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The Conflict Between Aestheticism and Morality in Oscar Wildes The Picture of Dorian Gray Writing Program Boston University

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TheConflictBetweenAestheticismandMorality
inOscarWildesThePictureofDorianGray
PatrickDuggan(Link:http://www.bu.edu/writingprogram/journal/pastissues/issue2/fromthe
artist/masthead/editorsnote/seigle//2/pastissues/issue1/coverdesigncontest/currentissue/duggan/from
thewriter/)

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OscarWildeprefaceshisnovel,ThePictureofDorianGray,withareflectiononart,theartist,andthe
utilityofboth.Aftercarefulscrutiny,heconcludes:Allartisquiteuseless(Wilde4).Inthisonesentence,
WildeencapsulatesthecompleteprinciplesoftheAestheticMovementpopularinVictorianEngland.That
istosay,realarttakesnopartinmoldingthesocialormoralidentitiesofsociety,norshouldit.Artshould
bebeautifulandpleasureitsobserver,buttoimplyfurtherreachinginfluencewouldbeamistake.The
explosionofaestheticphilosophyinfindesicleEnglishsociety,asexemplifiedbyOscarWilde,wasnot
confinedtomerelyart,however.Rather,theproponentsofthisphilosophyextendedittolifeitself.Here,
aestheticismadvocatedwhateverbehaviorwaslikelytomaximizethebeautyandhappinessinoneslife,
inthetraditionofhedonism.Totheaesthete,theideallifemimicsartitisbeautiful,butquiteuseless
beyonditsbeauty,concernedonlywiththeindividuallivingit.Influencesonothers,ifexistent,aretrivialat
best.ManyhavereadThePictureofDorianGrayasanovelizedsponsorforjustthissortofaesthetic
lifestyle.However,thisstoryoftheriseandfallofDorianGraymightinsteadrepresentanallegoryabout
moralitymeanttocritique,ratherthanendorse,theobeyingofonesimpulsesasthoughtlesslyand
dutifullyasaestheticismdictates.
Inthenovel,LordHenryWottontrumpetstheaestheticphilosophywithaneleganceandbravadothat
persuadeDoriantotrustintheprinciplesheespousesthereaderisoftensimilarlycaptivated.Itwouldbe
amistake,however,tointerpretthenovelasapatentrecommendationofaestheticism.Totheaesthete,
thereisnodistinctionbetweenmoralandimmoralacts,onlybetweenthosethatincreaseordecrease
oneshappinessyet,DorianGrayrefutesthisidea,presentingastrongcasefortheinherentimmoralityof
purelyaestheticlives.DorianGraypersonifiestheaestheticlifestyleinaction,pursuingpersonal
gratificationwithabandon.Yet,whileheenjoystheseindulgences,hisbehaviorultimatelykillshimand
others,andhediesunhappierthanever.Ratherthananadvocateforpureaestheticism,then,Dorian
GrayisacautionarytaleinwhichWildeillustratesthedangersoftheaestheticphilosophywhennot
practicedwithprudence.Aestheticism,arguesWilde,toooftenalignsitselfwithimmorality,resultingina
precariousphilosophythatmustbepracticeddeliberately.
