Oscar Wilde 's The Picture Of Dorian Gray

Dorian Gray is notorious for his breathtaking good looks so much that his beauty was desired by all men throughout his entire life. "I know, now, that when one loses one's good looks, whatever they may be, one loses everything. Your picture has taught me that. Lord Henry Wotton is perfectly right. Youth is the only thing worth having. When I find that I am growing old, I shall kill myself" (Wilde, 28).This is a great example of foreshadowing because Dorian does become so upset with his life and aging that he kills himself. It shows how dependant he was on beauty even until the very end of his life. It is ironic that he traded his soul for eternal beauty and in the end the only thing he wanted was his soul and no beauty. Since Dorian is beautiful he starts to think the only thing that matters in life is beauty, he only sees the importance of

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.

In the book, The Picture Of Dorian Gray by Oscar Wilde, there is a character named Lord Henry Wotton. He is the story's antagonist and whom critics often think most resembles Oscar Wilde. Wilde remarks "Basil Hallward is what I think I am: Lord Henry what the world thinks of me: Dorian what I would like to be-in other ages perhaps." Within the preface of The Picture Of Dorian Gray, there lie the lines "Those who go beneath the symbol do so at their peril. Those who read the symbol do so at their own peril." From Wilde's statement, we can assume that there is a part of Wilde represented in each of the main characters, but how they represent him is up for the reader to decide.

In The Picture of Dorian Gray, Oscar Wilde is able to show how possessions can change a man so drastically. Over the course of the book the readers examine how many items such as the painting, the yellow book and much more, shape and alter Dorian from being outgoing, likable, and overall good to secluded, manipulative and most of all deceitful. Dorian gray has many motives for being deceitful that help develop the characters, and change the way they interact with each other.

Much of the criticism regarding The Picture of Dorian Gray by Oscar Wilde has dealt with Dorian Gray’s relation to his own portrait (Raby 392). While some may argue that the portrait represents a reflection of Dorian Gray’s character, this is only a superficial analysis of the novel and Dorian’s character. While Dorian Gray’s true character never changes, it is his own perception of his character (his conscience) that is reflected in the changing face of his portrait. In essence Dorian’s picture becomes a mirror through which the "true Dorian" judges his own metamorphasis as the superficial "Lord Henry Dorian" attempts to embrace Lord Henry’s teachings. Dorian’s

Oscar Wilde’s The picture of Dorian Grey’s novel is about a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and believes his beauty should not be wasted and it is responsible for a new mode in his art. Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enslaved by Lord Henry's world view. He shows him a new hedonism, and suggests the only things worth following in life are beauty and fulfillment of the senses. When he realizes that one day his beauty will fade, Dorian feels a desire to sell his soul to ensure the portrait that Basil has painted would age instead of him. Dorian's wish

The narrative of the novel displays the fallibility of art as a closet by means of this portrait. When the artist imbues their sins and virtues into the very foundation of their work, they become visible for all audiences. Dorian may not paint the portrait, but he shares a similar relationship with it; it is him it reflects. The portrait mirrors Dorian and paints his longings on a canvas for all to see: “the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom […] Eternal youth, infinite passion, passions subtle and secret, wild joys and wilder sins—he was to have all these things. The portrait was to bear the burden of his shame” (Wilde 77, 88). The portrait embodies Dorian, everything he does, everything he wants, and everything he feels, the portrait projects. This further perpetuates the closet analogy; however, it also circumvents the metaphor itself, art does not conceal, it reveals. When Basil Hallward perceives the fruit of his labor after Dorian infuses it with himself, his response shows the portrait’s failure to conceal: “There was something in its expression that filled him with disgust and loathing […] it was from within, apparently, that the foulness and horror had come. Through some strange quickening of inner life the leprosies of sin were slowly eating the thing away” (Wilde 130-2). Art in this scenario fails as a closet and lays bare the sins of Dorian Gray, it is unable to hide that which he desires. Wilde states that “Those who go beneath the surface do so at their peril. / Those who read the symbol do so at their peril” (Wilde 3) but here, there is no beneath. The hidden intentions the work professes are visible from a brief

Throughout the novel The Picture of Dorian Gray, Oscar Wilde tells a tale about a young man named Dorian whose entire life changes after he meets Basil Hallward, who paints a portrait of Gray that ultimately leads to Gray’s demise. At the same time, Dorian also meets Lord Henry, who eventually plays a bad influence over Dorian. The portrait shows the man Dorian has become

The Picture of Dorian Gray is a short novel by Oscar Wilde originally published in 1890. The story begins at the home of Basil Hallward and opens with a conversation between him and Lord Henry Wotton. Lord Henry is fervently admiring Basil’s latest portrait of a young, beautiful man, Dorian Gray. Dorian Gray is the main protagonist in the story. He is described as having a “simple and beautiful nature”, and he remains this way until he is corrupted by the antagonist of the story, Lord Henry, who reveals himself to be the epitome of selfishness and egocentricity. He convinces Dorian that he must hold on to his youth as it will fade fast and he will grow old, which causes Dorian to wish that the painting Basil has crafted will grow old

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.

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.

Vanity and undeniable ego are characteristics of self-destructive properties. In the novel The Picture of Dorian Gray, Oscar Wilde shows how these can lead to a man’s downfall. He displays this through the character of Dorian Gray. The novel explains how as Dorian grows up and through his life, he is ultimately destroyed by his own ego, vanity and inability to change or realize how what he does affects not only him but the lives of those around him. Dorian Gray struggles throughout the novel with the daunting facts that he is Vane, has an enormous ego and cannot realize the full extent of his own actions

In The Picture of Dorian Gray, by Oscar Wilde, a young and once innocent character, named Dorian Gray, struggles to find who is he. Self- Discovery is one of the main themes in the novel. Dorian Gray, throughout chapters 1-12, gradually loses his innocence through discovering who he is. Dorian Gray sees the painting and though everyone finds it beautiful, Dorian says it is not and wishes he would never grow old. Dorian after losing his innocence, never wants to grow old, he wants to be young forever. Young Dorian Gray takes other people’s views, especially Lord Henry’s, and makes a little more extreme, but in the process, he lost his innocence and will never be able to get it back.