The text under analysis is an extract from the first chapter of The Picture of Dorian Gray, a novel written by Oscar Wilde at the end of the XIX century.

The title, “Basil’s studio”,  suggests that there is going to be a descriptive sequence about the character’s studio. In particular, it is likely that the details provided in the description will be useful to the reader in order to decode Basil’s personality. Also, it is likely that the text is going to be about the painter who portrayed Dorian Gray.

According to the expectations, the text opens with a descriptive sequence whose function is to introduce the reader to the setting. The description goes from general to detail: the first paragraph appeals to the senses (smell and sight) and provides an accurate idea of the atmosphere of the painter’s studio. Like a camera, the narrator guides the reader as the second paragraph focuses on further details: one of the characters, Lord Henry Wotton, is introduced to the reader through his habits and through the sensations he feels thanks to the room’s atmosphere. Wotton is a friend of Basil’s. He is lying on a divan, smoking and thoughtful, as if he lost himself in the sight of a Japanese print.

The function of the following sequence is to introduce the main elements of the extract: Dorian Gray’s portrait, underlined by the position and dimensions of the canvas itself, and its painter. The narrator provides little information about the man, however he immediately conveys the idea that he is someone out of the ordinary. Also, he seems to be proud of his painting, almost jealous and overprotective.

The last sequence is a dialogue between the two character, which is opened by Lord Wotton. His first sentence reveals that he is almost able to read Basil’s mind, who’s lost in contemplating his own painting. The dialogue is centred on Wotton’s suggestion to exhibit the portrait, but Basil refuses to do so. “I have put too much of myself into it” says the painter. Wotton’s reaction is quite interesting, since he laughs at the painter’s refusal.

As for the use of language, alliterations convey the idea of the dreamy atmosphere and of the sensations: the text appeals to the reader’s senses in an effective way. The atmosphere’s description features different comparisons and references to Nature: mainly trees and flowers, but also smells. There are some synesthesias as well, such as “honey-coloured blossoms” (it recalls both taste and sight).

The reference to the Japanese prints tradition may be meant to create a contrast with Dorian’s portrait. The purpose of the Japanese prints is to convey the sense of movement through an immobile style. On the contrary, the purpose of Basil’s painting seems to be to stop time and catch Dorian’s beauty. However, later in the novel it will happen quite the opposite: the painting will be dynamic and Dorian’s portrait gets old, while Dorian stays young.

As for the two characters, Wottom and Basil are friends. Wottom belongs to aristocracy, as his name suggests. He seems to be a man who only cares about being pleasured and about material things. His personality comes to surface in his friendship with Basin: indeed, when the painter disappeared he didn’t make a single move, proving he isn’t that friendly… On the contrary, Basil seems to be a man who isn’t interested in money (see the refusal); he is also an introvert person, who tends to have secrets and to hide them from people (see his sudden disappearance and the act of closing the lids). Basil seems to be struck by his own painting and almost worships its beauty in a jealous way.

The two different personalities of Wottom and Basil sum up the main points of the aesthetic movement. They can be summed up in the search for pleasure (Wottom) and beauty (Basil).