DorianGrayisoftenreadasanexplicitproclamationoftheworthinessoflivinglifeinaccordancewith
aestheticvalues.ThisisdueinparttotheflourishingAestheticMovementofVictorianEnglandatthetime
ofthenovelspublication,aswellasOscarWildesassociationwiththemovementitself(Becker660).The
AestheticMovement,whichcoincidedwiththeIndustrialRevolutionattheendofthenineteenthcentury,
emphasizedtheartisticaspectofamansworkinproducingavarietyofgoods,fromfurnituretomachines
toliterature(Becker660).OscarWilde,however,proposedthattheprinciplesoftheAestheticMovement
extendbeyondtheproductionofmerecommodities.InJosephPearcesbiography,TheUnmaskingof
OscarWilde,PearcerecallsWildesownperspectiveonthepopularmovement.Speakingofaestheticism,
Wildeisquoted:
Itisindeedtobecomeapartofthepeopleslife...Imeanamanwhoworkswithhishandsandnotwith
hishandsmerely,butwithhisheadandhisheart.Theevilthatmachineryisdoingisnotmerelyinthe
consequenceofitsworkbutinthefactthatitmakesmenthemselvesmachinesalso.Whereas,wewish
themtobeartists,thatistosaymen.(qtd.inPearce144)
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The Conflict Between Aestheticism and Morality in Oscar Wildes The Picture of Dorian Gray Writing Program Boston University

Inhisexpositionofaestheticism,Wildeappliesthephilosophyinamoreuniversalsense,stressingthe
positiveinfluencesofaestheticisminoneslifebeyondmerecraftsmanship.Justasthemachinesthat
massproducematerialswiththeinterventionofhumanthoughtarelabeledevil,Wildesimilarly
condemnsmenwhoactasmetaphoricalmachines,programmedtobehaveinaccordancewithsocietys
ideasofproprietyratherthanallowingthemselvestoactfreelyandachievethegreatestamountof
happiness.WildeseloquentadvocacyofanaestheticlifestyleisparalleledinhisdepictionofLordHenry
inDorianGray.LordHenrylecturedtotheimpressionableDorian,Wearepunishedforourrefusals.
Everyimpulsethatwestrivetostranglebroodsinthemind,andpoisonsus....Resistit,andyoursoul
growssickwithlongingforthethingsithasforbiddenitself(Wilde9).Wilde,throughLordHenry,laments
thestiflingnatureofhiscontemporaryVictoriansocietyandhowthesupposedmoralityitboasts
necessitatesselfdenialandrejectionoflifesmostbeautifulaspects.LordHenrywarnsthatwithoutan
enthusiasticembraceofaestheticism,onewillperpetuallyanguishwiththedesireofpreciselywhathe
mustdenyhimself,allforthesakeofpropriety.ThisphilosophyespousedbyWildeandLordHenryoften
leads,notsurprisingly,totheconclusionthatDorianGrayisadeclarationofWildes,promotingthe
adoptionofpurelyaestheticliveswithoutqualification.This,however,istooshallowofaninterpretation.
Opponentsofapurelyaestheticlifestylewillcertainlycitewhattheyconsideraninevitability:onesdesires
andimpulses,thoughwhenacteduponresultinamorepleasurablelife,willattimesbeundeniably
immoral.Itisatthesetimesthatthevirtuesofthewhollyaestheticlifebecomequestionable.Theruination
ofDorianGray,theembodimentofunbridledaestheticism,illustratestheimmoralityofsuchalifestyleand
gravelydemonstratesitsconsequences.WildeusesDorianGraynotasanadvertisementfor
aestheticism,butrather,heusesDorianslifetowarnagainstaestheticismshostilitytowardmoralitywhen
uncontrolled.Wildehimselfadmits,inalettertotheSt.JamessGazette,thatDorianGrayisastorywith
amoral.Andthemoralisthis:Allexcess,aswellasallrenunciation,bringsitsownpunishment(Wilde
248).Aestheticismdoeswelltocondemntherenunciationofdesires,butitisanexcessiveobedienceto
thesedesiresthatissubversivelydangerous.Therefore,inthepracticeofWildesaestheticism,
forethoughtandconstraintarenecessities,yettoooftenlacking,andwithoutthem,oneisdoomedto
sufferthesamefateasDorianGray.
ThecharacterofDorianGrayandthestoryofhisprofounddegenerationprovideacasestudyexamining
theviabilityofpurelyaestheticlives.DorianlivesaccordingtowhatLordHenryprofesseswithout
hesitation,andwhatLordHenryinspiresDorian,throughpersuasiverhetoric,isanattitudeindifferentto
consequenceandaltogetheramoral.AsWildewrites,Doriansnewfoundpositionisnevertoacceptany
theoryorsystemthatwouldinvolvethesacrificeofanymodeofpassionateexperience.Itsaim,indeed
wastobeexperienceitself,andnotthefruitsofexperience,sweetorbitterastheymaybe(Wilde125).
