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Realism In The Picture Of Dorian Gray

Decent Essays

Wilde combines both the ornamental and the natural elements of the definition of aestheticism here by describing both the “Persian saddle-bags” and “honey-coloured blossoms.” The set description is so enamoring that one could almost miss “Lord Henry Wotton,” instead engaging their imagination in the appreciation of the objects around him. The descriptions are so elegantly articulated by Wilde that they can only be imagined through their beauty alone; one would not imagine plain tables and chairs while reading this, and the descriptions are certainly not “modest” as George Eliot describes in her definition of realism. This also eliminates any need for a collective spectacle; the objects simply are what they are. The entertaining language that Wilde uses in his descriptions work in satisfying his argument for aestheticism. Wilde also spends a lot of his time making the characters in The Picture of Dorian Gray aesthetic-focused. For Wilde, the only character who gives in to the idea of realism is Basil Hallward by putting far too much of himself into his own painting. Basil is the physical characterization of Wilde’s criticism of artists in his preface; he does not “conceal the artist” when creating Dorian’s portrait. Basil even claims that the “real Dorian” is the painting and not the living Dorian standing before him, saying “I shall stay with the real Dorian” when prompted to attend the theatre with Dorian and Henry Wotton (Wilde 28). Since the “real Dorian” is not to

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