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Framing fears, reading designs: the homosexual art of painting in James, Wilde, and Beerbohm. (Henry James, Oscar Wilde, Max Beerbohm)
Narcissus similarly ignore or excise Ganymede's attempted "homosexual" seduction of Narcissus. By taking himself as his own object, Narcissus therefore rejects both heterosexual and homosexual relations. Similarly, while Dorian's final rejection of Sibyl Vane suggests his resistance to heterosexuality, Wilde maintains a pregnant silence over the second (homosexual) possibility. To this extent, the charge of narcissism is misplaced, and may be used to elide the oblique difficulty of homosexual seduction, which, I am suggesting, is marked elliptically on the painting.
23 Freud, "A Note Upon the 'Mystic Writing-Pad'" (note 12), 19:227-34.
24 Lacan likened the structure of unconscious fantasy to a "scar" (Lacan [note I: THE DESIRE AND TRUTH IN PAINTING
Consciousness, indeed, is quite inadequate to explain the contents of personality. It is Art, and Art only, that reveals us to ourselves.
Oscar Wilde(1)
The truth, then, is no longer itself in that which represents it in painting, it is merely its double, however good a likeness it is and precisely other by reason of the likeness.
Jacques Derrida(2)
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