Morality In Dorian Gray

In the assigned passage from The Picture of Dorian Gray, Oscar Wilde utilises diction, syntax, and imagery to establish a mysterious and ominous mood. Firstly, Wilde’s formal diction sets an air of mystery. Throughout the passage, his usage of of concrete terms like “chimney-stacks” and “dark lane” establishes for the audience an explicit setting. Furthermore, Wilde utilises extremely specific diction: “the slimy pavement looked like a wet mackintosh.” Such specific details allow the audience to conjure up a specific scene that contributes to the setting of the passage. Other words and phrases in the passage are convey an urgent mood, like “started,” “glanced back” and “suddenly.” These words seem to indicate a threatening element in the

Living in a world to full of the appearance and stereotype of being beautiful can completely destroy one’s self-esteem, and even their own life. In Oscar Wilde’s novel, The Picture of Dorian Gray, he uncovers how curiosity, hypocrisy, and vanity lead someone into their own demise. By looking at Dorian Gray’s actions that revolve around beauty, it is evident that vanity is the largest contributing factor in Dorian’s corruption and subsequent downfall, thus demonstrating how focusing on only one aspect of life can lead to immorality and decay of character.

Aestheticism was a popular dogma in the late 1800s that centered on the belief that art should exist for beauty alone. This doctrine is defined as an “exaggerated devotion to art, music, or poetry, with indifference to practical matters” and “the acceptance of artistic beauty and taste as a fundamental standard, ethical and other standards being secondary” (“Aestheticism,” def. 1 and 2). In Oscar Wilde’s sole novel, The Picture of Dorian Gray, aestheticism is a fashionable belief accepted by society at the time. Oscar Wilde uses the moral deterioration and ultimate destruction of Dorian Gray in The Picture of Dorian Gray to emphasize the negative effects of society’s preoccupation with aesthetics and offer a moral for the reader.

Wilde also was famous for his leading of the aesthetic movement and his imprisonment for propagating homosexuality. The Picture of Dorian Gray tells a story about a degradation of a young man Dorian Gray. At the beginning, an artist Basil Hallward paints a portrait of the kind and innocent Dorian Gray and, after seeing the artwork, Lord Henry Wotton - a vain and snobbish class man - requests to meet him. Influenced by eccentric Henry Wotton’s philosophy, Dorian begins to become vain and cruel but while his external appearance remains unchanged, his appearance on the painting alters every time he commits a sin. The novel explores many issues, one of them is aestheticism - exaltation of art and beauty, leading to the eternal question - can a beautiful person be moral and a moral person be beautiful, which always have and will stir society’s curiosity. Oscar Wilde once said that "All art is quite useless" and in The Picture of Dorian Gray, he tends to juxtapose various expressions of art with the routine of Dorian Gray and a shallow life in the nineteenth century. As a tool to reveal the concept of a life at the end of the 19th century Wilde uses art of pretty - but meaningless - things used to please one’s vanity and create a mundane environment. This raises the question: what did Oscar Wilde want to imply by and how does he use art to develop the theme of morality in The Picture of Dorian Gray? It was impossible to avoid art in any of its expressions (parties, theatre, clothes, etc.) in even the most regular lives in the 19th century and of course it influenced the way of thinking, created the social status and the image of oneself, so, after all, art had a huge impact on the individuals of the 19th century. And, as often beauty does, art encourages greed and vanity, which Oscar Wilde demonstrates through the usage of art in the novel.

Most people are taught from a young age what is right, and what is wrong. These teachings set up the basis for later discovering one’s personal values. In Oscar Wilde’s The Picture of Dorian Gray, these same principles are applied and challenged by Wilde. Not only does he question morality and human nature, but also the ideas of the Aesthetic movement- which influenced the ideals and behavior of Dorian Gray. Through Dorian’s morally ambiguous character, Wilde asserts that one is not purely good or evil, but a mixture of the two; Wilde establishes this theme when Dorian breaks up with Sibyl Vane, murders Basil Hallward, and stabs his decaying portrait.

Wilde’s novel is an obvious evidence of the pervasiveness of main values of Victorian society. According to Wilde, “Aesthetic tendencies have to be taken with prudence and have reasonable limits that imply moral responsibility.” According to the critic Alex Ross, “ Wilde’s aestheticism, his fanatical cult of beauty, was the deepest and most lasting of his passions, and it is now the most radical about him” (Ross 2011).

Project Gutenberg. 7 Apr, 2017.   Duggan, Patrick. The Conflict Between Aestheticism and Morality in Oscar Wilde's The Picture of Dorian Gray. n.p n.d. Web 10 Apr. 2017.

