Ya’ll I used to jokingly consider this, but nah, there is enough evidence in the book to suggest:
Henry ruins Dorian out of spite and jealousy towards Basil for moving on from him.
Let’s get right into this.
I went back into the book because I wanted to review the post I made about Henry and misogyny earlier. Besides the usual annoyance at Henry’s dumb stupid rant, I noticed this line:
“I had buried my romance in a bed of asphodel.”
And then it hit me that Henry’s worst rants about women only come after the topic of marriage, but more specifically, commitment. Which then led to an even more interesting idea: I’m pretty sure Henry mostly uses ‘women’ as cover to complain about Basil and Basil’s ‘lack of commitment to him.’
I want to note that there’s a lot of interesting things in regards to Henry and his relationship with women that I’d love to go into, but this will focus solely on him and Basil.
Here’s what Henry says in his misogynistic ass rant after Sibyl dies. (This is from the 1891 ver):
“But [Sibyl] would have soon found out that you were absolutely indifferent to her. And when a woman finds that out about her husband, she either becomes dreadfully dowdy, or wears very smart bonnets that some other woman’s husband has to pay for.”
Basil is often considered ‘unfashionable’/‘dowdy’ by Henry’s standards. This is only further proven in what he says about Basil’s disappearance:
“Why should he have been murdered? He was not clever enough to have enemies. Of course, he had a wonderful genius for painting. But a man can paint like Velasquez and yet be as dull as possible. Basil was really rather dull. He only interested me once, and that was when he told me, years ago, that he had a wild adoration for you and that you were the dominant motive of his art.”
But that isn’t all. The last part of that quote matches one to one to Henry’s claim about women (or Sibyl, specifically). Basil was not only ‘dull’, but his only ‘fashionable’ attribute, his art, grew ‘dowdy’ once he discovered Dorian’s indifference to him.
Henry also says this about women:
“Good resolutions are useless attempts to interfere with scientific laws. Their origin is pure vanity. Their result is absolutely nil.”
And later:
“But women never know when the curtain has fallen. They always want a sixth act, and as soon as the interest of the play is entirely over, they propose to continue it. If they were allowed their own way, every comedy would have a tragic ending, and every tragedy would culminate in a farce. They are charmingly artificial, but they have no sense of art.”
Guess who makes resolutions regarding goodness? Basil, who refuses to believe that Dorian is nothing but a good, pure man.
“[Basil] could not bear the idea of reproaching [Dorian] any more. After all, his indifference was probably merely a mood that would pass away. There was so much in him that was good, so much in him that was noble.”
Basil’s arc traditionally should have ended once Dorian rejects him. Between that chapter and the chapter where Basil dies, there is no mention of Basil in any form. By all means, Basil’s role in the story is over—and then he demands the ‘sixth act’ to confront Dorian.
And finally:
“Besides, nothing makes one so vain as being told that one is a sinner. Conscience makes egotists of us all. Yes; there is really no end to the consolations that women find in modern life. Indeed, I have not mentioned the most important one.”
“What is that, Harry?” said the lad listlessly.
“Oh, the obvious consolation. Taking some one else’s admirer when one loses one’s own.”
Now before I point out the obvious irony of Henry literally 'taking someone else's admirer' (henry actually has a lot in common with his 'criticisms' of women), I want to bring your attention to a key part we don’t discuss enough about in the book.
““Life has always poppies in her hands. Of course, now and then things linger. I once wore nothing but violets all through one season, as a form of artistic mourning for a romance that would not die. Ultimately, however, it did die. I forget what killed it. I think it was her proposing to sacrifice the whole world for me. That is always a dreadful moment. It fills one with the terror of eternity. Well—would you believe it?—a week ago, at Lady Hampshire’s, I found myself seated at dinner next the lady in question, and she insisted on going over the whole thing again, and digging up the past, and raking up the future. I had buried my romance in a bed of asphodel.”
So I’m gonna make an educated guess and say Henry is lying his ass off here. He did not have a ‘romance’ with a woman. He certainly did not get an emotional, romantic attachment with a ‘woman’. I feel comfortable saying this because 1) his general distaste for women literally points to this being bullshit and 2) a significant change that was made from the 1890 version of the book to the 1891 version.
This is the quote in 1890:
“I once wore nothing but violets all through one season, as mourning for a romance that would not die.”
This is 1891:
“I once wore nothing but violets all through one season, as a form of artistic mourning for a romance that would not die.”
Well, well, well, who is the arti—It’s Basil. He’s literally talking about Basil here. AND GUESS WHAT VIOLETS MEAN IN VICTORIAN FLOWER LANGUAGE?
