{"id":217,"date":"2009-11-18T12:59:56","date_gmt":"2009-11-18T17:59:56","guid":{"rendered":"https:\/\/www.bu.edu\/writingprogram\/?page_id=217"},"modified":"2010-03-01T10:08:16","modified_gmt":"2010-03-01T15:08:16","slug":"duggan","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/writingprogram\/journal\/past-issues\/issue-1\/duggan\/","title":{"rendered":"The Conflict Between Aestheticism and Morality in Oscar Wilde\u2019s The Picture of Dorian Gray"},"content":{"rendered":"

Patrick Duggan<\/a><\/p>\n

Download this article<\/a><\/p>\n

Oscar Wilde prefaces his novel, The Picture of Dorian Gray,<\/em> with a reflection on art, the artist, and the utility of both. After careful scrutiny, he concludes: \u201cAll art is quite useless\u201d (Wilde 4). In this one sentence, Wilde encapsulates the complete principles of the Aesthetic Movement popular in Victorian England. That is to say, real art takes no part in molding the social or moral identities of society, nor should it. Art should be beautiful and pleasure its observer, but to imply further-reaching influence would be a mistake. The explosion of aesthetic philosophy in fin-de-si\u00e8cle<\/em> English society, as exemplified by Oscar Wilde, was not confined to merely art, however. Rather, the proponents of this philosophy extended it to life itself. Here, aestheticism advocated whatever behavior was likely to maximize the beauty and happiness in one\u2019s life, in the tradition of hedonism. To the aesthete, the ideal life mimics art; it is beautiful, but quite useless beyond its beauty, concerned only with the individual living it. Influences on others, if existent, are trivial at best. Many have read The Picture of Dorian Gray<\/em> as a novelized sponsor for just this sort of aesthetic lifestyle. However, this story of the rise and fall of Dorian Gray might instead represent an allegory about morality meant to critique, rather than endorse, the obeying of one\u2019s impulses as thoughtlessly and dutifully as aestheticism dictates.<\/p>\n

In the novel, Lord Henry Wotton trumpets the aesthetic philosophy with an elegance and bravado that persuade Dorian to trust in the principles he espouses; the reader is often similarly captivated. It would be a mistake, however, to interpret the novel as a patent recommendation of aestheticism. To the aesthete, there is no distinction between moral and immoral acts, only between those that increase or decrease one\u2019s happiness; yet, Dorian Gray<\/em> refutes this idea, presenting a strong case for the inherent immorality of purely aesthetic lives. Dorian Gray personifies the aesthetic lifestyle in action, pursuing personal gratification with abandon. Yet, while he enjoys these indulgences, his behavior ultimately kills him and others, and he dies unhappier than ever. Rather than an advocate for pure aestheticism, then, Dorian Gray<\/em> is a cautionary tale in which Wilde illustrates the dangers of the aesthetic philosophy when not practiced with prudence. Aestheticism, argues Wilde, too often aligns itself with immorality, resulting in a precarious philosophy that must be practiced deliberately.<\/p>\n

Dorian Gray <\/em>is often read as an explicit proclamation of the worthiness of living life in accordance with aesthetic values. This is due in part to the flourishing Aesthetic Movement of Victorian England at the time of the novel\u2019s publication, as well as Oscar Wilde\u2019s association with the movement itself (Becker 660). The Aesthetic Movement, which coincided with the Industrial Revolution at the end of the nineteenth century, emphasized the artistic aspect of a man\u2019s work in producing a variety of goods, from furniture to machines to literature (Becker 660). Oscar Wilde, however, proposed that the principles of the Aesthetic Movement extend beyond the production of mere commodities. In Joseph Pearce\u2019s biography, The Unmasking of Oscar Wilde<\/em>, Pearce recalls Wilde\u2019s own perspective on the popular movement. Speaking of aestheticism, Wilde is quoted:<\/p>\n

It is indeed to become a part of the people\u2019s life . . . I mean a man who works with his hands; and not with his hands merely, but with his head and his heart. The evil that machinery is doing is not merely in the consequence of its work but in the fact that it makes men themselves machines also. Whereas, we wish them to be artists, that is to say men. (qtd. in Pearce 144)<\/p>\n

