Dorian Gray Analysis:
Victorian Context of Oscar Wilde and “The Picture of Dorian Gray”:
Oscar Wilde was an Irish Writer and poet. Dorian Gray was written in 1889 in Victorian
England, a story of a man who trades the purity of his soul for undying youth. Its key
principles were radical for the era, a period characterised by sexual restraint and low crime
tolerance. On the contrary, Wilde’s only novel focuses on the opposing morals to Victorian
society; sexual restraint is contradicted with the homoerotic undertones of the primary
characters, and the strict code of conduct is broken with Dorian’s hedonistic attitudes.
Furthermore, Gray’s murder of Basil and other symbols of violence throughout could explain
the heavy criticism the novel received upon publication. As Wilde’s notoriety grew, his
opponents used the homosexual undertones and seemingly immoral hedonistic values of
Dorian Gray as an argument against his character. The theme of art is central to the book,
suggesting the aesthetic philosophy of Wilde. In contrast to the socio-political values of art
during the Victorian era, aestheticists like Wilde believed that art did not need a moral
meaning or educational value, its purpose solely to be beautiful. The aesthetic movement as
a whole denied that art must necessarily be an instructive force in order to be valuable.
Instead, they believed that art should be valuable in and of itself. This is seen most
prominently in Dorian’s character, and his obsession with his own pursuit of pleasure and
staying forever youthful.
Chapters 1-2
The novel begins in the rich and elegant London home of well known artist Basil Hallward,
discussing his latest portrait with his friend Lord Henry Wotton, who believes it is Basil’s
finest work, and insists on exhibiting it. Basil refuses, claiming he has put too much of
himself into it. He explains how Dorian has become a subject of fascination and obsession
for Basil, his sole inspiration. The next moment, Dorian Gray arrives at the door, and Lord
Henry insists on meeting the young man. Agreeing reluctantly, Basil begs Henry not to try to
influence him upon his arrival. Dorian Gray proves to be every bit as handsome as his
portrait, and is intrigued by the idea of Lord Henry’s influence. Henry praises Dorian on his
youth and beauty, however warning him that these qualities will fade quickly, therefore he
should live life to the fullest. Once the portrait is finished, looking at it makes Dorian
unhappy, considering Lord Henry’s warning on the advance of age, and how the painting will
stay young while he becomes old and wrinkled. Dorian and Lord Henry go to the theatre
together later that evening despite Basil’s objections.
, Analysis:
Influence: Chapter one immediately introduces us to the idea of influence, which is
prominent throughout the text. Lord Henry’s brilliant speech is a much more influential force
than aesthetic beauty. His witty epigrams threaten to seduce not only the impressionable
young Dorian but the reader as well. His ironic speech cuts through social convention.
Youth: Henry speaks at length on the virtues of youth and beauty, claiming that “beauty is a
form of genius”. He urges Dorian to be selfish with his youth and to seek a “new
hedonism”. He explains that youth and beauty are the finest of all treasures, and they should
be cherished and guarded because they so quickly fade.
Gray adopts the Faustian character; While not contracting the devil directly, he trades his
soul for the luxury of eternal youth. In light of the Faust legend, Lord Henry seems to be
playing the part of the devil, or devil’s advocate, leading Dorian into an unholy pact by
manipulating his sense of innocence and insecurity.
The aesthetic beauty of Dorian Gray is described on the first page of the novel, when we are
first introduced to the portrait. The infamous picture actually appears before the protagonist
of the novel, signifying the importance it will hold throughout.
Lord Henry’s aesthetic philosophy: Lord Henry trumpets his aesthetic philosophy with an
elegance and bravado that persuade Dorian to trust in the principles he espouses. To the
aesthete, there is no distinction between moral and immoral acts, only those that increase or
decrease one’s happiness. Furthermore, aesthetes believed that the ideal life mimics art; it is
beautiful but quite useless beyond its beauty, concerned only with the individual living in it.
Yet, while Dorian pursues a lifestyle of hedonism, his behaviour kills not only him but others,
and he dies unhappier than ever. Rather than an advocate for aestheticism, Dorian Gray is a
cautionary tale in which Wilde illustrates the dangers of the aesthetic philosophy when not
practised with prudence. Lord Henry suggests that aestheticism and morality cannot co-exist
with one another.
“There is nothing in this world but youth” Lord Henry. It is clear that Dorian is easily
swayed by Henry’s seductive ideas, as he spots Gray’s vulnerability immediately and plants
seeds of terror in the young man, an unreasonable and immature fear of growing old and
losing his youthful beauty.
“But beauty, real beauty, ends where an intellectual expression begins” Lord Henry
dismisses the need for intellect, focusing purely on the beauty of art itself.