UnderLordHenrysmentorship,Dorian,oncetheepitomeofwideeyedyouth,behaveswithnoregardfor
theramificationsofhisactions,diligentlypursuinginstantgratificationwithoutthoughtofitsimplications,
whethertheybesweetorbitter.
DoriansrelationshipwiththeactressSibylVaneplainlyillustratesthismarkedchangeinpersonality.
DorianpursuesSibylfromfirstsights,intentonacquiringherbeforeheeverattemptstotrulyknowher.
Indeed,DoriansloveforSibylisovertlysuperficial,asevidencedbyDoriansowndescriptionofhis
infatuationwithSibyl:Ilovedyoubecauseyouweremarvelous,becauseyouhadgeniusandintellect,
becauseyourealizedthedreamsofgreatpoetsandgaveshapeandsubstancetotheshadowsofart
(Wilde101).DorianisnotattractedtoSibylscharacterofpersonality,butratherheractingtalentand
enthrallingperformancesthisiswhatenchantstheaestheticallyinclinedDorian.WhenSibylleavesthe
stage,then,shenolongerservesapurposeinDoriansaestheticlife,andthus,Dorianabandonsher
unceremoniously.DoriandoesnotregretinformingSybilthat,Withoutyourart,youarenothing(Wilde
101).ThetragedyofSybilslatersuicide,broughtaboutbyutterdespairatherdesertion,islostonDorian,
whoinsteadenjoysthedramaticintrigueoftheoccasion.ForDorian,whoseuncontrolledaestheticism
rejectstheconceptofmorality,theimmoralityofhisactionsgoesunrecognized.Infact,Doriandeclares
excitedly,Itseemstometobesimplylikeawonderfulendingtoawonderfulplay.Ithasalltheterrible
beautyofaGreektragedy,atragedyinwhichItookagreatpart,butbywhichIhavenotbeenwounded
(Wilde114).Here,theadverseconsequencesofaestheticismsurfaceinDorianslife.Inhispursuitofhis
ownpleasures,adistinctlynarcissisticattitudeemerges,andtheincompatibilityofmoralityand
unconditionalaestheticismbecomesallthemoreapparent.
TheemergenceofnarcissisminDoriananditscorrelationwithhisnewlyadoptedaestheticphilosophyis
integraltoWildesnovelasitemphasizesthefrequenthostilitybetweenaestheticismandmoralitythat
Wildecautionsagainst.DorianGrayexposestheimmoralityofselfabsorption,asDoriansportrait
becomesmoredisfiguredwitheachoneofDoriansselfishacts.Thisselfabsorption,then,appearstobe
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The Conflict Between Aestheticism and Morality in Oscar Wildes The Picture of Dorian Gray Writing Program Boston University

aninevitableconsequenceofaestheticism.Onlyamoredeliberatepracticeofaestheticismmayharness
thisegotismandavoidtheimmoralityDorianembodies.Interestingly,inhisessayComeSeeAboutMe:
EnchantmentoftheDoubleinThePictureofDorianGray,ChristopherCraftrecognizesamirroringofthe
GreekmythofNarcissusinthelifeofDorianGray.Accordingtomythology,Narcissus,uponcatchinga
glimpseofhisreflectioninapool,becomessoenrapturedbyitthathestoodandadmireditendlessly,
unmovingfortherestofhislife.AsCraftnotes,thisselfabsorptionisacommitmentthat,likeDorians,
graduatesfullyuntildeath(Craft113).Narcissusbecomessoinfatuatedwithhimselfthattherestofworld
effectivelyceasestoexistoraffecthimand,asCraftargues,itisintopreciselythissilentdeliriumthat
DorianunwittinglystepswhenheallowsLordHenrysaestheticphilosophytosodominatehim(Craft
113).Dorianenjoysalifeofeternalyouth,withonlyhisportraitaginginparallelwithDoriansimmorality
so,asDoriansinksintothedepthsofnarcissism,hemaintainshisexternalbeauty,andhisportrait
degeneratesinstead.Eventually,asinthemythofNarcissus,suchegotismhasitsconsequences.When
Dorian,disgustedwiththedecrepitpictureofthesupposedlyrealhim,destroysitinafitofanger,Dorian
tooisdestroyed.WildewritesthatafterDoriansdeath,itwasnottilltheyhadexaminedtheringsthat
theyrecognizedwhoitwas(Wilde220).Intheend,asatestamenttothepurelyaestheticlife,theonly
legacyDorianleavesbehindeverythingthatidentifieshimaswhohewasishissuperficialjewelry.
