Charm in The Photo of Dorian Gray
The 2nd half of the 19th century in Europe is looking for to experiments. In England at the turn of 70-80’s developed primarily amongst the painters of the pre-Raphaelite direction. A number of artists assimilated the techniques of early-nascent artists. It impacted Oscar Wilde, too. He writes an aesthetic book” Picture of Dorian gray.”
In this book, the author’s fiction is not strictly restricted to the structure of authenticity, and reality is very strange linked with fiction. Actually, in the history of the gorgeous young man Dorian Gray, who worked as a model to the artist Basil Hallward for his best picture, and after that became under the impact of Lord Henry Watton, an irreplaceable self– lover and indifferent to morality, an applicant of pleasure, rolled on the path of Vice-in this history, whatever is quite possible and suits the structure of dependability. Fabulous that guy is a portrait of how the functions were reversed.
Young handsome Dorian Gray reveals the desire that he always remained externally the like at the time of the completion of his portrait, and from this minute for twenty years of the novel, he keeps all the appeal of youth, and the portrait concealed in his house shows his reality, building up traces of time, Vice and criminal offenses.
In the “Photo Of Dorian Gray” is a clear roll call with romanticism. Here the fate of the artist and his developments. Basil Hallward is a skilled painter who wrote the magic portrait. The motive of duality also unites with romanticism: Dorian gray leads a double life: for all he is a good secular boy, but for himself he knows that his life occurs in the dens, among the residue, on his conscience of death, there is absolutely nothing spiritual, the only significance of life is the complete satisfaction of his own vanity. Dorian absorbs the philosopher’s ideas influenced him, that appeal is the only value, it validates everything, is not gotten in touch with obligation, principles.
The novel celebrates the beauty and itself is composed incredibly. Charm is included in 2 versions: natural (English Park) and imagination, production of the artist (this is what transforms talent, the outcome of the soul and abilities). The fairy-tale concept brings closer to romanticism, as a result of which a living person and his/ her image change places. The motif of the picture is an interesting thing (Gogol’s similar story about the artist Chertkov).
A really crucial idea that the destruction of art is straight associated to the decline of the high art of lies is shown and shown in the novel by the evolution of starlet sibyl vane. Not knowing what love is, the woman perfectly daydreamed on the stage, lying (in windowsom sense), effectively playing the role of much of Shakespeare’s heroines. Finding out the real feeling of caring him, she is experiencing a sharp “decay of lying”, bringing with her as a starlet is a tragic metamorphosis: it begins playing severely (that captures even the kindest Hallward). She utters a heretical word about the fact that art is only a pale reflection of real love, and Dorian cruelly excommunicate her from the Church: “Without your art you are absolutely nothing”.
In desperation, she poisons herself. The concept of “beautiful” and “appeal” (Wilde composes this word with a capital letter) are positioned in the Preface to the very top level worths. The teachings of Lord Henry and their execution– life Dorian gray– like follows such arrangement. Dorian is gorgeous, and appeal justifies all of the negative side of his nature and the problematic moments of its presence. Whoever tries Beauty-regardless of cause or intent– ends up being a victim himself, such as James vane, the bro of the regrettable sibyl.
Dorian’s picture, like any true masterpiece, reflects his real essence; art is a true statement, that is the real mirror of the hero’s life. Dorian’s attempt at the end of the novel to ruin a firmly concealed portrait ends with his own death, and the artwork is unbreakable. Portrait in its pristine appeal will live permanently:
Upon entering the space the servant saw upon the wall a remarkable portrait of their master in all the elegance of his wonderful youth and charm. And on the floor with a knife in the chest was a dead male in a tailcoat. His face was wrinkled, faded, repulsive. Just by the rings on the hands of the servants discovered who it was.
Therefore, the main idea of visual appeals about the absolute supremacy of art over real life is laid in the plot of the novel. Art as the embodiment of charm permanently, and for that reason the hero dies, and it remains to live fine, as well as at the time of the termination of work of the artist, a portrait. Whatever appears to be constant with the theoretical views of the writer.
The title character, in action to the Duchess of Monmouth’s question whether Lord Henry’s philosophy helped him find happiness, says that he “never looked for happiness,” sought just satisfaction, however found it “frequently.” In another conversation, gray admits to his teacher that “he would be happy to trade with anybody in the world” which the killed individual is better than him. He is burdened by his” terrific life, “he admits once that he” does not want to live like this anymore, “and even reproaches Lord Henry for having actually when” poisoned” the disciple with a book.
“Image Of Dorian Gray” is an aesthetic book in the greatest sense, not promoting visual doctrine, however exposing its dangers. In his novel, the author States that life governed by sensuality alone is anarchic and self-destructive.