In his exposition of aestheticism, Wilde applies the philosophy in a more universal sense, stressing the positive influences of aestheticism in one\u2019s life beyond mere craftsmanship. Just as the machines that mass-produce materials with the intervention of human thought are labeled \u201cevil,\u201d Wilde similarly condemns men who act as metaphorical machines, programmed to behave in accordance with society\u2019s ideas of propriety rather than allowing themselves to act freely and achieve the greatest amount of happiness. Wilde\u2019s eloquent advocacy of an aesthetic lifestyle is paralleled in his depiction of Lord Henry in Dorian Gray<\/em>. Lord Henry lectured to the impressionable Dorian, \u201cWe are punished for our refusals. Every impulse that we strive to strangle broods in the mind, and poisons us. . . . Resist it, and your soul grows sick with longing for the things it has forbidden itself\u201d (Wilde 9). Wilde, through Lord Henry, laments the stifling nature of his contemporary Victorian society and how the supposed morality it boasts necessitates self-denial and rejection of life\u2019s most beautiful aspects. Lord Henry warns that without an enthusiastic embrace of aestheticism, one will perpetually anguish with the desire of precisely what he must deny himself, all for the sake of propriety. This philosophy espoused by Wilde and Lord Henry often leads, not surprisingly, to the conclusion that Dorian Gray<\/em> is a declaration of Wilde\u2019s, promoting the adoption of purely aesthetic lives without qualification. This, however, is too shallow of an interpretation.<\/p>\n

Opponents of a purely aesthetic lifestyle will certainly cite what they consider an inevitability: one\u2019s desires and impulses, though when acted upon result in a more pleasurable life, will at times be undeniably immoral. It is at these times that the virtues of the wholly aesthetic life become questionable. The ruination of Dorian Gray, the embodiment of unbridled aestheticism, illustrates the immorality of such a lifestyle and gravely demonstrates its consequences. Wilde uses Dorian Gray<\/em> not as an advertisement for aestheticism, but rather, he uses Dorian\u2019s life to warn against aestheticism\u2019s hostility toward morality when uncontrolled. Wilde himself admits, in a letter to the St. James\u2019s Gazette,<\/em> that Dorian Gray <\/em>\u201cis a story with a moral. And the moral is this: All excess, as well as all renunciation, brings its own punishment\u201d (Wilde 248). Aestheticism does well to condemn the renunciation of desires, but it is an excessive obedience to these desires that is subversively dangerous. Therefore, in the practice of Wilde\u2019s aestheticism, forethought and constraint are necessities, yet too often lacking, and without them, one is doomed to suffer the same fate as Dorian Gray.<\/p>\n

The character of Dorian Gray and the story of his profound degeneration provide a case study examining the viability of purely aesthetic lives. Dorian lives according to what Lord Henry professes without hesitation, and what Lord Henry inspires Dorian, through persuasive rhetoric, is an attitude indifferent to consequence and altogether amoral. As Wilde writes, Dorian\u2019s newfound position is \u201cnever to accept any theory or system that would involve the sacrifice of any mode of passionate experience. Its aim, indeed was to be experience itself, and not the fruits of experience, sweet or bitter as they may be\u201d (Wilde 125). Under Lord Henry\u2019s mentorship, Dorian, once the epitome of wide-eyed youth, behaves with no regard for the ramifications of his actions, diligently pursuing instant gratification without thought of its implications, whether they be \u201csweet or bitter.\u201d<\/p>\n

Dorian\u2019s relationship with the actress Sibyl Vane plainly illustrates this marked change in personality. Dorian pursues Sibyl from first sights, intent on acquiring her before he ever attempts to truly know her. Indeed, Dorian\u2019s love for Sibyl is overtly superficial, as evidenced by Dorian\u2019s own description of his infatuation with Sibyl: \u201cI loved you because you were marvelous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art\u201d (Wilde 101). Dorian is not attracted to Sibyl\u2019s character of personality, but rather her acting talent and enthralling performances; this is what enchants the aesthetically inclined Dorian. When Sibyl leaves the stage, then, she no longer serves a purpose in Dorian\u2019s aesthetic life, and thus, Dorian abandons her unceremoniously. Dorian does not regret informing Sybil that, \u201cWithout your art, you are nothing\u201d (Wilde 101). The tragedy of Sybil\u2019s later suicide, brought about by utter despair at her desertion, is lost on Dorian, who instead enjoys the dramatic intrigue of the occasion. For Dorian, whose uncontrolled aestheticism rejects the concept of morality, the immorality of his actions goes unrecognized. In fact, Dorian declares excitedly, \u201cIt seems to me to be simply like a wonderful ending to a wonderful play. It has all the terrible beauty of a Greek tragedy, a tragedy in which I took a great part, but by which I have not been wounded\u201d (Wilde 114). Here, the adverse consequences of aestheticism surface in Dorian\u2019s life. In his pursuit of his own pleasures, a distinctly narcissistic attitude emerges, and the incompatibility of morality and unconditional aestheticism becomes all the more apparent.<\/p>\n

