Oscar Wilde, Aestheticism, and The Picture of Dorian Gray
Aestheticism: Art for Art’s Sake
In the late 19th century, the traditional Victorian values of morality, respectability, and utility were challenged by the artistic and literary movement known as Aestheticism. It posited that art should not be moral or didactic, but rather seek beauty and sensory pleasure.
The famous motto, “Art for Art’s Sake”, expressed this concept, praising the sensual qualities of art and the pleasure it could evoke. This went against the Victorian belief that literature and art should provide important ethical rules, such as proper behavior.
Walter Pater is the foremost theoretician of the Aesthetic movement in England. He rejected religious faith and argued that art was the only means of transcending time. He thought that life should be lived “as a work of art,” filling every moment with experiences and embracing all kinds of sensations.
The artist’s task was to experience sensations, to be attentive to beauty and grace, and to express detachment from contemporary society. Thus, the artist, employing the language of the senses, was seen as one who expressed the meaning or emotion felt about reality.
Pater’s works influenced poets and writers of the 1890s, such as Oscar Wilde. Wilde argued that life imitates art and embodied this concept by presenting himself as a well-dressed, well-mannered dandy whose life was “like a work of art.”
Oscar Wilde: Life and Legacy
His Life
Oscar Wilde was born in Dublin in 1854. He attended Trinity College and then Oxford, where he earned a first-class degree in classical studies and was noted for his eccentricity. He became a disciple of Walter Pater, accepting the theory of Art for Art’s Sake.
After graduating, he moved to London, where he soon became a fashionable dandy, renowned for his extraordinary wit and extravagant attire.
In 1881, he was commissioned for a lecture tour of the United States, where he gave talks on the Pre-Raphaelites and Aesthetes. In the same year, he published the collection Poems and a series of short stories.
In 1884, he married Constance Lloyd, with whom he had two children. Wilde was primarily known as a brilliant orator and wit; his speeches frequently appeared in London’s most fashionable magazines. In 1891, he published the novel The Picture of Dorian Gray.
Following his singular novel, he developed a keen interest in drama. In the 1890s, he produced four successful social comedies. However, both the novel and a subsequent tragedy damaged his reputation: the novel was deemed immoral, and the tragedy was barred from the London stage due to alleged obscenity.
In 1891, Wilde fell in love with Lord Alfred Douglas. Lord Alfred Douglas’s father initiated a public trial, and Wilde was found guilty of gross indecency and sentenced to two years’ hard labor. While imprisoned in Reading Gaol, he wrote De Profundis, a long letter in which he reflected on his life. After his release in 1897, he went to France, where he spent the remainder of his life in poverty, under a pseudonym. The Ballad of Reading Gaol was his last published work. He died of meningitis in Paris in 1900.
The Picture of Dorian Gray: Analysis
Plot Summary
The novel is set in late 19th-century London. The protagonist is Dorian Gray, a young man whose beauty fascinates a painter, Basil Hallward, who decides to paint his portrait.
Under the influence of the brilliant but corrupt Lord Henry Wotton, Dorian devotes himself to a life of pleasure. While the young man’s desires are fulfilled, including that of eternal youth, the signs of age, experience, and vice appear not on Dorian but on the portrait.
Dorian exploits people, even leading to their demise due to his insensitivity.
When Basil, the painter, confronts the corrupted image of his portrait, Dorian murders him.
Dorian wants to get rid of the portrait, a witness to his spiritual corruption, and stabs it; in doing so, he kills himself. Just at the moment of Dorian’s death, the painting returns to its original purity and Dorian’s face becomes ‘withered, wrinkled, and hideous.’
Key Themes
The opening dialogue of the novel between Lord Henry and Basil focuses on the importance of beauty and appearance as the supreme values in life, reflecting the motto of Aestheticism, “Art for Art’s Sake.” This discussion leads Dorian to a Faustian pact, using the portrait as a means to maintain his youth and beauty, thereby avoiding the ravages of old age and death.