The simplest, most natural, and strongest character I have ever met in my life”, in his biographical review (116). Throughout Wilde’s literary career, reflections of Whitman can be seen by the more philosophical pieces created by Wilde, which stray away from his typical beauty over content persona.

Oscar Wilde’s The Picture of Dorian Gray has several major preoccupations which are integral in understanding the depths in which it goes in formulating its central message. The novel presents itself almost as an essay, with a preface concluding with the statement “All art is quite useless” (Wilde 4). From this preface, to its conclusion, it deals with the role of art as catharsis for the artist; however, not only as a release of emotion, but also as a “closet” for the artist’s innermost desires. The novel literally expresses this through its first lines, “The artist is the creator of beautiful things / to reveal art and conceal the artist is art’s aim” (Wilde 3). Thus, art acts as a vehicle to conceal that which the person truly yearns and

Oscar Wilde is known as one of the best playwrights and poets of the Victorian era. His works withstand the test of time, managing to be relatable to audiences now. He often used the figurative freedom of poetry to express his sexuality. His infatuation with Catholicism is reflected in much of his poetry. His struggle with his sexuality in the context of the Victorian era and his interest in Catholicism influenced his poetry. The recurring themes of religion and aesthetics display his struggle with the

Throughout the years, there have been many people have tried to come up with their own ideas for life that have failed. Some may have been closer to the truth than others. Many writers expressed these theories of theirs in their writings, creating a large amount of literature reflecting their anomalous opinions. The Dubliner Oscar Wilde portrayed his hedonistic struggles his writings. Hedonism tainted Wilde’s life and was thoroughly reflected in his writings. These hedonistic views are painted across his countless essays. Weighed with this bondage Wilde postponed a long needed conversion. Struggling with these difficulties right up to the end. Extravagance occupied Wilde’s stories in the form of hedonism. All of Oscar Wilde’s writings reflect his life in a personal way most largely in the aspect of Wilde’s hedonism also his torn conscience was greatly reflected in them too (Pearce 241; Ellmann 66).

In Oscar Wilde's novel, The Picture of Dorian Gray, beauty is depicted as the driving force in the lives of the three main characters, Dorian, Basil and Lord Henry. Dorian, the main character, believes in seizing the day. Basil, the artist, admires all that is beautiful in life. Lord Henry, accredited ones physical appearance to the ability of achieving accomplishments in life. Beauty ordains the fate of Dorian, Basil, and Lord Henry. The novel embodies the relationship of beauty and morality. Beauty is not based on how attractive an object is to everyone, but how attractive it is to one.

In Oscar Wilde’s Popular nineteenth century novel, the Picture of Dorian Gray demonstrates the importance of the aesthetic movement in Victorian England. This suggests youth and physical attractiveness is emphasized and are valuable additions to society. Therefore, what matters to Dorian, is not the internal goodness an individual possesses but the appearance they present. Consequently, Dorian is able to forget the violent acts he commits as long as he appears beautiful on the outside. Since external beauty is valued, Wilde argues that people tend to lose their individualism and conform to society’s expectations. With this in mind, Dorian gray grows more corrupt, self-centered as he focuses more on the pleasure for himself as he becomes more vulnerable to his own misgivings. He loses his individualism, because he is conforming to society’s form of asethics. I agree with Wilde’s arguement about Dorian Gray, that individuals lose their sense of idenity when conforming to society’s influence, such as in today’s beauty standards portrayed on social media, racism described through facism, and LGBTQ rights violated by intolerant individuals. (too wordy)

Firstly, Wilde expresses hedonistic desire leading to punishment through the use of literary devices; namely symbolism and imagery. When Gray regarded Sibyl with pity and “his chiseled lips curled in exquisite disdain” (Wilde 101). Through imagery, Wilde conveys Gray’s character of cruelty wrought out by selfish desire. After that, what followed was the suicide of his lover. This reveals that living selfishly produces consequences through others. Another example can be found when Wilde uses symbolism through the picture to reveal reality of emotions. As Dorian got up to check his painting, it was “unmistakably [...] altered” (Wilde 108). The painting reflected the reality of Dorian Gray’s inner beliefs. The change in the picture is a loss of selflessness. Furthermore, his selfish desires are reflected through the picture and the change in the portrait is the consequence for doing hedonistic actions. Therefore through symbolism and

In John Drinkwater’s “Wilde's `The Importance of Being Earnest'”, Drinkwater goes in depth on the intensity of his play. Drinkwater strongly believes that this is “the only one of Wilde's works that really has its roots in passion” (Drinkwater 1). He has studied many Oscar Wilde plays and, under his eyes, sees