The Picture of Dorian Gray as an Imitation of Aestheticism
The Picture of Dorian Gray, the only full-length novel ever written by the legendary playwright Oscar Wilde, is one of the most notorious books of the 19th century. With its overtones of supernaturalism, its refusal to satisfy popular morality, and its portrayal of homoerotic culture, The Picture of Dorian Gray was met with harsh criticism when it was first published in 1890. Many considered the novel dangerously influential, with one offended critic calling it "a poisonous book, the atmosphere of which is heavy with the mephitic odors of moral and spiritual putrefaction." Many of the themes and innuendos of homosexuality and moral corruption that Wilde so intricately weaved throughout the book have stirred up countless controversies and scandals. Ultimately, however, although the book seems to be a gothic twisted tale of pain and indifference, as it portrays the decay of the main character, Dorian, into a seedy underworld that is characterized by murder and quite often visits to opium houses, it is really a refinement of aestheticism. Wilde, who was intrinsically involved in the aesthetic movement and is even given credit by Richard Ellman to have been the sole reason for the artistic character of the 1880's (305), wrote the b
Throughout the book, the key focus is a combination of all these things. Art beig a necessity to society, influences of art, and influences of people in our lives ultimately come together to form the main aphorism of the aesthetic movement; Life imitates art. In Dorian gray, it is portrayed conversely as the portrait, the art, imitates the moral decay and corruption of Dorian, the life. [Lord Henry:] "Tell me more about Mr. Dorian Gray. How often do you see him?" More Intriguing than any one character, though, is the relationship between the three main characters of the book. The opening chapters set up something of a triangle among the three main characters, wherein Lord Henry and Basil vie for Dorian's soul and affections. The relationship among Lord Henry, Dorian, and Basil is clearly homoerotic, and must have shocked readers who valued Victorian respectability. Although Wilde stops short of stating that Basil and Lord Henry have sexual feelings for Dorian, the language he uses to describe their devotion to Dorian is unmistakably the language of deep, romantic intimacy. In one scene, for example, although the ostensible topic of conversation is Dorian as a subject for portraits, the exchange between Basil and Lord Henry betrays the romantic nature of Basil's feelings: [Basil Hallward:] "Every day. I couldn't be happy if I didn't see him everyday. He is absolutely necessary to me" (12) The Preface to The Picture of Dorian Gray is a collection of epigrams that aptly sums up the ideals of the artistic and philosophical movement known as aestheticism. Aestheticism, which found its footing in Europe in the early nineteenth century, proposed that "art need not serve moral, political, or otherwise didactic ends" (Huges). Followers of Aestheticism, Wilde included, believed that art should be valuable in and of itself-art for art's sake. Wilde's conviction to the Aesthetic ideal can easily be seen in his writing. His determination to live a life of beauty and to mold his life into a work of art is reflected in the beliefs and actions of several characters in Wilde's only novel. More particularl
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Approximate Word count = 1424
Approximate Pages = 6 (250 words per page double spaced)
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