
  "Men have educated us."
  
  "But not explained you."
  
  "Describe us as a sex," was her challenge.
  
  "Sphinxes without secrets."
  
  She looked at him, smiling.  "How long Mr. Gray is!" she said.  "Let us
  go and help him.  I have not yet told him the colour of my frock."
  
  "Ah! you must suit your frock to his flowers, Gladys."
  
  "That would be a premature surrender."
  
  "Romantic art begins with its climax."
  
  "I must keep an opportunity for retreat."
  
  "In the Parthian manner?"
  
  "They found safety in the desert.  I could not do that."
  
  "Women are not always allowed a choice," he answered, but hardly had he
  finished the sentence before from the far end of the conservatory came
  a stifled groan, followed by the dull sound of a heavy fall.  Everybody
  started up.  The duchess stood motionless in horror.  And with fear in
  his eyes, Lord Henry rushed through the flapping palms to find Dorian
  Gray lying face downwards on the tiled floor in a deathlike swoon.
  
  He was carried at once into the blue drawing-room and laid upon one of
  the sofas.  After a short time, he came to himself and looked round
  with a dazed expression.
  
  "What has happened?" he asked.  "Oh!  I remember.  Am I safe here,
  Harry?" He began to tremble.
  
  "My dear Dorian," answered Lord Henry, "you merely fainted.  That was
  all.  You must have overtired yourself.  You had better not come down
  to dinner.  I will take your place."
  
  "No, I will come down," he said, struggling to his feet.  "I would
  rather come down.  I must not be alone."
  
  He went to his room and dressed.  There was a wild recklessness of
  gaiety in his manner as he sat at table, but now and then a thrill of
  terror ran through him when he remembered that, pressed against the
  window of the conservatory, like a white handkerchief, he had seen the
  face of James Vane watching him.
  
  
  
feat_summary_name: Chapter 17
target: A week later, Dorian entertains guests at his estate at Selby. He talks with Lord Henry, the Duchess of Monmouth, and her husband; they discuss the nature and importance of beauty. The duchess criticizes Lord Henry for placing too great a value on beauty. The conversation turns to love; Lord Henry maintains that love, like life, depends upon repeating a great experience over and over again. Dorian agrees and excuses himself from his company. Lord Henry chastises the duchess for her flirtations. Soon, they hear a groan from the other end of the conservatory. They rush to find that Dorian has fallen in a swoon. At dinner, Dorian feels occasional chills of terror as he recalls that, before fainting, he saw the face of James Vane pressed against the conservatory window
feat_summary_analysis: Lord Henry's belief, uttered after the fatal hunting accident, that "estiny does not send us heralds. She is too wise or too cruel for that," contrasts with Dorian's experience. In many ways, Basil's portrait of Dorian illustrates how destiny shapes Dorian's life, for while Dorian himself remains immune to the effects of time, his ever-deteriorating likeness in the portrait is indeed an undeniable herald of his ultimate downfall. The picture interrupts the pleasant reality of Dorian's life to remind him of his soul's dissipation. Although the aestheticists believed that art existed for its own sake, Dorian's experience demonstrates the limitations of that view. The painting becomes almost immediately a physical manifestation of conscience; it shows Dorian what is right and what is wrong in a very literal sense, and he frequently inspects the painting after committing an immoral or unethical act to see exactly how his conscience interprets that act. Ultimately, then, and in contrast to Lord Henry's philosophies, The Picture of Dorian Gray emphasizes the relationship between art and morality. In addition to complicating the reader's understanding of art, which, as the novel draws to its close, becomes complex and somewhat paradoxical, Wilde demonstrates his characteristic flair for comedy and biting social satire. In Chapter Seventeen, Dorian's conversation with the Duchess of Monmouth and Lord Henry testifies to one of the skills that made Wilde the most celebrated playwright of his day. His brilliantly witty dialogue is responsible for his status as one of the most effective practitioners of the comedy of manners. A comedy of manners revolves around the complex and sophisticated behavior of the social elite, among whom one's character is determined more by appearance than by moral behavior. Certainly, by this definition, Lord Henry becomes something of a hero in the novel, as, even by his own admission, he cares much more for the beautiful than for the good. Given the increasing seriousness of Dorian's plight and the ever-darkening state of his mind, the bulk of Chapter Seventeen serves as comic relief, as the dialogue between the duchess and Lord Henry is light and full of witticisms. Their exchange points to the relatively shallow nature of their society, in which love and morality amount to an appreciation of surfaces: as another lady of society reminds Dorian in Chapter Fifteen, "you are made to be good--you look so good." Here, morality is a function not of action or belief but of mere appearances. Lord Henry's dismissive conception of England as a land founded on beer, the Bible, and repressive, unimaginative virtues serves as biting commentary of traditional, middle-class English morality. According to Lord Henry, a population whose tastes run to malt liquor and whose morality is determined by Christian dogma is doomed to produce little of artistic value. His sentiments align with the aesthetics' desire to free themselves  from the bonds of conventional morality and sensibilities. Sympathetic as Wilde himself was to Lord Henry's opinions, he provides here a vital counterpoint to these opinions: the duchess's criticism that Lord Henry values beauty too highly begs us to ask the same question of Dorian and the aesthetic philosophy that dominates his life.