The emergence of narcissism in Dorian and its correlation with his newly adopted aesthetic philosophy is integral to Wilde\u2019s novel as it emphasizes the frequent hostility between aestheticism and morality that Wilde cautions against. Dorian Gray<\/em> exposes the immorality of self-absorption, as Dorian\u2019s portrait becomes more disfigured with each one of Dorian\u2019s selfish acts. This self-absorption, then, appears to be an inevitable consequence of aestheticism. Only a more deliberate practice of aestheticism may harness this egotism and avoid the immorality Dorian embodies. Interestingly, in his essay \u201cCome See About Me: Enchantment of the Double in The Picture of Dorian Gray<\/em>,\u201d Christopher Craft recognizes a mirroring of the Greek myth of Narcissus in the life of Dorian Gray. According to mythology, Narcissus, upon catching a glimpse of his reflection in a pool, becomes so enraptured by it that he stood and admired it endlessly, unmoving for the rest of his life. As Craft notes, this self-absorption \u201cis a commitment that, like Dorian\u2019s, graduates fully until death\u201d (Craft 113). Narcissus becomes so infatuated with himself that the rest of world effectively ceases to exist or affect him and, as Craft argues, \u201cit is into precisely this silent delirium that Dorian unwittingly steps\u201d when he allows Lord Henry\u2019s aesthetic philosophy to so dominate him (Craft 113). Dorian enjoys a life of eternal youth, with only his portrait aging in parallel with Dorian\u2019s immorality; so, as Dorian sinks into the depths of narcissism, he maintains his external beauty, and his portrait degenerates instead. Eventually, as in the myth of Narcissus, such egotism has its consequences. When Dorian, disgusted with the decrepit picture of the supposedly \u201creal\u201d him, destroys it in a fit of anger, Dorian too is destroyed. Wilde writes that after Dorian\u2019s death, \u201cit was not till they had examined the rings that they recognized who it was\u201d (Wilde 220). In the end, as a testament to the purely aesthetic life, the only legacy Dorian leaves behind\u2014everything that identifies him as who he was\u2014is his superficial jewelry.<\/p>\n

There is an argument, then, made by Wilde for a new aestheticism, approached with more constraint than Dorian employs. This argument is based not only in the moral obligation of the individual, but with the betterment of all of society in mind. Matthew Arnold, in his essay \u201cCulture and Anarchy,\u201d provides reasoning against the ethos of Lord Henry\u2019s aestheticism and an unconditional application of it. Arnold focuses on its detrimental effects on society and the possibility for societal improvement when aesthetic tendencies are properly controlled. There appears to be agreement, then, between Wilde and Arnold; Wilde\u2019 novel provides a failed example of the purely aesthetic life, and when scaled to a larger society, a similar result is understandably expected. As Arnold views his contemporary society, it is arranged hierarchically, dividing the aristocrats, the middle-class, and the working-class, all of which, Arnold laments, are inclined to live hedonistically, pursuing pleasure and only what is comfortable and easy. Dorian Gray embodies just his defect in Arnold\u2019s society. Arnold argues, however, that \u201cthere are born a certain number of natures with a curiosity about their best self with a bend for seeing things as they are . . . for simply concerning themselves with reason and the will of God, and doing their best to make these prevail;\u2014for the pursuit, in a word, of perfection\u201d (Arnold 277). Arnold is optimistic that some may pursue beyond the immediately pleasurable and act to perfect themselves both morally and intellectually. This pursuit of perfection, however, is likely an arduous and uncomfortable task, and is therefore incompatible with pure aestheticism. Some concessions must be made for the absolute aesthete, then, for such transcendence occur.<\/p>\n

Dorian Gray, for much of Wilde\u2019s novel, fails to embody Arnold\u2019s ideal, as in his hedonistic life he is seen \u201ccreeping at dawn out of dreadful houses and slinking in disguise in the foulest dens in London,\u201d despite being once too honorable for such debauchery (Wilde 118). Dorian exemplifies a regression in social intellect from his beginnings rather than the kind of transcendence hoped for by Arnold. Dorian displays no such pursuit of intellectual perfection as he is slowly corrupted and in turn corrupts others, luring them with him into the slums and opium dens of London. Arnold refers to those able to transcend social classes in society as \u201caliens,\u201d hinting at their rarity to the point of foreignness and to their almost mythical quality (277). The mere existence of these aliens, however, provides hope that the utter hedonists of society may learn to harness their damaging tendencies, and in doing so, better the intellectual and moral state of humankind.<\/p>\n

