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.
At a glance
- Grade: 1.3 (1.0 is the best grade)
- Examines gender boundaries, possession, vampirism and secrecy in The Picture of Dorian Gray
- 16 sources in the bibliography
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
Objectives and Themes
This paper examines how sexuality, aesthetics and morality interact in Oscar Wilde’s The Picture of Dorian Gray. It asks whether morality is subordinate to artistic effect or whether it is necessary to advance the story.
- Victorian aestheticism and the principle of art for art’s sake
- The relationship between art, beauty and moral judgment
- Gender boundaries and the roles of the novel’s characters
- Homoeroticism, influence and possession
- Vampirism, secrecy and omission as interpretive motifs
Excerpt from the Book
Fin de Siècle and the Aesthetic Movement of the late 19th Century
British Aestheticism is a movement that can be appointed from the second half of the 19th Century into the early stages of the 20th. It is often associated with the term ‘art for art’s sake’, which was primarily introduced by Algernon Charles Swinburne in 1867; an expression mostly referring to the ‘high’ art of painting. Aestheticism, however, manifested itself in poetry, painting and literature, as well as art forms like furniture design or fashion.
Throughout the 19th century, art gained a new authority, since Romanticism freed it from society and Christianity, while photography secured art’s freedom from realism (comp. Paglia 1990: 513), leaving new spaces for art to explore. In the late 19th century, art, therefore, was “more separate and elevated than it had ever been” (Paglia 1990: 513).
As a category, Aestheticism is elusive. Elizabeth Prettejohn describes it as “difficult to pin down” (2000: 2). “Aestheticism is one of those terms in literary criticism that are impossible fully to define” (Prettejohn 2000:2, quoting Freedman 1969). This is already perceptible in the diversity of names for the concept; reaching from ‘Aestheticism’ and ‘Aesthetic Movement’ to ‘Decadence’, ‘Fin de Siecle’ and ‘Beauty without Realism’ (comp. Prettejohn 2000: 2). While the term Aestheticism emerged in the mid 19th century from a need to emphasise the importance of art and the “beauty of everyday life” (Schaffer/Psomiades 1999: 3), it was only fully articulated in the 1870s and ‘80s by Walter Pater and Oscar Wilde himself.
Aestheticism not only indicates a certain kind of literature or art but rather represents the idea that art has the ability to improve life by making it more beautiful. According to Elizabeth Prettejohn, there is no limit of aesthetic pleasure in Aestheticism: It secures an openness to the varieties of aesthetic experience. (Prettejohn 2000: 12)
As Joseph Pearce points out, the movement has never been “an homogenous whole and never shared anything other than the broadest and vaguest aims and aspirations” (Pearce 2004: 131). Still, Schaffer and Psomiades identify “The Picture of Dorian Gray” as the central text of the Aesthetic Movement and Oscar Wilde as its “visible embodiment” (Schaffer/ Psomiades 1999: 3). From 1889 until 1895 “were the years in which aestheticism was revised and perfected” (Ellmann 1987: 305) by Oscar Wilde.
Chapter Summaries
Introduction: The paper situates Wilde’s novel in its Victorian context and introduces its inquiry into the relationship between morality, aesthetics and sexuality.
Fin de Siècle and the Aesthetic Movement of the late 19th Century: This chapter outlines the development and varied meanings of aestheticism and places Wilde within the movement.
Morality vs. Aestheticism in Dorian Gray: The discussion considers Wilde’s preface, the portrait and the relationship between beauty and moral conduct. It also examines gender boundaries and the roles of Lord Henry Wotton, Basil Hallward and Sybil Vane.
Sexuality in Dorian Gray: This chapter explores homoeroticism and the motifs of possession, vampirism, secrecy and omission in the novel.
Conclusion: The final chapter brings together the paper’s interpretations of morality, aesthetics and sexuality and addresses their role in the novel’s development.
Keywords
Oscar Wilde, The Picture of Dorian Gray, aestheticism, morality, sexuality, Victorian literature, fin de siècle, homoeroticism, gender boundaries, beauty, possession, vampirism, secrecy, art for art’s sake
Frequently Asked Questions
What is this paper about?
It examines the relationship between sexuality, aesthetics and morality in Oscar Wilde’s The Picture of Dorian Gray.
What are the main themes?
The main themes include aestheticism, moral judgment, gender, homoeroticism, artistic influence and secrecy.
What is the paper’s central research question?
It asks whether morality is subordinate to artistic effect in the novel or is necessary for the story to advance.
What method does the author use?
The author offers a literary analysis of the novel, interpreting passages and characters alongside scholarly criticism and historical discussion of aestheticism.
What does the main body discuss?
It considers the aesthetic movement, the novel’s treatment of art and morality, its characters and gender boundaries, and motifs associated with sexuality.
Which keywords characterize the paper?
Key terms include aestheticism, morality, homoeroticism, Victorian literature, possession, vampirism and secrecy.
How does the paper approach Dorian’s portrait?
It examines the portrait as a work of art connected to Dorian’s beauty and conduct, as well as to questions of concealment and influence.
Which characters receive particular attention?
Alongside Dorian, the paper discusses Lord Henry Wotton, Basil Hallward and Sybil Vane in relation to aesthetic and moral ideas.
How are secrecy and omission examined?
The paper considers what the novel leaves unstated, including implications surrounding desire, Dorian’s conduct and the hidden portrait.
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- Mirja Quix (Autor:in), 2016, Sexuality, Aesthetics and Morality in "The Picture of Dorian Gray" by Oscar Wilde, München, GRIN Verlag, https://www.grin.com/document/428700
