The imposed boundaries on shame, masculinity, sex and sexuality in the Victorian age were restrictive
and enabled a surge in hypocrisy, forcing people to conceal their reality in attempts of fitting in. This is
heavily implied in both ‘Carmilla’ by Sheridan Le Fanu and ‘The Picture of Dorian Gray’ by Oscar
Wilde, who through the use of Gothic conventions such as hyperrealism, and the supernatural are able to
reveal homosexuality and its treatment within Victorian society. Goth serves as a medium for both Artists,
who are able to reject the ‘laws of god’ and the dehumanisation of their characters as a means of
concealing the association of their characteristics with humanity, thus, effectively constructing their texts,
transcending conventions of the time and relating the story to the homophobia suffered within Victorian
society.
Through the use of vampirism and the dehumanisation of Carmilla, Fanu is not only able to represent
homoeroticism but also transcend his contextual boundaries, thus, re-sensitising the audience to his
commentary on the wrongful seclusion of desire in any form other than which is heteronormative.
‘Gazing in my face with languid and burning eyes. It was like the ardour of a lover; it embarrassed me; it
was hateful and yet over-powering.’Carmilla is able to outwardly display her affections due to her
monstrous identity, this gothic element allows the author to show the contrast between her and the
conservative nature of Laura who is the daughter of a virtuous Christian man, thus, ‘shameful and stout’
herself. Fanu employs Laura’s values, which are representative of any good Victorian individual, to
visualise societal feelings of disgust and discomfort in regard to Carmilla’s sinful desires. Though the
audience can blame Carmilla as a sexual predator, Fanu uses these moments of existentialism within
Laura to comment on the unspoken yet existing homosexual desires experienced by humans too, and their
repression stemming from social regulations. ‘Plague the human race with their atrocious lusts…I mean.
To decapitate the monster’ states the General. Through dialogue, the author is able to build a double
meaning, relating such monsters to homosexual people who were treated similarly at the time. However,
Sheridan Le Fanu ends up conforming to the conventions of his society in order to avoid criticism,
allowing the homophobic General to reduce Carmilla to a hyper-real character with demonic desires.
Thus, Le Fanu conceals his criticism of the values of Victorian society whilst still allowing his
commentary visibility.
The Picture of Dorian Gray was subject to much more criticism, being censored and leading to Oscar
Wilde’s homosexuality trial as he challenges the very basis of human nature. Basil, who is an austere
Christian follower and very much human, shares similar desires to the inhumane and treacherous
Carmilla, hence, removing the separative barrier used by Fanu and hinting at the healthy potential of such
love. ‘ He is never more present in my work than when no image of him is there. He is a suggestion, as I
have said, of a new manner.’ Basil's work, his painting, is a leitmotif of homosexual desire and entrancing
beauty, but also of the concealment of such expression as the appreciation of art. The painting may be a
curse for Dorian, leading to his tragedy, but it also symbolises Basil's awakening and enables his character
development.‘It’s not the sitter who is revealed by the painter; it is rather the painter who reveals himself.’
This quote in its irony, breaks the third wall, as not only does it reveal the homosexual desires of Basil but
also relates the book to its writer, Oscar Wilde and how it is ultimately a reflection of him, his emotions,
his disregard for the ‘family values' and its treatment within the Victorian era. It also allows him to
question whether such natural desires of sex should be subject to as much scrutiny as they were. ‘ Dorian
glanced at the picture and suddenly an uncontrollable feeling of hatred for Basil Hallward came over
him.’ Dorian kills Basil, rejecting his affection, and subsequently, removes the little good he had left
and enabled a surge in hypocrisy, forcing people to conceal their reality in attempts of fitting in. This is
heavily implied in both ‘Carmilla’ by Sheridan Le Fanu and ‘The Picture of Dorian Gray’ by Oscar
Wilde, who through the use of Gothic conventions such as hyperrealism, and the supernatural are able to
reveal homosexuality and its treatment within Victorian society. Goth serves as a medium for both Artists,
who are able to reject the ‘laws of god’ and the dehumanisation of their characters as a means of
concealing the association of their characteristics with humanity, thus, effectively constructing their texts,
transcending conventions of the time and relating the story to the homophobia suffered within Victorian
society.
Through the use of vampirism and the dehumanisation of Carmilla, Fanu is not only able to represent
homoeroticism but also transcend his contextual boundaries, thus, re-sensitising the audience to his
commentary on the wrongful seclusion of desire in any form other than which is heteronormative.
‘Gazing in my face with languid and burning eyes. It was like the ardour of a lover; it embarrassed me; it
was hateful and yet over-powering.’Carmilla is able to outwardly display her affections due to her
monstrous identity, this gothic element allows the author to show the contrast between her and the
conservative nature of Laura who is the daughter of a virtuous Christian man, thus, ‘shameful and stout’
herself. Fanu employs Laura’s values, which are representative of any good Victorian individual, to
visualise societal feelings of disgust and discomfort in regard to Carmilla’s sinful desires. Though the
audience can blame Carmilla as a sexual predator, Fanu uses these moments of existentialism within
Laura to comment on the unspoken yet existing homosexual desires experienced by humans too, and their
repression stemming from social regulations. ‘Plague the human race with their atrocious lusts…I mean.
To decapitate the monster’ states the General. Through dialogue, the author is able to build a double
meaning, relating such monsters to homosexual people who were treated similarly at the time. However,
Sheridan Le Fanu ends up conforming to the conventions of his society in order to avoid criticism,
allowing the homophobic General to reduce Carmilla to a hyper-real character with demonic desires.
Thus, Le Fanu conceals his criticism of the values of Victorian society whilst still allowing his
commentary visibility.
The Picture of Dorian Gray was subject to much more criticism, being censored and leading to Oscar
Wilde’s homosexuality trial as he challenges the very basis of human nature. Basil, who is an austere
Christian follower and very much human, shares similar desires to the inhumane and treacherous
Carmilla, hence, removing the separative barrier used by Fanu and hinting at the healthy potential of such
love. ‘ He is never more present in my work than when no image of him is there. He is a suggestion, as I
have said, of a new manner.’ Basil's work, his painting, is a leitmotif of homosexual desire and entrancing
beauty, but also of the concealment of such expression as the appreciation of art. The painting may be a
curse for Dorian, leading to his tragedy, but it also symbolises Basil's awakening and enables his character
development.‘It’s not the sitter who is revealed by the painter; it is rather the painter who reveals himself.’
This quote in its irony, breaks the third wall, as not only does it reveal the homosexual desires of Basil but
also relates the book to its writer, Oscar Wilde and how it is ultimately a reflection of him, his emotions,
his disregard for the ‘family values' and its treatment within the Victorian era. It also allows him to
question whether such natural desires of sex should be subject to as much scrutiny as they were. ‘ Dorian
glanced at the picture and suddenly an uncontrollable feeling of hatred for Basil Hallward came over
him.’ Dorian kills Basil, rejecting his affection, and subsequently, removes the little good he had left
