РефератыИностранный языкThThe Picture Of Dorian Gray Corruption Through

The Picture Of Dorian Gray Corruption Through

The Picture Of Dorian Gray: Corruption Through Aestheticism Essay, Research Paper


The Picture of Dorian Gray: Corruption Through Aestheticism


The Picture of Dorian Gray by Oscar Wilde is the story of moral


corruption by the means of aestheticism. In the novel, the well meaning artist


Basil Hallward presets young Dorian Gray with a portrait of himself. After


conversing with cynical Lord Henry Wotton, Dorian makes a wish which dreadfully


affects his life forever. “If it were I who was to be always young, and the


picture that was to grow old! For that I would give everything! Yes, there is


nothing in the whole world I would not give! I would give my soul for that”


(Wilde 109). As it turns out, the devil that Dorian sells his soul to is Lord


Henry Wotton, who exists not only as something external to Dorian, but also as


a voice within him (Bloom 107). Dorian continues to lead a life of sensuality


which he learns about in a book given to him by Lord Henry. Dorian’s unethical


devotion to pleasure becomes his way of life.


The novel underscores its disapproval of aestheticism which negatively


impacts the main characters. Each of the three primary characters is an


aesthete and meets some form of terrible personal doom. Basil Hallward’s


aestheticism is manifested in his dedication to his artistic creations. He


searches in the outside world for the perfect manifestation of his own soul,


when he finds this object, he can create masterpieces by painting it (Bloom


109). He refuses to display the portrait of Dorian Gray with the explanation


that, “I have put too much of myself into it” (Wilde 106). He further


demonstrates the extent to which he holds this philosophy by later stating that,


“only the artist is truly reveled” (109).


Lord Henry Wotton criticizes Basil Hallward that, “An artist should


create beautiful things but should put nothing of his own life into them”


(Wilde 25). Ironically, the purpose of Basil Hallward’s existence is that he


is an aesthete striving to become one with his art (Eriksen 105). It is this


very work of art which Basil refuses to display that provides Dorian Gray with


the idea that there are no consequences to his actions. Dorian has this


belief in mind when he murders Basil. Here we see that the artist is killed


for his excessive love of physical beauty; the same art that he wished to merge


with is the cause of his mortal downfall (Juan 64).


Lord Henry Wotton, the most influential man in Dorian’s life, is an


aesthete of the mind. Basil is an artist who uses a brush while Wotton is an


artist who uses words:


There is no good, no evil, no morality and immorality;there


are modes of being. To live is to experiment aesthetically in


living to experiment all sensations, to know all emotions, and


to think all thoughts, in order that the self’s every capacity


may be imaginatively realized (West 5811).


Lord Henry believes that, “it is better to be beautiful than to be


good” (Wilde 215). Although he attests that aestheticism is a mode of thought,


he does not act on his beliefs. Basil Hallward accuses him saying, “You never


say a moral thing and you never do a wrong thing” (5). However, Lord Henry does


take the immoral action of influencing Dorian.


Although Lord Henry states that, “all influence is immoral” (Wilde 18),


he nonetheless drastically changes Dorian Gray. As Dorian acts on the beliefs


of Lord Henry, the portrait’s beauty becomes corrupted. “Lord Henry presents


Dorian with the tenants of his New Hedonism, whose basis is self-development


leading to the perfect realization of one’s nature” (Eriksen 97). If Lord


Henry’s aesthetic ideas have validity ,Dorian Gray’s portrait should not


become ugly, but rather more beautiful. Since the picture becomes loathsome,


it is evident that Lord Henry’s beliefs are untrue (West 5811). Dorian becomes


so disgusted with the horrible portrait that he slashes the canvas, and the


knife pierces his own heart. Because Lord Henry is responsible for influencing


Dorian Gray, he is partly the cause of the death of Dorian (5810).


