Dorian Gray : Moral Responsibility

In The Picture of Dorian Gray, by Oscar Wilde, it tells of a man's gradual downfall from innocence to corruption. Even the name of the main character in Oscar Wilde's tale, Dorian Gray, is very symbolic because ‘gray' is the combination of black and white, of good and evil. In many ways, Dorian Gray is the epitome of mankind. Dorian Gray, an innocent and naïve man, becomes corrupted after having one conversation with Lord Henry Wotton. He shows how easily people can become swayed and changed merely by the words of others. Society plays such an enormous role in the lives of people. As said by Thomas Babington, "The measure of a man's character is what he would do if he knew he never would be found out." How much of how we act is influenced by others? Oscar Wilde's The Picture of Dorian Gray is set during the late nineteenth century in England, a period marked with the exceeding importance of social stature and personal image. The protagonist, Dorian Gray, rises as the archetype of male splendor and youth. His aristocracy and stunning beauty enthrall all his surroundings. He often poses for friend, Basil Hallward, an artist of great talent whose art is inspired by Dorian's undeniable charisma. While Basil's most extraordinary painting is in the midst of being completed, Dorian is introduced to Lord Henry Wotton, a cynical philosopher and skillful orator. His manipulative tongue and theories easily seduce Dorian. Wotton tells Dorian, "When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you, or have to content yourself with those mean triumphs that the memory of your past will make more bitter than defeats. Every month as it wanes brings you nearer to something dreadful. Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly.... Ah! realize your youth while you have it. Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals, of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing. . . . A new Hedonism-- that is what our century wants." Through him, Dorian faces the harsh realization that his physical attributes are ever fading. Upon this sudden insight, he dreads the physical burden of aging. He envies the perpetual beauty of Basil's masterpiece. As Dorian says, "If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! For that - for that - I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that!" The materialization of this wish and the metamorphosis it will ensue are to bring his demise. Dorian's figure remains immaculate while the picture bears his abhorrent transformation. This is first confirmed following his amorous relationship with Sibyl Vane, an actress he meets at an infamous theatre. Like him, she is characterized by an entrancing beauty and a youthful naivety. Mesmerized by one another, they promptly exchange vows of fidelity. Dorian invites Henry and Basil to the theatre, to be dreadfully embarrassed by Sibyl's artificial performance. In a fit of anger yet unknown to him, Dorian reluctantly reprimands his fiancée. "You are shallow and stupid. My God! How mad I was to love you! What a fool I have been! You are nothing to me now!", Dorian exclaimed to her. This vindictive refusal leads to her suicide. Upon returning to his home, he is bewildered by a hideous discovery: his portrait had slightly altered, hinting the sinful transfiguration that would occur throughout his debauched existence. Dorian conveys strong feelings of remorse upon learning of Sibyl's needless death. He is conscious of his wrongdoing and feels profoundly culpable. However, Lord Henry encourages him to discard the incident and to revel in his present freedom. Dorian is torn apart as his egoism weighs heavily over his conscience. By overlooking the death he caused and indulging in pleasure, Dorian incarnates Lord Henry's philosophy. With the knowledge of his physical imperviousness to the aftermath of any consequence, he adopts Wotton's hedonistic values. The complete denial of responsibility in Sibyl's death is but the beginning of his moral degradation. He relishes in observing the mutilation of the picture, thus his soul. His further meetings with Henry simply magnify this descent into profligacy. Basil notices Dorian's change when he says, "You were the most unspoiled creature in the whole world. Now, I don't know what has come over you. You talk as if you had no heart, no pity in you. It is all Harry's influence". From then on, Dorian progressively mingles with sin. Dorian often gazes at the painting with horror, but is unable to divert from this lifestyle, aroused by its wickedness. He is undoubtedly aware of his ethical dissipation and, despite the beautiful items in which he surrounds himself, is appalled by the ugliness of his soul. "He knew that he had tarnished himself, filled his mind with corruption, and given horror to his fancy; that he had been an evil influence to others, and had experienced a terrible joy in being so…" Dorian's fear of his predicament being discovered grows as the painting alters with every misdeed. Although it is hidden from prying eyes, the bareness of his soul is ever-present in his mind. His hot-tempered murder of Basil not only signifies the peak of his immoral character, but his obliteration of moral barriers. His iniquitous act throws him in a state of guilt-ridden paranoia. He is world-weary and borne down by the weight of this sins. Wilde's protagonist was not a villainous nor unprincipled man, simply pliable and somewhat narcissist. Under Lord Henry's overwhelming influence, he succumbs to a world free of restrictions, tempted by self-gratification. When breaking apart from the moral confines that establish order, Dorian is thrust into a chaotic freedom. When he strikes the painting, maddened by regret, he wishes to purge his soul and reacquire the proper values that once governed his life. Therefore, by destroying the immorality that marred his spirit and the guilt that plagued his conscience, he kills himself.

While most of humanity is constrained to moral hindrances, there are those who drift away from these ideals, and become the source of transgressions. Although morality and ethics are restraining concepts, they shelter the individual and thus, mankind. Without them, there could only be degradation and self-destruction, as illustrated by Oscar Wilde in The Picture of Dorian Gray. It is critical that as a community, people comprehend the necessity to abide by the restraining order of morals. Only then will violence and havoc cease to exist. Is it not in our power to differentiate the good from the bad? This question lies not underneath a compulsory set of rules, but rather within the depths of our conscience. Lord Henry Wotton stated, "There is no such thing as good influence, Mr. Gray… to influence a person is to give him one's own soul". This is an interesting assertion, because later on Lord Henry, himself, turns into the bad influence, pulling Dorian's strings. The more time the two spend together, the more Dorian is affected by Henry's striking statements and is gradually transformed until barely nothing remains of his own personality. Henry Wotton's vices become Dorian Gray's and one starts to wonder which words or thoughts really belong to Dorian. This all shows the feebleness of the mind; how easy it is to unconsciously be controlled by others, mixing other people's impressions and thoughts with one's own, never being able to tell the difference.