The hideous and corrupt portrait represents the dark side of Dorian’s personality, his doppelgänger. It could also be seen as a symbol of the hypocrisy of Victorian society, while Dorian’s pure and innocent appearance symbolizes bourgeois hypocrisy.
The contrast between reality and appearance is present throughout the novel, whose moral is that every excess leads to punishment, and no one can escape reality.
Main Characters
Dorian Gray
Dorian Gray, the central character in the novel, represents the ideal of youth, beauty, and innocence. In Basil Hallward’s portrait, he is depicted as a living Adonis.
Unlike the rest of humanity, Dorian remains forever young, while his painting reflects the ravages of time and his immoral acts.
His surname “Gray” suggests that he is morally ambiguous. He decides to lead a life of pleasure and sensation, but in the end, his vanity and selfishness leads to his ruin. The portrait provides a visual representation of the degradation of his soul.
Lord Henry Wotton
Lord Henry Wotton is a brilliant orator and an amoral aesthete. He believes that youth is the supreme value and is a harsh critic of the institutions held sacred by his contemporaries. He is a negative, powerful influence on the young Dorian.
Basil Hallward
Basil Hallward is an artist fascinated by Dorian’s beauty and youth. The portrait he paints of his young friend is his masterpiece, yet he hesitates to exhibit it, fearing it reveals his obsession with Dorian. When he tries to guide Dorian towards good moral conduct, he is murdered by Dorian himself.
Literary Style
The story is told by a discreet third-person omniscient narrator. Brilliant paradoxes, witty dialogues, and harmonious diction are hallmarks of the language used. Characters are revealed through their dialogue and the observations of others, a technique typical of drama.
“I Would Give My Soul”: A Key Passage
The passage is taken from the novel The Picture of Dorian Gray by Oscar Wilde.
- In this pivotal passage, Lord Henry Wotton, a charming and confident man, converses with Dorian Gray, prompting him to reflect on the fleeting nature of beauty and youth.
- Lord Henry views Dorian as exceptionally handsome, considering his beauty his greatest asset. He admires Dorian and urges him to embrace life and youth while he can, emphasizing that time is fleeting.
- The conversation takes place when Dorian sees the finished portrait, painted by the artist Basil Hallward, for the first time. This marks a crucial turning point, as Dorian realizes he will one day age and lose his beauty, while the portrait will remain eternally young. This realization deeply affects him, leading him to wish the painting would age in his stead.
- He is even willing to sacrifice his soul to remain eternally young and beautiful.
Passage Analysis
Narrator
The narrator is third-person and omniscient, refraining from direct address to the reader. The point of view is primarily internal to Dorian Gray, particularly during moments of emotional crisis.
Characters
All characters belong to Victorian high society.
- Lord Henry is an aristocratic intellectual.
- Basil is a successful artist.
- Dorian is a rich young aristocrat.
Lord Henry Wotton
- He is a charismatic, provocative, intelligent, and cynical man. He champions pleasure as the supreme value, captivating listeners with his ideas.
- Lord Henry exerts his influence primarily through words, seducing Dorian with captivating speeches on beauty, time, and youth. He successfully alters Dorian’s perception of life and himself.
Concepts of Youth, Beauty, and Age
Youth
- “Live the wonderful life that is in you.”
- “You have only a few years.”
- “Time is jealous of you.”
- “You will become sallow.”
Beauty
- “Wonderfully beautiful face.”
- “Beauty is the wonder of wonders.”
- “Beauty is a form of genius.”
- “It makes princes of those who have it.”
Old Age
- “Old and wrinkled.”
- “Hollow-cheeked, dull-eyed.”
- “There are no triumphs left for you.”
Rhetorical Devices
- Lines 11–12:
“You will become sallow, and hollow-cheeked, and dull-eyed.”
Anaphora (repetition of “and”)
Highlights physical deterioration with age. - Line 17:
“Don’t squander the gold of your days.”
Metaphor
Compares the days of youth to gold, extolling their value. - Line 54:
“A sharp pang of pain struck through him like a knife.”