Thereisanargument,then,madebyWildeforanewaestheticism,approachedwithmoreconstraintthan
Dorianemploys.Thisargumentisbasednotonlyinthemoralobligationoftheindividual,butwiththe
bettermentofallofsocietyinmind.MatthewArnold,inhisessayCultureandAnarchy,provides
reasoningagainsttheethosofLordHenrysaestheticismandanunconditionalapplicationofit.Arnold
focusesonitsdetrimentaleffectsonsocietyandthepossibilityforsocietalimprovementwhenaesthetic
tendenciesareproperlycontrolled.Thereappearstobeagreement,then,betweenWildeandArnold
Wildenovelprovidesafailedexampleofthepurelyaestheticlife,andwhenscaledtoalargersociety,a
similarresultisunderstandablyexpected.AsArnoldviewshiscontemporarysociety,itisarranged
hierarchically,dividingthearistocrats,themiddleclass,andtheworkingclass,allofwhich,Arnold
laments,areinclinedtolivehedonistically,pursuingpleasureandonlywhatiscomfortableandeasy.
DorianGrayembodiesjusthisdefectinArnoldssociety.Arnoldargues,however,thatthereareborna
certainnumberofnatureswithacuriosityabouttheirbestselfwithabendforseeingthingsastheyare..
.forsimplyconcerningthemselveswithreasonandthewillofGod,anddoingtheirbesttomakethese
prevailforthepursuit,inaword,ofperfection(Arnold277).Arnoldisoptimisticthatsomemaypursue
beyondtheimmediatelypleasurableandacttoperfectthemselvesbothmorallyandintellectually.This
pursuitofperfection,however,islikelyanarduousanduncomfortabletask,andisthereforeincompatible
withpureaestheticism.Someconcessionsmustbemadefortheabsoluteaesthete,then,forsuch
transcendenceoccur.
DorianGray,formuchofWildesnovel,failstoembodyArnoldsideal,asinhishedonisticlifeheisseen
creepingatdawnoutofdreadfulhousesandslinkingindisguiseinthefoulestdensinLondon,despite
beingoncetoohonorableforsuchdebauchery(Wilde118).Dorianexemplifiesaregressioninsocial
intellectfromhisbeginningsratherthanthekindoftranscendencehopedforbyArnold.Doriandisplaysno
suchpursuitofintellectualperfectionasheisslowlycorruptedandinturncorruptsothers,luringthemwith
himintotheslumsandopiumdensofLondon.Arnoldreferstothoseabletotranscendsocialclassesin
societyasaliens,hintingattheirraritytothepointofforeignnessandtotheiralmostmythicalquality
(277).Themereexistenceofthesealiens,however,provideshopethattheutterhedonistsofsocietymay
learntoharnesstheirdamagingtendencies,andindoingso,bettertheintellectualandmoralstateof
humankind.
