Oscar Wilde 's The Picture Of Dorian Gray

In the beginning of the novel, Lord Wotton introduces Gray to the philosophy of “the new Hedonism,” where only good thing to do is seek out pleasure, not morality, and do whatever feels good. Dorian takes this to heart. Dorian falls in love with Sibyl Vane, an actress which tests his devotion to his new found philosophy. However, Dorian’s love is shallow as he lonely loved her acting. He tells Sibyl “I can’t see you again. You have disappointed me.” (Wilde 92). Dorian breaks Sibyl’s heart and drives her to suicide. This is the first stage of moral regression: knowledge and Ignorance. Dorian is ignorant of the facts that are placed in front of him and continues on with his life blissfully ignorant. The next day, face on the canvas has changed, and Dorian has a moment of crisis. Dorian is horrified that the image on the canvas has changed. This

“England is bad enough I know, and English society is all wrong” (Wilde, 145). The Picture of Dorian Gray and The Importance of Being Ernest are both ingenious literary works by the witty Oscar Wilde. The lead roles Dorian Gray and Jack Worthing are the perfect examples of how the Victorian society was phony. Although one is tragic and the other comedic both works by Oscar Wilde offer a social comment on the hypocrisy of the Victorian Era. Through the protagonist’s superficiality, deception and consequence of living a double life such comments are presented. While their superficiality and ability to deceive people are quite similar their consequences for their actions differ a great deal.

“There were passions in him that would find their terrible outlet, dreams that would make the shadow of the real evil” (Wilde,115). The author reveals pleasure as the driving force of many characters within Oscar Wilde’s The Picture of Dorian Gray, but this search for pleasure becomes fatal once taken into the hands of Dorian Gray. Throughout the novel Dorian Gray changes his opinion on pleasure based on what he requires in order to escape reality. With each death and misdeed he is responsible for; Dorian must search harder for a more drastic form of release. His path declines from his innocent beginnings with Sybil Vane, to the pleasure he finds in corrupt relations, and finally his need to escape the reality of killing a former

The Picture of Dorian Gray, a novel laced with sin, treachery, and raging battles of inner conflict, is Oscar Wilde’s sole novel. Considered immoral and scandalous upon publication, the book centers around a young man named Dorian Gray, who does not age or reflect the darkness of his heart outwardly, and instead a portrait of him bears the damage his destructive life wreaks on his soul. However, the meaning of the story extends past the simple fact that Dorian lives a life of immorality—he walks the path that takes him there with his two friends, Basil Hallward and Lord Henry Wotten. The two attempt to guide and influence Dorian throughout the novel in their own ways, and are a vital piece of Dorian’s tale. Basil and Henry act as character foils as well as a symbolic angel and devil for Dorian Gray’s character, and also contribute themes of choosing one’s own fate.

Finally, Wilde says that he would like to be Dorian but in another time. Dorian starts out as a handsome, wealthy gentleman that's innocent. He is quickly seduced by Lord Henry's words and starts to live life for all its pleasures. These acts are obviously not accepted by the public and with his picture taking all the flaws, his image is never damaged. In my opinion, I believe that when Wilde said he wants to be Dorian, it's because he wishes that he could "get rid of a temptation" by yielding to it,

         The novel, The Picture of Dorian Gray, written by Oscar Wilde originally appeared in Lippincott’s Monthly Magazine in 1890.  It was then published in 1891, in book form, containing six additional chapters with revisions. The first reviews of Dorian Gray were mostly unfavorable.  It was condemned for its speculative treatment  of immoral or at least uncomfortable subjects. A review in the St. James’s Gazette by Samuel Henry Jeyes, journalist and biographer was titled "‘A Study in Puppydom."   Jeyes refers to Wilde’s idle, “effeminate” characters in the book and writes: “The puppies appear to fill up the intervals of talk by plucking daisies and playing with them, and

Throughout his life Oscar Wilde had many strong influences exerted upon him. During his early childhood his mother influenced him and into college some of his professors and certain philosophers left a substantial impression upon him. Into adulthood these influences leaked out in his writing. These influences gave him ample ideas for writing The Picture of Dorian Gray. Wilde's study of the Hellenistic ideals of Epicurus, his coddled lifestyle as a child and his devotion to the movement of Aesthetics and Moral Ambiguity have produced one of the most astounding works of horror fiction.

