How one of the worst-rated novels in history influenced a movement in literature.
“The books that the world calls immoral are books that show the world its own shame,” Lord Henry remarks to Dorian Gray in one of many tangential speeches that give Oscar Wilde’s novel its character. Ironically, his words were an omen to the terrible immediate reception of his story, “The Picture of Dorian Gray.”
Shunned as an immoral, unspeakable work of propaganda, his work focused on 19th century England’s close-mindedness and the dreary culture of society. For example, Sibyl Vane, a young theatre actress, was the sole character in the entirety of the story to experience a brief and spontaneous moment of joy in her engagement to Dorian, only to reach an early demise. Meanwhile, those who portray the English culture frequently lament about their failed marriages and unfortunate circumstances over large gatherings without consequence. I found this novel to be incredibly self-aware, though Wilde wrote in his preface that “it is the spectator, and not life, that art really mirrors.”
Still, he admitted that his depiction of Dorian was reminiscent of himself, a similarity most critics used as a point of chastisement towards the author— a victory only later generations claimed— marking this story as one of the earliest radical stepping stones of the LGBTQ movement. As someone who appreciates works that contribute to history or society instead of merely entertaining its viewers, the wild, outrageous reviews are what prompted me to pick this one up in the first place. Now, it will always remind us that art is a potent form of protest and an effective one at that.
But the main question that is carried throughout the narrative is something other than its notable nods to the historically-labelled “immoral” relationships. It was a rope of adolescent selfishness, narcissism, and moral corruption that pulls us into the heart of the theme, detailing that growing up, that aging, is necessary. It should not be tampered with. The magical realism of the increasingly horrid painting of Dorian Gray is a motif, signifying the subject’s sins that mar his soul as represented by the portrait. As an avid reader of this genre, I was pleasantly surprised to see that the author actually incorporates it as a necessary aspect of the story instead of simply writing to conform to the rules. There is a distinction between writing under a genre and utilizing the genre to write.
As a 16-year-old girl currently navigating that awkward transition between child and adult, the concept of growing up is not unfamiliar to me. I can relate to Dorian’s selfish, childish mannerisms, though not to the same extent. But it is this correlation between the fictional and real-life that makes the warning of the book more effective, hindering me from the desire to go down the same paths of narcissism and moral corruption. In the dramatic, almost Shakespearean, finale that illustrates Gray’s unfortunate (or fortunate?) fate, the author writes one of the best “unhappy” endings of all time, in my opinion. Because unlike the wave of YA books that utilize the tool of the unhappy ending as a lazy appeal to pathos, Oscar Wilde’s ending is totally warranted. It rounds the story out into one humongous, red caution sign, communicating that tampering with nature and adjusting its balance will ultimately end dreadfully for those who try it. This aspect, I think, was a nod to Shakespeare, as most of his works contain this moral, and interestingly, some of his most famous plays make their crucial appearances.
The reason why I say “almost Shakespearean” is because the famous tragedies of Willy Shakes are just that: tragedies. The golden protagonist or hero dies, either through murder or their own hand or something other. But is Dorian truly a protagonist? Coupled with the theme of his yearning for everlasting youth is, again, the theme of nature’s balance. To obtain the former, Dorian sacrifices the latter, and with it, his soul. So shouldn’t the happy ending be his death after all, as it allows nature to be nature once more? This debate circulated my mind various times, which is a testament to the outstanding plot and intricate depth of the novel. Rarely do I read about an antagonist with close to no redeeming qualities with such enthusiasm and a will to continue exploring this world through their eyes.
For all of these reasons, and countless more I have not yet mentioned, “The Picture of Dorian Gray” by Oscar Wilde will continue to be a piece I admire from time to time. It is profound and moving, packed with aphorisms whose meanings we, as readers, decide for ourselves. As a random guy on Google reviews wisely put it, “I think Keanu Reeves did a good job portraying him in the movie,” and also, “very recommendable.”
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