The Picture of Dorian Gray is an iconic novel by Oscar Wilde that tells the story of a highly cultured and refined young man, Dorian Gray, who inadvertently catches the attention of a local painter, Basil Howard. Basil approaches the young Dorian as a front man for a new kind of art he considers as an elemental turning point of his career. He essentially uses his mastery of art to showcase his feelings towards the young Dorian: feelings that he later deems a likely point of weakness on his part that should be checked. He then introduces Dorian to a close friend by the name of Lord Henry Wotton, who is also immediately taken in by the sensuous beauty and grace the young Dorian exudes. The novel notes, “Lord Henry looked at him. Yes, he was certainly wonderfully handsome” (Wilde 34). Lord Henry later becomes an influential figure in Dorian’s life, by helping shape his proclivities, such as in matters of secular philosophy and the appreciation of pleasure. For instance, he tells Dorian, “Live! Live the wonderful life that is in you! Let nothing be lost upon you” (Wilde 46). Oscar Wilde introduces his controversial liberal viewpoint regarding art in general in the preface of the novel. In it, he states that, “There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all” (Wilde 6). This simply means that art is not to be taken as an exemplar of idealistic codes of conduct or social standards. In essence, the preface offers a rebuttal to increasing antagonism towards basically all forms of art from the more conservative quarters of punditry. This sentiment is especially clear in his assertion that thoughts and language are tools that the artist uses to create his or her piece of art. As such, consumers of a particular work of art should not approach it with the relentless criticism of a professional moral pundit but should rather judge it with regard to its essential composition and presentation as it is. For purposes of this treatise, keen focus shall be on the expression of morality in the novel with respect to Wilde’s artistic presentation of the theme. Concisely, this treatise shall seek to defend the thesis apparent from Wilde’s moral leanings as expressed in the novel’s preface. This paper, thus, seeks to show that art is not a representation of strict codes and standards of morality; it is instead a representation of the artist’s creative ability and should therefore be judged as such.
Description:
Morality is usually defined aphoristically as a distinction between what is good and what is bad, or what is right and what is wrong. In truth, however, the aphoristic representation of morality is an expression of what is considered ideal in society and is therefore expected and tolerable. The Picture of Dorian Gray, on the other hand, seems to turn this interpretation of the subject around on its basic premise; the novel brings out themes hitherto seen as unacceptable. The most direct example of this is the idea that the novel’s protagonist, Dorian Gray, made a Faustian pact with the gods to ensure that he stays young and never has to experience the apparently undesirable effects of old age. He wished to himself, “Oh, if it were only the other way! If the picture could change, and I could be always what I am now!” (Wilde 52). To put this in its proper context, Dorian was speaking with his painter, Basil Hallward, and his friend, Lord Henry Wotton. They were discussing the marvelous aesthetic appeal of the painting that Basil had just done of Dorian. Lord Henry at one point remarked, “It is one of the greatest things in modern art” (Wilde 50). Upon seeing its beauty, Dorian expressed a desire to retain his good charms accorded to him by the grace of youth. Dorian begins to admire the abstract concept of beauty now more than even, noting, “Lord Henry Wotton is perfectly right. Youth is the only thing worth having” (Wilde 52). This is the first instance of a new kind of morality as expressed by Wilde in his novel. He is in a sense introducing a new realm of fiction where such Faustian ideologies seem tolerable.
Homoeroticism:
Similarly, the novel contains several homoerotic references whereby the main characters express their intimate feels of affection and admiration towards each other. Some of these references, however, are indirectly expressed by the author himself as he explains the story behind each interaction. For instance, while Basil was painting Dorian, he noted that he was handsome. The novel notes that “the painter looked at the gracious and comely form he had so skillfully mirrored in his art” (Wilde 10). Wilde (34) goes on to describe just how Dorian’s physical charms had fascinated both Basil and Lord Henry in graphic detail: “His finely curved scarlet lips, his frank blue eyes, his crisp gold hair.” He also contends that Dorian’s perfectly formed lips have the potential to captivate anyone who looks at him. He later quips: “how charming he had been at dinner the night before, as with startled eyes and lips parted in frightened pleasure he had sat opposite to him at the club” (Wilde 38). This is then corroborated by the extensive wave of platitudes offered by Lord Henry after meeting Dorian. In this regard, such kind of homoeroticism is a new outlook of a certain kind of morality that does not recognize salient taboos typically associated with the kind of amorous relations between men as expressed in the novel.
Hedonism:
Another new form of morality apparent in the novel is founded on the ideology of hedonism as introduced by Lord Henry. When Dorian meets Lord Henry and they begin to exchange ideas, Lord Henry says to Dorian that the world needs a new kind of hedonism of which the latter was inarguably a perfect model. He tells Dorian, “Be always searching for new sensations. Be afraid of nothing A new Hedonism – that is what our century wants” (Wilde 46). This novel philosophical doctrine is essentially dedicated to satiating the physical senses as the prime goal of existence. In other words, hedonism exalts the quest to fulfill the desires of the physical body over all other human pursuits and preoccupations. Lord Henry tells Dorian that beauty is the main foundation of a good life. He says to Dorian of old age, “You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly” (Wilde 45). He also says to Dorian, “Realize your youth while you have it. Don’t squander the gold of your days” (Wilde 46). As is the pattern with the novel’s approach to morality, this new concept assumes the existence of a radically different societal perspective regarding the concept of human motivation. This is a fictional societal viewpoint which assumes that people would be easily convinced that being at the mercy of their physical senses is in some way a noble thing. This idea is indeed caried forward by Dorian assimilation of this basic tenet in the years to follow.
Debauchery:
Closely tied to the concept of hedonism is debauchery. This term denotes an uninhibited and excessively immoral pursuit of sensual pleasures. The difference between the two concepts is the fact that hedonism is a philosophical ideal of pursuing pleasure as the basic objective of humanity. For debauchery, however, this pursuit involves unfettered indulgences, especially in the case sexuality. Dorian also seems to embody this ideal as well, more specifically in his relationships with women. He becomes amorously attached to a woman by the name of Sibyl Vane, who evidently captivates him extensively. He becomes greatly infatuated with her as stated in the novel: “His sudden mad love for Sibyl Vane was a psychological phenomenon of no small interest” (Wilde 108). He seems to have fallen deeply in love as Wilde (140) notes: “I love Sibyl Vane. I want to place her on a pedestal of gold and to see the world worship the woman who is mine.” He makes his move and is able to instigate an affair with her. It is not long, though, before they get to be alone and he suddenly realizes that he does not want her any more. He tells her, “I don’t wish to be unkind, but I can’t see you again. You have disappointed me” (Wilde 160). This sudden change in emotion is inarguably attributable to lust without any firm foundation in the form of true love. The young Dorian was inarguably only interested in the physical pleasures accorded to him by his relationship with Sibyl Vane.
Conclusion
In conclusion, the morality expressed by Wilde in his novel describes a fictional world in which rigid moral standards do not apply. To begin with, Wilde states that art is just a form of expression and it is not to be approached as a biblical account of how things are meant to be. The various examples of his representation of morality indicate that indeed his novel did not intend to advocate for a certain kind of morality over another. Instead, it is an expression of fictitious scenarios in which people live out their dreams and follow their personal philosophies of life. In reality, however, such scenarios do not exist and Wilde is not implying that they do. The above descriptions only show that the characters in the novel pursued their convictions as a matter of principle. The way this is presented should be the only point of focus for any type of punditry; as such, punditry should not be directed at the fictitious content itself.
Work Cited
Wilde, Oscar. The Picture of Dorian Gray. New York, NY: Plain Label Books, 2007. Print.
