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In Chapter 1, when Lord Henry first introduces Dorian, and the reader, to his take on hedonism, he references the ancient Hellenic, or Greek, world:
I believe that the world would gain such a fresh impulse of joy that we would forget all the maladies of mediaevalism, and return to the Hellenic ideal—to something finer, richer than the Hellenic ideal, it may be.
Given that he associates the excesses of his personal philosophy with the supposed excesses of the classical world, it makes sense that many of the allusions he makes are to figures of Greek and Roman myth. When discussing Dorian’s beauty with Basil in Chapter 2, he repeatedly draws comparisons between Dorian and famously beautiful men of myth:
Upon my word, Basil, I didn’t know you were so vain; and I really can’t see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made out of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression and all that.
While both Adonis and Narcissus are perhaps most famous for their beauty, there is an element of irony to both these comparisons because both of these figures meet disastrous ends. According to his myth, Adonis, who is so good-looking that the goddess Aphrodite herself falls in love with him, dies in a horrible hunting accident—an accident not dissimilar from the one that ultimately leads to James Vane’s death later in The Portrait of Dorian Gray. Narcissus, on the other hand, dies as a direct result of his beauty: falling in love with his own reflection, he famously wastes away in front of a pool of water. Although Henry’s invocation of both these figures is ostensibly a compliment to Dorian’s beauty, their mythic demises foreshadow the hedonistic chaos that will eventually lead to the death of James Vane, Basil Hallward, and Dorian himself—a chaos that begins because Dorian, like Narcissus, is unwilling to relinquish his own beauty.












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Common Core-aligned