Discovering Wilde in The Picture of Dorian Gray
The Picture of Dorian Gray can be defined as a symbolic representation of a dialectic between two aspects of Wilde's personality. Dorian is an archetypal image by which both aspects are fascinated. This suggests that his behaviour symbolizes Wilde's unconscious (i.e. unacknowledged) attitudes. Dorian is characterized by his evasiveness and his obsession with objets d'art. For example, when Basil comes to console him about Sibyl's death, he is unwilling to discuss the matter. He does not want to admit the possibility that his behaviour was reprehensible. He tells his friend: "If one doesn't talk about a thing, it has never happened. It is simply expression, as Harry says, that gives reality to things" (107). Later, after murdering Basil, he again seeks to avoid acknowledging what he has done: "He felt that the secret of the whole thing was not to realize the situation" (159).
Dorian escapes from every unpleasant realization by turning his attention to other things. Unwilling to admit that his actions have moral implications, he seeks refuge in art. On hearing of Sibyl's death, he accepts an invitaton, for that very evening, to go to the opera. He learns to see life only from an aesthetic perspective. He reflects:
Form is absolutely essential to it. It should have the dignity of a ceremony, as well as its unreality, and should combine the insincere character of a romantic play with the wit and beauty that makes such plays delightful to us. (142)
The consequence of this attitude is that he finds himself increasingly "stepping outside" his experiences in order to observe them from a distance. Instead of living his experiences more intensely, he finds himself o...
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...It is worth noting that Wilde wrote of the characters in his only novel: "Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be -- in other ages, perhaps" (Letters, 352). Dorian personifies a conflict between Dionysian and Apollonian elements particularly fascinating to his creator. He has a passion for "the colour, the beauty, the joy of life" (40), but avoids becoming involved with any experience for fear of it causing him possible pain. Basil's and Lord Henry's fascination with him represents Wilde's obsession with a young dandy whose evasiveness and pseudo-aestheticism symbolize his own unconscious fears. Works Cited
Wilde, Oscar. The Picture of Dorian Gray. Ed. Isobel Murray. London: Oxford University Press, 1974.
Wilde, Oscar. The Letters of Oscar Wilde. Ed. R. Hart-Davis. London: Hart-Davis, 1962.
In California in 2000, Gary Ewing stole three golf clubs worth $399 each. The crime itself was not egregious; however, Ewing was on parole for a prior offense and was convicted for felony grand theft (“Ewing v. California”, n.d.). Under the three strikes law, it was discovered that he had previously been convicted for four serious or violent felonies. The court, at their discretion, had the option to reduce the conviction to a misdemeanor. Instead, it sentenced Ewing to 25 years to life in prison which felt was “grossly disproportionate” under the Eighth Amendment which prohibits cruel and unusual punishment. The State Court of Appeals affirmed the ruling as did the United States Supreme Court who ruled that the 25 year to life sentence was
1) To inflict economic damage on those profiting from the destruction and exploitation of the natural environment;
At its release, D. W. Griffith’s 1915 film The Birth of a Nation was regarded as a revolutionary and masterful piece of cinema. It was heralded as one of the greatest films ever made for the next fifty years, and is still revered by some for its amazing visuals and ground-breaking cinematic techniques. But these praises, some of which may be well deserved, obscure the film’s blatantly racist and offensive content in the minds of many viewers. Some of the most egregious aspects of The Birth of a Nation’s deeply rooted racism are expressed through the contrasting characters of Silas Lynch and Ben Cameron.
In The Picture of Dorian Gray, Oscar Wilde introduces Dorian Gray as a mysterious and beautiful young man. He has no opinion and is very similar to a ball of clay, in the sense that he has no opinion and is free to be molded by whoever takes interest in him. Basil and Lord Henry both take interest in the young man. While both praise his physical beauty, Lord Henry wants to turn him into a hedonist minion. He convinces Dorian that he is a perfect candidate to live life according to his pleasure and that Basil is a poor influence upon him. Dorian takes this to heart and lives his life this way. He exchanges the purity of his soul for the beauty of his youth in certain painting. This breaks him down. He becomes less and less welcome by those who once admired him. He gets blackballed from clubs, has promiscuous sex and spends seventy-two hour periods in London’s opium dens. His life of seeking pleasure makes him more and more unhappy. When Basil shows up, he wants some one to sympathize with him and tell him that what he has done is not his fault. During the scene of Basil’s murder, Dorian’s want to be seen as good is apparent, but his unwillingness to accept fault and his corrupt ideology drive him to kill Basil, unveiling a new, malicious side to Dorian Gray.
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1. This quote reveals Dorian’s acknowledgement of his double life. On the surface, he must maintain a facade of unadulterated youth and innocence. Internally, he is reeling from murdering Basil Hallward, as we see the after effects of what could be arguably called Dorian’s most nefarious act. Yet he keeps his ebullition from view and greets guests with his beauty. In a way, we can see the extent of Dorian’s corruption, as he performs the very act of the portrait himself. The twisted deed is kept away from view with his beautiful mask, and it is here that Dorian becomes sickeningly delighted with the ease that he can fool the world. He is not a complete villain without any realization of his own sins, yet the fact that he slides into a composure of innocence with a sense of “terrible pleasure” shows how far he has gone into corruption, and how futile it will be to redeem himself (Wilde 128).
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They each feel similarities between themselves and Dorian, and strive to mold him into a reflection of themselves. Basil through his portrait, and Lord Henry through his words, both recreate Dorian in their own image and likeness (Manganiello). He publically reflects Basil through his exterior personality, and privately reflects Lord Henry, through his inner personality and behaviors. In a criticism essay written on The Picture of Dorian Gray, a writer states, “The need to immerse one’s self in unfamiliar sensations stands as the motivating force guiding Dorian’s behavior” (Gillespie). This thought is an interesting idea because it explains why Lord Henry seems so appealing to Dorian. As a young man, Dorian is still developing himself through new experiences, and the intriguing novelty of Lord Henry draws him in. This fulfills the need for Dorian to immerse himself in unfamiliar experiences that he is not accustomed to. He is not used to living that type of lifestyle and when he has the opportunity to do so, he becomes completely captivated by it and is unable to release himself from the hold it has on
Tehen all of a sudden out of nowhere this former friend is never spoken again
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