Simile
Forcefully expresses Dorian’s emotional pain.
Dorian’s Emotional Expressions
- “There would be a day when his face would be wrinkled and wizened.”
- “The grace of his figure broken and deformed.”
- “A sharp pang of pain struck through him like a knife.”
- “He would be old, and horrible, and dreadful.”
- “He was to be beautiful and young for ever.” (desire)
Central Theme
The main theme of the passage is the relationship between beauty, youth, and the passing of time. Through Lord Henry’s words and Dorian’s thoughts, the fear of growing old and the desire to remain young and beautiful forever are explored.
The portrait becomes the symbol of this desire. Dorian begins to understand that one day he will lose his beauty, and this causes him profound suffering, leading him to wish the painting alone would bear the burden of age.
D’Annunzio and Oscar Wilde: A Comparison
Il Piacere by Gabriele D’Annunzio (1889) and The Picture of Dorian Gray by Oscar Wilde (1890) are two novels that embody the Aestheticism of the late 19th century. Both explore themes of beauty, art, and morality through their protagonists: Andrea Sperelli and Dorian Gray.
Protagonists
Similarities
- Both Andrea Sperelli and Dorian Gray are young men fascinated by beauty, art, and a life of luxury and refinement.
- Both reject the normal and simple life of common people and embrace ideals related to pleasure and aesthetics.
- They have weak personalities, are easily influenced, and prioritize sensations and appearance over profound actions.
Differences
- Dorian Gray is a more tragic character: he desires so much to remain young and beautiful that he is willing to give his soul. This desire leads to his moral degradation.
- Andrea Sperelli, on the other hand, is a refined aesthete, who pursues pleasure in a calmer, more melancholic manner, devoid of the magical or dramatic elements found in Dorian’s narrative.
Narrative Action
Similarities
- Both protagonists engage in actions driven by their love of beauty: Andrea awaits his lover in an elegant setting; Dorian contemplates his own beauty as if it were a work of art.
Differences
- Dorian acts to achieve eternal youth, altering his destiny and corrupting himself.
- Andrea, conversely, exhibits a lack of true action; he becomes absorbed in the details of his surroundings, his thoughts, and preparations, demonstrating an almost contemplative passivity.
Depicted Worlds
Similarities
- Both texts show rich, elegant, and beautiful worlds, where art and luxury play significant roles.
- In both narratives, time appears to halt: in D’Annunzio’s work, this is achieved through long and detailed descriptions; in Wilde’s, through the protagonist’s desire for eternal youth.
Differences
- D’Annunzio describes a concrete and sensorial world, rich with sounds, colors, scents, and references to Italian art and mythology.
- Wilde describes a more symbolic and moral world, where beauty can become perilous and obsession with it leads to severe moral consequences.
Literary Language
- D’Annunzio uses a rich, sensual, and descriptive language, replete with visual metaphors and references to mythology and art.
- Wilde uses a more direct language, yet employing strong and symbolic expressions, such as “I would give my soul,” focusing on inner drama and moral tension.
Symbolism of Flowers
In both texts, flowers symbolize fleeting beauty, sensuality, and desire.
- In D’Annunzio, roses symbolize delicate and decadent sensuality.
- In Wilde, flowers (like the white rose in other parts of the novel) underscore the brevity of youth and the obsession with appearance.
Textual Mood and Atmosphere
Both texts have a decadent, sensual mood, imbued with desire and sadness.
- In D’Annunzio, there is a calm, almost ritualistic atmosphere.
- In Wilde, the phrase “I would give my soul” suggests profound inner drama, a conflict between beauty and ruin.
“Dorian’s Death”: Climax and Consequences
Summary of the Scene
Dorian Gray enters the room where his portrait is kept. When he looks at it, he notices the horrific signs of his moral corruption. The portrait appears disgusting, with a “curved wrinkle of the hypocrite” and “blood newly spilt.” Dorian begins to question what compelled him to commit murder—whether it was vanity, the pursuit of new sensations, or an inherent evil within him. He realizes he has lived a life of profound hypocrisy, feigning virtue while concealing his egregious sins.