Victorian Context of Oscar Wilde and “The Picture of Dorian Gray”:
Oscar Wilde was an Irish Writer and poet. Dorian Gray was written in 1889 in Victorian
England, a story of a man who trades the purity of his soul for undying youth. Its key
principles were radical for the era, a period characterised by sexual restraint and low crime
tolerance. On the contrary, Wilde’s only novel focuses on the opposing morals to Victorian
society; sexual restraint is contradicted with the homoerotic undertones of the primary
characters, and the strict code of conduct is broken with Dorian’s hedonistic attitudes.
Furthermore, Gray’s murder of Basil and other symbols of violence throughout could explain
the heavy criticism the novel received upon publication. As Wilde’s notoriety grew, his
opponents used the homosexual undertones and seemingly immoral hedonistic values of
Dorian Gray as an argument against his character. The theme of art is central to the book,
suggesting the aesthetic philosophy of Wilde. In contrast to the socio-political values of art
during the Victorian era, aestheticists like Wilde believed that art did not need a moral
meaning or educational value, its purpose solely to be beautiful. The aesthetic movement as
a whole denied that art must necessarily be an instructive force in order to be valuable.
Instead, they believed that art should be valuable in and of itself. This is seen most
prominently in Dorian’s character, and his obsession with his own pursuit of pleasure and
staying forever youthful.
Chapters 1-2
The novel begins in the rich and elegant London home of well known artist Basil Hallward,
discussing his latest portrait with his friend Lord Henry Wotton, who believes it is Basil’s
finest work, and insists on exhibiting it. Basil refuses, claiming he has put too much of
himself into it. He explains how Dorian has become a subject of fascination and obsession
for Basil, his sole inspiration. The next moment, Dorian Gray arrives at the door, and Lord
Henry insists on meeting the young man. Agreeing reluctantly, Basil begs Henry not to try to
influence him upon his arrival. Dorian Gray proves to be every bit as handsome as his
portrait, and is intrigued by the idea of Lord Henry’s influence. Henry praises Dorian on his
youth and beauty, however warning him that these qualities will fade quickly, therefore he
should live life to the fullest. Once the portrait is finished, looking at it makes Dorian
unhappy, considering Lord Henry’s warning on the advance of age, and how the painting will
stay young while he becomes old and wrinkled. Dorian and Lord Henry go to the theatre
together later that evening despite Basil’s objections.
, Analysis:
Influence: Chapter one immediately introduces us to the idea of influence, which is
prominent throughout the text. Lord Henry’s brilliant speech is a much more influential force
than aesthetic beauty. His witty epigrams threaten to seduce not only the impressionable
young Dorian but the reader as well. His ironic speech cuts through social convention.
Youth: Henry speaks at length on the virtues of youth and beauty, claiming that “beauty is a
form of genius”. He urges Dorian to be selfish with his youth and to seek a “new
hedonism”. He explains that youth and beauty are the finest of all treasures, and they should
be cherished and guarded because they so quickly fade.
Gray adopts the Faustian character; While not contracting the devil directly, he trades his
soul for the luxury of eternal youth. In light of the Faust legend, Lord Henry seems to be
playing the part of the devil, or devil’s advocate, leading Dorian into an unholy pact by
manipulating his sense of innocence and insecurity.
The aesthetic beauty of Dorian Gray is described on the first page of the novel, when we are
first introduced to the portrait. The infamous picture actually appears before the protagonist
of the novel, signifying the importance it will hold throughout.
Lord Henry’s aesthetic philosophy: Lord Henry trumpets his aesthetic philosophy with an
elegance and bravado that persuade Dorian to trust in the principles he espouses. To the
aesthete, there is no distinction between moral and immoral acts, only those that increase or
decrease one’s happiness. Furthermore, aesthetes believed that the ideal life mimics art; it is
beautiful but quite useless beyond its beauty, concerned only with the individual living in it.
Yet, while Dorian pursues a lifestyle of hedonism, his behaviour kills not only him but others,
and he dies unhappier than ever. Rather than an advocate for aestheticism, Dorian Gray is a
cautionary tale in which Wilde illustrates the dangers of the aesthetic philosophy when not
practised with prudence. Lord Henry suggests that aestheticism and morality cannot co-exist
with one another.
“There is nothing in this world but youth” Lord Henry. It is clear that Dorian is easily
swayed by Henry’s seductive ideas, as he spots Gray’s vulnerability immediately and plants
seeds of terror in the young man, an unreasonable and immature fear of growing old and
losing his youthful beauty.
“But beauty, real beauty, ends where an intellectual expression begins” Lord Henry
dismisses the need for intellect, focusing purely on the beauty of art itself.