While Lord Henry is indirectly the cause of Dorian’s death, he too


causes his own downfall. Lord Henry changes Dorian with the belief that morals


have no legitimate place in life. He gives Dorian a book about a man who seeks


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beauty in evil sensations. Both Lord Henry’s actions and thoughts prove


ruinous, as his wife leaves him and the remaining focus of his life, youthful


Dorian Gray, kills himself in an attempt to further the lifestyle suggested to


him by Lord Henry. Eventually, he is left destitute, without Dorian, the art


he so cherishes, because he tried to mold it, as dictated by aestheticism.


Of all the protagonists, Dorian’s downfall is the most clearly


recognized. A young man who was pure at the beginning of the novel becomes


depraved by the influence of Lord Henry. “He grew more and more enamored of


his own beauty, more and more interested in the corruption of his own soul”


(Bloom 121). He begins to lead a life of immorality, including the murder of


his dear friend Basil Hallward. “There were moments when he looked on evil


simply as a mode through which he could realize his conception of beautiful”


(Wilde 196). However, there is still a spark of good left in Dorian. He


lashes out at his twisted mentor, Lord Henry, declaring, “I can’t bear this


Henry! You mock at everything, and then suggest the most serious tragedies”


(173). This trace of goodness is not enough to save Dorian, for he has crossed


too far towards the perverted side of aestheticism and cannot escape it.


“Dorian experiments with himself and with men and women, and watches the


experiment recorded year by year in the fouling and aging corruption of his


portrait’s beauty” (West 5811).


Dorian becomes so disgusted with this portrait of his soul and his


conscience, that he slashes the canvas, killing himself. For Dorian, this is


the ultimate evil act, the desire to rid himself of all moral sense. Having


failed the attempt to escape through good actions, he decides to escape by


committing the most terrible of crimes. Aestheticism has claimed its final


victim.


“Basil Hallward is what I think I am: Lord Henry what the world thinks


of me: Dorian Gray what I would like to be – in other ages, perhaps” (Hart-


Davis 352). Because of the endings he creates for these characters, Oscar Wilde


proves that he does not envisions himself in the immoral characters of this


story nor is he attempting to promote their lifestyles. Of all the characters


whom he creates, he sees himself as Basil, the good artist who sacrifices


himself to fight immorality.


“It was his beauty that had ruined him, his beauty and the youth that


he had prayed for” (Wilde 242). Contrary to Wilde’s claim in the preface that,


“there is no such thing as a moral or immoral book” (vii), this novel has a


deep and meaningful purpose.


“The moral is that an absence of spirituality, of faith, of regard for human


life, separates individuals like Wilde’s Dorian Gray from humanity and makes


monsters of them” (West 5831).


W.H. Auden feels that the story is specifically structured to provide a


moral. He compares the story to that of a fairy tale, complete with a princess,


a wicked witch, and a fairy godmother. This leaves “room for a moral with


which good every fairy tale ends.” Not only is the novel seen as existing on


the pure level of fairy tales, but it is claimed to contain “ethical beauty”


(Auden 146).


The Picture of Dorian Gray is a novel including a moral dialogue


between conscience and temptation that is powerfully conveyed. Though it is


made to seem an advocate for aestheticism on the surface, the story ultimately


undermines that entire philosophy. Wilde brings the question of “to what


extent are we shaped by our actions” (26). He also demonstrates that “art


cannot be a substitute for life” (Eriksen 104). It is a fantastic tale of


hedonism with a moral to be learned and remembered.


Works Cited


Auden, W.H. “In Defense of the Tall Story.” The New Yorker. 29 November 1969.


pp.205-206, 208-210.


Bloom, Harold. Oscar Wilde. New York: Chelsea House Publishers, 1985.


Ellman, Richard. Oscar Wilde. New york: Alfred A. Knopf Inc., 1987.


Eriksen, Donald. Oscar Wilde. Boston: Twayne Publishers, 1977.


Hart-Davis, Rupert. The Letters of Oscar Wilde. New York: Harcourt, Brace and


World, 1962.


Juan, Efifanio. The Art of Oscar Wilde. New Jersey: Princetown University Press,


1967.


Wilde, Oscar. The Picture of Dorian Gray. New York: Random House, Inc., 1992.

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