Wilde,too,recognizesthisabilitytocontrolthehedonistictemptationsassociatedwithaestheticism,as
demonstratedbythelaststagesofDorianslife.MitsuharuMatsuoka,inhisessayAestheticismand
SocialAnxietyinThePictureofDorianGray,notesthat,asDoriansdeathapproaches,Dorianultimately
reactsagainsthislifestyle,chokingonhisNewHedonism,atwhichpointagreatsenseofdoomhangs
overDorian(Matsuoka78).Indeed,Dorianappearstorealizetheconsequencesofhisunbridled
aestheticismhowever,heismuchtoofargonetosalvage.DorianrevealshisepiphanytoLordHenry:
Thesoulisaterriblereality.Itcanbebought,andsold,andbarteredaway.Itcanbepoisonedormade
perfect.Thereisasoulineachoneofus.Iknowit(Wilde211).UnfortunatelyforDorian,thisrealization
comestoolatetosavehissoulfromitsdegradation,longnurturedbyapurelyaestheticlife,andheis
destroyed.Therealizationitself,however,isindicativeofWildesargumentwoventhroughoutDorian
Gray.DespiteWildespubliclyadvocatingtheprinciplesofaestheticism,Doriansdemiseillustrates
Wildesrecognitionthataestheticismneedstobeproperlycontrolled.Whilethepursuitofbeautyand
happinessinlifeisalwaysWildesideal,healsoimpliesthattheconsequencesofonesactionsmustbe
thoughtoutandtheimpactofonesdecisions,beyondoneself,mustalsobecarefullyconsideredbefore
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The Conflict Between Aestheticism and Morality in Oscar Wildes The Picture of Dorian Gray Writing Program Boston University

actingonanyimpulse.
TheAestheticMovementinfindesicleEngland,asinterpretedbyOscarWilde,revolvedaroundthe
idealthattheutilityofonesactionsshouldbetocreatethemaximalamountofbeautyandpleasurein
oneslife,andnothingmore.WildesDorianGrayappears,atfirstglance,topromotethisphilosophy
unequivocally.Indeed,alifestylebasedonthisaestheticismisespousedinWildesopeningprefaceas
wellasthroughoutLordHenrysprofessoriallectures.Uponcloserinspection,however,Wildesnovelis
notaswhollyembracingofaestheticismasthisimplies.WilderealizedanddepictedinthelifeofDorian
Gray,aneedforamorecontrolledanddeliberateapproachtoaestheticism,withoutwhichmoralitywill
inevitablybeelusive.Theadoptionofunrestrainedaestheticism,asexhibitedbyDorian,resultsinalack
ofremorse,selfabsorption,andintellectualregression.Forthesakeofpreservingmorality,aconcept
provenincompatiblewithpureaestheticism,moredeliberationisnecessaryfromtheaestheteindeciding
uponaction.If,inthepursuitofonesdesiresandofthebeautifulaspectsoflife,theconditionofothersor
ofonesownintellectisjeopardized,theenjoymentgarneredmustsometimesbesacrificedforthegreater
good.AsWildemakesclear,itisonlythroughamorerestrainedphilosophythataestheticismandmorality
mayeventuallyalign.

WorksCited
Arnold,Matthew.CultureandAnarchy.ThePictureofDorianGray.Ed.AndrewElfenbein.NY:Pearson
Longman,2007.276279.
BeckerLeckrone,Megan.OscarWilde(18541900):AestheticandCriticism.TheContinuum
EncyclopediaofModernCriticismandTheory20(2002):658665.
Craft,Christopher.ComeSeeAboutMe:EnchantmentoftheDoubleinThePictureofDorianGray.
Representations91(2005):109136.
Matsuoka,Mitsuharu.AestheticismandSocialAnxietyinThePictureofDorianGray.Journalof
AestheticEducation29(2003):77100.
Pearce,Joseph.TheUnmaskingofOscarWilde.NY:IgnatiusPress,2004.
Wilde,Oscar.ThePictureofDorianGray.Ed.AndrewElfenbein.NY:PearsonLongman,2007.

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