Wilde, too, recognizes this ability to control the hedonistic temptations associated with aestheticism, as demonstrated by the last stages of Dorian\u2019s life. Mitsuharu Matsuoka, in his essay \u201cAestheticism and Social Anxiety in The Picture of Dorian Gray<\/em>,\u201d notes that, as Dorian\u2019s death approaches, \u201cDorian ultimately reacts against his lifestyle, choking on his New Hedonism,\u201d at which point \u201ca great sense of doom hangs over Dorian\u201d (Matsuoka 78). Indeed, Dorian appears to realize the consequences of his unbridled aestheticism; however, he is much too far gone to salvage. Dorian reveals his epiphany to Lord Henry: \u201cThe soul is a terrible reality. It can be bought, and sold, and bartered away. It can be poisoned or made perfect. There is a soul in each one of us. I know it\u201d (Wilde 211). Unfortunately for Dorian, this realization comes too late to save his soul from its degradation, long-nurtured by a purely aesthetic life, and he is destroyed. The realization itself, however, is indicative of Wilde\u2019s argument woven throughout Dorian Gray<\/em>. Despite Wilde\u2019s publicly advocating the principles of aestheticism, Dorian\u2019s demise illustrates Wilde\u2019s recognition that aestheticism needs to be properly controlled. While the pursuit of beauty and happiness in life is always Wilde\u2019s ideal, he also implies that the consequences of one\u2019s actions must be thought out and the impact of one\u2019s decisions, beyond oneself, must also be carefully considered before acting on any impulse.<\/p>\n

The Aesthetic Movement in fin-de-si\u00e8cle<\/em> England, as interpreted by Oscar Wilde, revolved around the ideal that the utility of one\u2019s actions should be to create the maximal amount of beauty and pleasure in one\u2019s life, and nothing more. Wilde\u2019s Dorian Gray<\/em> appears, at first glance, to promote this philosophy unequivocally. Indeed, a lifestyle based on this aestheticism is espoused in Wilde\u2019s opening preface as well as throughout Lord Henry\u2019s professorial lectures. Upon closer inspection, however, Wilde\u2019s novel is not as wholly embracing of aestheticism as this implies. Wilde realized and depicted in the life of Dorian Gray, a need for a more controlled and deliberate approach to aestheticism, without which morality will inevitably be elusive. The adoption of unrestrained aestheticism, as exhibited by Dorian, results in a lack of remorse, self-absorption, and intellectual regression. For the sake of preserving morality, a concept proven incompatible with pure aestheticism, more deliberation is necessary from the aesthete in deciding upon action. If, in the pursuit of one\u2019s desires and of the beautiful aspects of life, the condition of others\u2019 or of one\u2019s own intellect is jeopardized, the enjoyment garnered must sometimes be sacrificed for the greater good. As Wilde makes clear, it is only through a more restrained philosophy that aestheticism and morality may eventually align.<\/p>\n

Works Cited<\/h2>\n

Arnold, Matthew. \u201cCulture and Anarchy.\u201d The Picture of Dorian Gray<\/em>. Ed. Andrew Elfenbein. NY: Pearson Longman, 2007. 276\u2013279.<\/p>\n

Becker-Leckrone, Megan. \u201cOscar Wilde (1854\u20131900): Aesthetic and Criticism.\u201d The Continuum Encyclopedia of Modern Criticism and Theory<\/em> 20 (2002): 658\u2013665.<\/p>\n

Craft, Christopher. \u201cCome See About Me: Enchantment of the Double in The Picture of Dorian Gray<\/em>.\u201d Representations<\/em> 91 (2005): 109\u2013136.<\/p>\n

Matsuoka, Mitsuharu. \u201cAestheticism and Social Anxiety in The Picture of Dorian Gray.<\/em>\u201d Journal of Aesthetic Education<\/em> 29 (2003): 77\u2013100.<\/p>\n

Pearce, Joseph. The Unmasking of Oscar Wilde<\/em>. NY: Ignatius Press, 2004.<\/p>\n

Wilde, Oscar. The Picture of Dorian Gray<\/em>. Ed. Andrew Elfenbein. NY: Pearson Longman, 2007.<\/p>\n","protected":false},"excerpt":{"rendered":"

Patrick Duggan Download this article Oscar Wilde prefaces his novel, The Picture of Dorian Gray, with a reflection on art, the artist, and the utility of both. After careful scrutiny, he concludes: \u201cAll art is quite useless\u201d (Wilde 4). In this one sentence, Wilde encapsulates the complete principles of the Aesthetic Movement popular in Victorian […]<\/p>\n","protected":false},"author":1355,"featured_media":0,"parent":1804,"menu_order":9,"comment_status":"closed","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/pages\/217"}],"collection":[{"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/users\/1355"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/comments?post=217"}],"version-history":[{"count":8,"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/pages\/217\/revisions"}],"predecessor-version":[{"id":1492,"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/pages\/217\/revisions\/1492"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/pages\/1804"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/writingprogram\/wp-json\/wp\/v2\/media?parent=217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}