Picture of Dorian Gray
Balancing Duality
Although Freud’s psychodynamic theory was not published until over 30 years after Oscar Wilde’s The Picture of Dorian Gray, there are apparent parallels the reader can draw while reading the novel with this in mind. The theory, consisting of three parts, touches on the impulsivity of human nature and how our reckless desires are compromised with our higher moral code. In The Picture of Dorian Gray we see the main character unravel as a result of immoral and unnatural acts. The Id, Ego and Superego can be seen at play within the characters of the novel. Oscar Wilde’s exploration of the human’s dynamic nature and personality shows a literary shift in conscious awareness. At the time of the novel’s writing in the 19th century Victorian era, Aestheticism was a popular movement that supported the beauty of things over almost all else. The appreciation “art of arts sake” came with the elimination of meaning and morals from the work. Oscar Wilde shared in this movement and acknowledged that beauty could be appreciated for its beauty alone, while at the same time showing skepticism through his literature. Through the personification of the Id, Ego and Superego, Oscar Wilde illuminates the dangers of feeding solely the Id, or living a hedonistic lifestyle. In doing so he simultaneously makes a larger social critique on the superficial values of his Victorian culture and points to the damaging effects of holding a displaced admiration for beauty above all things, not just in art. Through the extremely beautiful Dorian Gray, Oscar Wilde explores the duality of mankind throughout the novel. In thinking of the Id as the devil on Dorian’s shoulder and the Superego as the angel, parallels between the characters are quickly drawn. Basil Hallward personifies the Superego of the personality, and Lord Henry the Id. From the moment Henry and Dorian meet, Basil is fearful of what sort of effect Henry will have on Dorian. “Don't spoil him. Don't try to influence
Although Freud’s psychodynamic theory was not published until over 30 years after Oscar Wilde’s The Picture of Dorian Gray, there are apparent parallels the reader can draw while reading the novel with this in mind. The theory, consisting of three parts, touches on the impulsivity of human nature and how our reckless desires are compromised with our higher moral code. In The Picture of Dorian Gray we see the main character unravel as a result of immoral and unnatural acts. The Id, Ego and Superego can be seen at play within the characters of the novel. Oscar Wilde’s exploration of the human’s dynamic nature and personality shows a literary shift in conscious awareness. At the time of the novel’s writing in the 19th century Victorian era, Aestheticism was a popular movement that supported the beauty of things over almost all else. The appreciation “art of arts sake” came with the elimination of meaning and morals from the work. Oscar Wilde shared in this movement and acknowledged that beauty could be appreciated for its beauty alone, while at the same time showing skepticism through his literature. Through the personification of the Id, Ego and Superego, Oscar Wilde illuminates the dangers of feeding solely the Id, or living a hedonistic lifestyle. In doing so he simultaneously makes a larger social critique on the superficial values of his Victorian culture and points to the damaging effects of holding a displaced admiration for beauty above all things, not just in art. Through the extremely beautiful Dorian Gray, Oscar Wilde explores the duality of mankind throughout the novel. In thinking of the Id as the devil on Dorian’s shoulder and the Superego as the angel, parallels between the characters are quickly drawn. Basil Hallward personifies the Superego of the personality, and Lord Henry the Id. From the moment Henry and Dorian meet, Basil is fearful of what sort of effect Henry will have on Dorian. “Don't spoil him. Don't try to influence