The chosen extract is from Chapter 2 of “The Picture of Dorian Grey” by Oscar Wilde. It starts with the sentence “Suddenly the painter appeared at the door of the studio” and ends with the sentence “I would give my soul for that!” This chapter is significant because it introduces readers to Dorian Grey and his companions. Dorian is described as extremely attractive, with a bright look in his eyes and finely-curved scarlet lips. The language used to describe him suggests that he is not the typical Victorian man, conveying an effeminate quality.
Wilde’s novel could be seen as a representation of the return of repressed desires, particularly his illicit attraction to other men. It serves as a platform for his unconscious yearnings. Central to the novel is the supremacy of youth and beauty, which aligns with the first principle of aestheticism. This movement, prevalent in Europe during ‘The Fin De Siecle,’ focused on promoting and valuing aesthetic ideals. Wilde was a proponent of this artistic philosophy, believing that art’s sole purpose is to offer beauty – or ‘art for art’s sake.’
According to Wilde’s ‘The Critic as Artist’ (1891), the critic must acknowledge that Art and Ethics are completely separate. The philosophy of Aestheticism, which originated in France with Theophile Gautier, promotes the idea that art and morality have no similarities. As Lord Henry Wotton suggests, it is more desirable to be beautiful than to be good4.
Fin de Siecle, British aestheticism, primarily associated with Wilde and his social circle, often connotes decadence and a carefree existence. It can be contended, using a psychoanalytic approach, that Dorian Gray is a means of self-reflection for Wilde. Terence Dawson proposes that elements of Freudian psychology can be observed in Wilde’s sole novel, as it seems that the unconscious mind can comprehend more than consciousness. Dawson also implies this.
The text implies that Basil and Lord Henry represent different parts of Wilde’s personality. Basil’s interest in Dorian foreshadows Wilde’s interest in Lord Alfred Douglas. The language used suggests that Basil and Lord Henry are older than Dorian. Despite not being a student, Dorian behaves in a childlike way that conveys innocence and immaturity. Later, we discover his irrational fear of aging and losing his youthful appearance.
The idea of becoming ‘wrinkled and wizened’ is unbearable to him. With Lord Henry’s manipulative nature, he can shape Dorian into someone who disregards his own moral code and conscience. Dorian’s desire to remain young forever could be seen as a call for courage. As people age, they become “hideous puppets” tormented by the memory of their unfulfilled desires and the temptations they lacked the bravery to embrace. Wilde, a supporter of the aesthetic movement, incorporated these values into his novel, which was considered revolutionary in Victorian England.
Originally published in 1890 in Lippincott’s Monthly Magazine, Oscar Wilde’s novel faced severe criticism for being scandalous and immoral. Despite extensive censorship by publishers, British critics deemed it outrageous and called for Wilde’s imprisonment on moral grounds. In 1891, Wilde revised the novel by adding six new chapters and a preface, vehemently defending the intrinsic value of his art. He argued that its beauty alone gives it worth, emphasizing that the work was not created for moral or political purposes.
According to Wilde, the self has multiple aspects. One example highlighting Oscar Wilde’s multiplicity is the critical opinion of his aesthetics9. The novel, The Picture of Dorian Grey, incorporates elements of the Gothic genre, particularly a prominent Faustian theme. Faust, similar to Wilde’s titular character, is the main figure in a famous German legend. Despite being an accomplished academic, Faust is dissatisfied with his life and also enters into a pact with the Devil.
Dorian Grey, like Faust, trades his soul for knowledge, power, and pleasure. Wilde incorporated this concept into his character, Dorian Grey, drawing inspiration from the popular culture of the time. Throughout the book, Wilde associates other characters from the legend with those in his novel. The gothic elements are evident in the presence of the transgressive character, Dorian Grey, who defies traditional aesthetic thinking. Additionally, Wilde introduces these themes.
Wilde’s creation of Dorian Grey presents a captivating exploration of a world characterized by decadence and indulgence, ultimately leading to Dorian embracing utilitarian thinking. As a representation of male youth, Dorian is initially portrayed as perfect, but due to his impressionable nature, he succumbs to juvenile behavior. Consequently, he embraces the Benthamite philosophy that asserts mankind is driven by two dominant motives: pleasure and pain. Through the influence of Lord Henry, Dorian’s character is shaped into someone solely focused on seeking pleasure and avoiding pain.
