The Picture of Dorian Gray by Oscar Wilde

The Picture of Dorian Gray by Oscar Wilde

Introduction

Oscar Wilde's version of the Faust temptation tale, The Picture of Dorian Gray, proved so popular that it was later converted to drama and opera and imitated by other writers in subsequent novels. It first appeared in 1890 in Lippincott's Magazine and was lengthened later that year for publication as Wilde's only novel. The magazine and book versions vary in ways that, while not substantially altering the story's theme of the perils of temptation, do alter some metaphors and cultural inferences. Students of the work should read both versions to observe how Wilde simultaneously fashioned a traditional gothic tale and one particularly suited to fin de siècle interests, including that of modern art.

Discussion

The story of Dorian Gray, an immature narcissist drawn toward sensuality and luxury, contrasts his self-absorption with the compassion of the artist, Basil Hallward, who fears for the soul of his frivolous model. Basil warns that a false front can never conceal the vice that always emerges in facial expression and hand gestures. Hidden in an attic room, Dorian's enchanted portrait, which epitomizes an unnatural self-interest, gradually reveals its secret—the eyes of a demon, which drive the model to violence. Wilde dresses Dorian's knifing of Basil in gruesome detail—choking sounds, arms outstretched convulsively, and blood dripping onto the carpet. As though envisioning his own doom, the killer peers down the stairwell into darkness (Wilde, 1983).

A naive orphan, Dorian Gray wishes that he might remain young while his portrait ages, proclaiming that his 18-year-old form will mock him as he grows old. But when the portrait painter, Basil Hallward, picks up a knife to destroy the picture, Dorian stops him, saying that would be like murder. That scene foreshadows an ironic later turn of events when Dorian, grown callous and desperate, murders Hallward. Hallward's friend, Lord Henry Wotton, plays the part of the devil in Wilde's tale, granting Dorian his wish for eternal beauty and youth in exchange for his soul. Lord Henry's evil, destructive personality is balanced by Hallward's good and generous nature, his artistic bent rendering him a positive and creative character (Rashkin, 1997).

Moral questions are certainly raised by Wilde's tale: Dorian Gray, influenced by a new friend, Lord Henry Wotton, becomes convinced that retaining the appearance of youth is the most important goal in life. Seeing himself beautifully depicted in his portrait, he exclaims that he would give his soul to remain young while the picture aged. His desire is fulfilled, and he indulges himself in the coming years by seeking out new experiences, driven by curiosity rather than by concern for the morality of his actions. His portrait displays the corruption of his soul; at least Dorian interprets what he sees in this way. He believes the picture is the voice of his conscience (Nunokawa, 1996).

By making Gray a high-society figure, Wilde suggests the duplicity and hypocrisy inherent to the London social scene in which he immersed ...