A couple of things actually, but the top three are:
‘Faithfulness, Modesty, and Love.’
Henry emotionally had been faithful to Basil. While I doubt he was monogamous in anyway, Basil held a special place that no else would ever have. Not even Dorian.
And this brings me back to the quote that originally sent me down this rabbit hole:
“I had buried my romance in a bed of asphodel.”
In the 1890 version, it says:
“I had buried my romance in a bed of poppies.”
Poppies are known to mean death and would have fit perfectly if Henry was saying he felt nothing for the relationship, but what does asphodel mean?
‘Love Beyond The Grave’, ‘Remembered Beyond The Tomb’ and sometimes, ‘My regrets follow you to the grave’.
(NOTE: please keep in mind floriography could mean certain things based on the color and the type of flowers. That being said, considering Wilde described the shit out of every setting he wrote, the lack of detail about the flowers suggest the most broad meaning is meant to be taken.)
Henry isn't over Basil. He couldn't kill the love, so he buried it and took Dorian as a consolation and revenge. He will never be able to get over Basil until Basil or himself dies.
BOY DO I HAVE GOOD NEWS FOR HENRY/s
78 notes
·
View notes
there are literally incalculable meta posts i could make about the silt verses (it’s one of those stories where i have thoughts about Every Damn Line) but tonight i’m thinking about how..... DELICIOUSLY it sets up and then subverts your worldbuilding expectations.
if you haven’t listened yet. consider this mini essay my pitch. (or rather one of many pitches.)
because you start with this narrative episode about two members of an outlawed religion seeking other members of their faith, and they’re both compelling and sympathetic and layered narrators, but also. one is describing a childhood built on drowning and torturing people to death and the other is delighted by sacrificial corpses and horrific apparitions of eldritch nonsense and you’re like, “okay, yeah, this is a horror podcast. i can pretty damn well see why your religion is outlawed jesus FUCK you guys how is there THIS MUCH MURDER involved in your religious rites-”
and one of the narrators tells you that society is hypocritical because the legal religions Also cause harm. and if you’re anything like me, you go okay, girl, whatever you need to tell yourself to justify your current crusade. your god is a special kind of fucked up but it’s all good
then of course there are hints of social worldbuilding that challenge this assumption, but it’s not until paige’s introduction ep that you’re smacked Full In The Face with like. All Of It.
because paige is a law-abiding citizen high up on the corporate food chain, and she works a mundane job at a branding company.
and the company’s margins are bad.
and the company’s industry is shrinking.
and the company needs to cut costs and reinvigorate its own brand.
and of course this is a difficult time for everyone but flexibility is necessary to stay competitive in a cutthroat world.
and now the company is torturing its low-performing employees to death in front of everyone as a corporate ritual. viscerally described.
and paige, who JUST watched her closest work friend die in the most horrific way imaginable, is playing her part as someone high up on the corporate food chain.
she is being upbeat and being cheerful and encouraging her surviving coworkers to “look lively” and pretending that nothing happened.
and not a single person protests. and no one shrieks in horror and everyone shifts back into their worksona and the day passes without any particular note because this is a social norm and layoff-sacrifices are too commonplace to report and it is legal and it is accepted and it is a good way to boost the flagging numbers for the giant capitalist machine.
and you have this realization that.
this Really Is how the world is.
there really ISN’T anything separating the outlaw narrators’ rituals from those of the corporate and city-based gods.
and then the follow-up question becomes, “wait, then why is THEIR god banned?? if it’s not the murder and the horror then why is their god banned???? what’s the fucking difference????”
and the answer is that their outlawed god draws people away from the cities and the factories and the oil rigs and the pollution and the mineshafts. and their outlawed god does not contribute anything to the state.
and it’s not about what people worship or what the gods want or what the rituals require or what the hallowed bodies look like.
it’s just about how The State (TM) and Capitalism (TM) are both systems that have weaponized the law to kill every god that doesn’t contribute to their money and power and exploitation and culture and control.
and then it’s.... it’s not about the horror anymore.
it’s not a story of two deeply flawed protagonists from a sick and twisted cult who are reasonably forced into the shadows of a largely normal world because They Are In A Horror Story, And Are Doing What Horror Protagonists Do (Being Fucking Crazy).
it’s a story about our world. the one we live in. we the listener. here in our modern-ass non-supernatural late-stage-capitalism world. it’s about all the structures we’ve built and burned and all the destruction at the center of that goddamn world.
the eldritch gods and terrors are just set dressing.
477 notes
·
View notes