He rejects the notion of confession, believing no one would credit his story and would instead deem him insane. The portrait becomes the ultimate proof of his guilt and tormented conscience. He resolves to destroy it, hoping to liberate himself from his monstrous soul and past transgressions. He grabs the knife and stabs the painting.
A terrible cry and a crash are heard, prompting people to rush to the room. Upon entering, the servants and others discover a dead man on the floor—old, hideous, and with a knife plunged into his heart. The portrait, however, has reverted to its original beauty. They identify the deceased as Dorian Gray by the rings on his fingers.
Detailed Textual Analysis
This passage vividly describes the final moments of Dorian Gray’s life. Upon entering the locked room where his portrait is hidden, he observes its horrific transformation, which reflects all the sins and corruption he has accumulated. The face in the painting is now hideous, marked by cunning and blood, revealing to Dorian the true state of his soul.
Tormented by overwhelming guilt and fear, Dorian reflects on his life, questioning what compelled him to commit such heinous crimes. Though he briefly considers confession, he ultimately rejects the idea, fearing public shame and disbelief. Instead, he resolves to destroy the portrait, believing this act will liberate him from his sins. He takes the knife he once used to murder Basil Hallward and stabs the painting. At that moment, a terrible cry is heard, and the servants discover Dorian dead on the floor—old, wrinkled, and unrecognizable, save for the rings on his fingers. The portrait, conversely, has reverted to its original, youthful beauty.
Dorian Gray’s Character Arc
Dorian Gray shows a complex mix of emotions: horror, disgust, guilt, and despair. While staring at the portrait, he is confronted with the visible consequences of his actions and realizes the extent of his moral degradation. He questions what propelled him to commit murder: was it vanity, the desire for new experiences, or something deeper and darker within him?
Dorian begins to grasp the profound depth of his hypocrisy, having lived a life of pretense while concealing terrible sins.
The portrait becomes a potent symbol of his conscience, a constant reminder of his transformation. Instead of seeking forgiveness through confession and punishment, he chooses destruction. By stabbing the painting, he hopes to eradicate the evidence of his guilt and perhaps regain his innocence; however, in doing so, he kills himself. His final act is both a rejection of truth and a tragic acknowledgment of its inescapable power.
Themes and Vocabulary
Oscar Wilde employs rich and dramatic vocabulary to evoke horror and moral decay.
The theme of blood is prominent: words and images such as “scarlet dew,” “blood newly spilt,” and “red stain” highlight violence and guilt. These phrases directly link Dorian’s soul to murder and corruption. The portrait is described with terrifying features: a “curved wrinkle,” a “mocking laugh,” and comparisons to a “horrible disease.” This vocabulary illustrates how Dorian’s sins have infected the image, transforming beauty into a grotesque reflection of his soul.
The semantic field encompasses corruption, disease, sin, and horror—all central to the novel’s Gothic atmosphere.
Language and Symbolism
The passage is replete with powerful visual and symbolic language. In describing the portrait, Oscar Wilde uses nouns like “cunning” and “wrinkle,” adjectives like “loathsome” and “scarlet,” and verbs such as “spotted” and “trembled.” These words help paint a vivid image of the portrait’s terrifying transformation and its profound moral meaning.
The painting is associated with two key ideas: guilt and conscience. Dorian himself perceives it as a silent judge, a constant reminder of his past crimes. It holds a moral authority over him that he can no longer bear.
There are also spiritual references, suggesting Dorian’s awareness of the possibility of salvation through confession and punishment. However, he rejects this path, preferring instead to destroy the symbol of his guilt.
The ending is rich in symbolism: when Dorian stabs the painting, he effectively kills himself. The portrait reverts to its original beauty, while Dorian’s body reveals the full horror of his hidden sins. This stark contrast highlights the theme of duality between outer appearance and inner truth.