Every single book is essentially the same. However, every book is written in a different and unique way. When writing their books, each author borrows from other authors to make their book a masterpiece. Thomas Foster, author of How to Read Literature Like a Professor, explains in great detail the differences between books, but also their connections. Foster writes “There is only one story . . . Whenever anyone puts pen to paper or hands to keyboard . . . They all take from and in return give to the same story” (Foster 185-186). One book that is a part of Foster’s story is Oscar Wilde’s The Picture of Dorian Gray. In this essay, Thomas Foster’s methods regarding both symbolism and ¬¬¬¬heart disease from his book, How to Read Literature Like a Professor will be discussed and applied to one of Oscar Wilde’s novels. Throughout his novel, The Picture of Dorian Gray, Oscar Wilde uses the portrait of the young protagonist as a symbol of many things, one of them being a mirror. Wilde also uses Gray’s death to not only signify suicide, but his true unhappiness through the stabbing and thus killing of his own soul.

The first sign of Dorian’s new development is when he first lays eyes on the portrait after hearing Lord Henry’s panegyric of youth. As Dorian gazes upon himself on the portrait, he comes to a shocking realisation. Wilde writes it as, “The sense of his own beauty came upon him like a revelation… Basil Hallward’s compliments had seemed to him to be merely the charming exaggerations of friendship… They had not influenced his nature. Then had come Lord Henry Wotton with his strange panegyric on youth, his terrible warning of its brevity. That had stirred him at the time, and now, as he stood gazing at the shadow of his own loveliness, the full reality of the description flashed across him… He would become dreadful, hideous, and uncouth. As he thought of it, a sharp pang of pain struck through him like a knife, and made each delicate fibre of his nature quiver” (Wilde 18-19). His beauty would not last forever, and he would become old and withered just like everyone else will. Dorian, who once didn’t care about his looks, had now become obsessed with the ideals and ideas fed to him from Henry. He makes his wish for the portrait to take on the burden of time and sin, instead of him. He says, “I know, now, that when one loses one’s good

In chapter 20 of The Picture of Dorian Gray by Oscar Wilde, Dorian reflects on his past crimes and wonders whether he will ever change and retrieve his innocence again. Throughout the final chapter of the novel, the elements of Gothic novel that Wilde explores conveys the idea of the pursuit of individualism. Dorian’s wild, racing emotions clearly show how much he is driven by his readiness to fulfill his desires under any circumstance. Through this, the use of specific words and punctuation markings highlight Dorian’s personal yearning of removing himself from his past.

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

Freud’s belief was that mental health and psychological wellness requires a harmonious relationship between the different parts of the mind and a lack of harmony can lead to neurosis. Plato invented the original tripartite and Freud expanded on it in 1923. The tripartite is divided into the sections: The Superego, the Ego, and the Id. The Superego is basically the conscience of our mind. The Ego is consciousness created by the combination of the Id and Superego. The Id is having thoughts of instincts and drives which are necessary to satisfy. In Oscar Wilde’s The Picture of Dorian Gray, we see the main characters representing the Superego, Ego, and Id.

Dorian expresses his undeniable vanity all the while inflating his ego. His ego is expressed when he views the picture of himself that Basil has pained of him and he believes that it has undeniable beauty that he enjoys. When he sees it he says that he would give everything if it were him “who was to be always young, and the picture that was to grow old!” (Wilde 19). The making of this wish is because Dorian loves himself and his looks more than anything and doesn’t was his physique to be tarnished with age and the problems that come with it. This wish is what results in the problems that he himself has to endure throughout the novel. The wish in the end hurts him more than hurts him. Dorian similarly has a very big ego relating to his social standing in the community he is a part of. When he almost got blackballed at the West End club he believes that