Since The Picture of Dorian Gray by Oscar Wilde was first published in 1890, it can be seen as a representation of the Victorian era; a period that lasted uncommonly long from 1837 till 1901. While the length of more than sixty years complicates the exact classification of typical Victorian literary movements, certain recurring ideas and literary approaches can be found in its literature. Especially the conception of art and aesthetics seemed to experience a time of change, reshaping the way in which art was received and the role of the artist in comparison to the spectator.
Still, as art seemed to be in a state of carination, the public reception of new artistic attempts was not always positive. Especially the representation of morality and sexuality caused ground for public discontent. A connection of morality, aesthetics and sexuality in The Picture of Dorian Gray that seems to be of high importance for the novel. This paper, therefore, is going to analyse the novel regarding these aspects and the way they influence each other, illuminating whether morality is really depicted as subordinate to an artistic effect or if it is needed in order for the story to advance.
Table of Contents
1. Introduction
2. Fin de Siècle and the Aesthetic Movement of the late 19th Century
3. Morality vs. Aestheticism in Dorian Gray
3.1 Gender Boundaries
3.2 Lord Henry Wotton
3.3 Basil Hallward
3.4 Sybil Vane
4. Sexuality in Dorian Gray
4.1 Homoeroticism
4.2 Possession
4.3 Vampirism
4.4 Secrecy & Omission
5. Conclusion
Research Objectives and Themes
This paper explores the intricate relationship between morality, aesthetics, and sexuality in Oscar Wilde’s The Picture of Dorian Gray, examining whether Wilde successfully subordinated moral concerns to artistic effect or if morality remains essential for the narrative's development.
- The influence of the Aesthetic Movement on late 19th-century literature.
- The interplay between the three main characters—Dorian Gray, Lord Henry Wotton, and Basil Hallward—as moral and aesthetic archetypes.
- The role of secrecy and omission in concealing homoerotic tensions and unconventional morality.
- The symbolic function of the portrait as a mirror of the soul and a catalyst for the protagonist's descent.
Excerpt from the Book
3.1 Gender Boundaries
As Joseph Carroll points out, the characters in The Picture of Dorian Gray seem to cross gender boundaries (comp. Carroll 2005: 12) and especially Dorian’s depiction seems to be very feminine, as he is portrayed with “scarlet lips, golden hair, and eternal youth” (Felski 1096). Lord Henry even tells Dorian not to get sunburnt, feeling this would be “unbecoming” for Dorian’s pale beauty (comp Wilde 1891: 22)- a characteristic which is normally attributed to female beauty standards.
Camille Paglia, in turn, describes Dorian’s character as modelled on “pagan prototypes”, such as Adonis, Narcissus, Paris and Antinous and thus can be seen as a representation of Aryan absolutism (comp. 1990: 513). His golden-blond hair and Greek name support a category of “ephebic androgyne” (Paglia 1990: 513), in which an adolescent bloom remains into the adulthood of the character.
Additionally, Dorian’s sometimes very emotional and over dramatising behaviour, for example when being confronted with the ephemerality of his own beauty, with “hot tears” welling in his eyes and “flinging himself” on a divan (Wilde 1891: 27) can be seen as characterizations associated with women.
Rita Felski annotates the use of stylistic and thematic motifs normally classified as feminine as a means to challenge both “sexual and textual norms” (Felski 1991: 1094), even arguing that Dorian, as a feminized figure, takes the part of women whose images “circulate in commodity culture as objects of identification and desire” (Felski 1991: 1096). According to Felski, the feminized male protagonist can be identified with “love of artifice, excess and everything unnatural” (Felski 1991: 1095), thereby creating a clear picture of the way Dorian Gray evolves throughout the novel: “He is male, yet disassociated from masculine rationality, utility and progress” (Felski 1991: 1099). Until Lord Henry makes Dorian aware of his own beauty, he remains innocent, while afterwards succumbing to the Lord’s views on life.
Summary of Chapters
1. Introduction: This chapter introduces the historical and literary context of the novel, focusing on the intersection of Victorian values, the Aesthetic Movement, and the scandal surrounding the book's initial reception.
2. Fin de Siècle and the Aesthetic Movement of the late 19th Century: This section defines British Aestheticism and its influence on art, literature, and the cultural shift toward "art for art's sake" during the late 19th century.
3. Morality vs. Aestheticism in Dorian Gray: This chapter analyzes how Wilde balances artistic freedom with moral implications through the characters of Dorian, Lord Henry, and Basil.
4. Sexuality in Dorian Gray: This chapter examines themes of homoeroticism, domination, vampirism, and the strategic use of secrecy as a reflection of the Victorian social climate regarding sexuality.
5. Conclusion: The final chapter synthesizes the arguments, asserting that while Wilde sought to separate art from morality, the narrative remains deeply rooted in the moral consequences of the characters' actions.
Keywords
Oscar Wilde, The Picture of Dorian Gray, Aestheticism, Morality, Sexuality, Homoeroticism, Victorian Era, Decadence, Fin de Siècle, Dorian Gray, Lord Henry Wotton, Basil Hallward, Gender Boundaries, Narcissism, Symbolism.
Frequently Asked Questions
What is the primary objective of this academic paper?
The paper aims to analyze the complex relationship between morality, aesthetics, and sexuality in The Picture of Dorian Gray, investigating how these factors influence the narrative and the development of the characters.
Which central themes does the author address?
The study focuses on the Aesthetic Movement, the deconstruction of morality through art, the intersection of gender roles, and the underlying homoerotic tensions present throughout the novel.
What research methodology is applied?
The author uses a literary analysis approach, drawing upon historical context, contemporary criticism (such as Felski, Paglia, and Ellmann), and close reading of the text to support arguments regarding Wilde’s thematic intentions.
What is the role of the Aesthetic Movement in this study?
The Aesthetic Movement is treated as the ideological framework of the novel, explaining Dorian's transformation into an objet d'art and the subsequent defiance of traditional Victorian moral standards.
How is the main body of the work structured?
The work is organized into thematic chapters that analyze the intersection of aesthetic philosophy, gender identity, the psychological influence of Lord Henry, the moral contrast of Basil Hallward, and the motifs of sexuality and secrecy.
Which keywords best describe this research?
Key terms include Aestheticism, Homoeroticism, Morality, Victorian Era, Decadence, and Narcissism.
How does the author interpret the role of Sybil Vane?
Sybil Vane is interpreted as an actress whose identity is so deeply tied to her art that when she attempts to prioritize real life, her perceived value to Dorian diminishes, ultimately leading to her tragic reduction as a character.
Why is the motif of "Vampirism" significant in this context?
The author uses the concept of vampirism to analyze the parasitic nature of the relationships between the characters, specifically how Dorian's portrait "absorbs" his humanity and energy, mirroring Gothic literary traditions.
What conclusion does the author reach regarding the "morality" of the book?
The paper concludes that while Wilde publicly distanced his work from moral didacticism, the novel inherently functions as a moral story where Dorian's eventual destruction serves to restore a form of order.
- Quote paper
- Mirja Quix (Author), 2016, Sexuality, Aesthetics and Morality in "The Picture of Dorian Gray" by Oscar Wilde, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/428700
