In The Picture of Dorian Gray, the final seminal representation of duality in nineteenth-century fiction, Oscar Wilde, like Robert Louis Stevenson before him, offers a Gothic vision of London from the perspective of an outsider. Wilde, as an anglicized Irishman, can be regarded as a figure shaped by a radically different social, cultural and religious sensibility to that of Hogg and Stevenson, who at least share a conception of the world informed by avid and inflexible Calvinism. Nonetheless, Wilde's perspective in Dorian Gray provides instructive points of comparison with the tales of duality offered by the two Scottish writers. As indicated, an initial convergence, at least for Wilde and Stevenson, lies in their representation of London. At a significant point in the narrative, Dorian, after rejecting his actress sweetheart Sibyl Vane, is represented as wandering through the metropolis in such a way that both east and west -end are brought into a juxtaposition that evokes the sharply dualistic nature of the city.