Aestheticism and Decadence

Aestheticism emerged as a literary movement in the late nineteenth century in both France and Britain. It served as a counter to the idea that art should hold utilitarian or social value. Advocates of the Aesthetic Movement believed that art’s purpose was to embody and express beauty, justifying its existence through this alone. The movement's motto, "art for art’s sake," highlighted the contrast between the perfection achievable through art and the perceived flaws of nature and everyday life. Artists, according to this movement, should not be preoccupied with political or social issues.

In France, the movement was linked to the works of Charles Baudelaire, Gustave Flaubert, and Stéphane Mallarmé. In England, its primary theorist was Walter Pater (1839–1894), a classics professor at Oxford University. Pater diverged from the typical Victorian focus on work and social duty, emphasizing the ephemeral nature of life. He argued that the key to life was to savor its exquisite sensations, particularly those inspired by art. The goal was to live vividly and be fully present in each moment. In the "Conclusion" of his work Studies in the History of the Renaissance (1873), which essentially acts as a manifesto for the Aesthetic Movement in England, Pater wrote, “To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life.” This perspective starkly opposed the Victorian era's emphasis on hard work, moral seriousness, and material success.

Oscar Wilde, a notable admirer of Pater, later became the emblematic figure of Aestheticism. Pater’s influence on Wilde’s The Picture of Dorian Gray was substantial. When Dorian adopts Lord Henry’s philosophy that the goal of the new Hedonism “was to be experience itself, and not the fruits of experience,” he is nearly echoing Pater’s “Conclusion,” which states, “Not the fruit of experience, but experience itself, is the end.”

Pater was also pivotal in the rise of the Decadence movement in England and France. This movement thrived in the final two decades of the nineteenth century, a period known as fin de siècle (end of the century). Decadent writers contended that Western civilization was in decline and vehemently opposed the prevailing moral and ethical norms. They theorized that all "natural" forms and behaviors were fundamentally flawed, advocating for the cultivation of highly artificial, "unnatural" forms and styles in both life and art. Consequently, many Decadent writers experimented with lifestyles involving drugs and depravity, much like Dorian does in The Picture of Dorian Gray.

One significant work of the Decadent movement is À Rebours (Against the Grain), a novel by French author J. K. Huysmans, published in 1884. The main character is alienated from Parisian society and is constantly in search of unusual and novel experiences. It is widely believed that À Rebours is the book that Lord Henry gives to Dorian Gray, which captivates and influences Dorian for many years.

Another notable example of Decadent literature is Wilde’s play Salomé, which features vivid themes of blood, sex, and death. In addition to Wilde, Decadence in England is linked with poets Algernon Swinburne and Ernest Dowson, as well as the painter Aubrey Beardsley.

Epigram

An epigram is a brief, clever remark in prose or poetry. Wilde is renowned for his epigrams, and his novel showcases many of them, mostly spoken by Lord Henry Wotton. For example, he tells his friend Basil, “A man cannot be too careful in the choice of his enemies.” The humor arises from the unexpected twist, as one would typically expect to hear "friends" instead of "enemies." This reversal delivers a comic surprise. Lord Henry employs a similar reversal of expectations when he says, “The only way to get rid of a temptation is to yield to it.” This can also be classified as a paradox—a statement that seems contradictory or absurd but may reveal a truth upon closer examination. Wilde’s preface to the novel is also filled with epigrams, many of which reflect his desire to challenge conventional beliefs, such as, “No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.”

Myth

The narrative hints at several myths, including the fall of man as depicted in Genesis. Dorian, as an innocent and beautiful young man, newly "created" by Basil Hallward, the artist/God, parallels Adam in the Garden of Eden before the Fall. Lord Henry Wotton assumes the role of Satan, tempting Dorian with the promise of a richer, fuller life if he follows Henry’s philosophy. Dorian's excessive pride and ego prevent him from resisting the temptation, leading to his downfall.

There is also a reference to the medieval legend of Faust. Faust is a man who trades his soul to the devil for knowledge and power, similar to how Dorian bargains to retain his eternal youth even at the cost of his soul.

Another reference is to the classical myth of Narcissus, who becomes infatuated with his own reflection in a pool. When Lord Henry first sees the portrait, he compares Dorian to Narcissus. This comparison hints at the vanity inherent in Dorian’s character. While Lord Henry may tempt him, he is essentially drawing out qualities that already exist within Dorian.

1890s: In England, male homosexuality is considered a criminal offense, carrying the penalty of imprisonment.

Today: Homosexuality is no longer illegal. Legally, homosexual individuals receive the same treatment as others. Nonetheless, many people with conservative and religious beliefs based on the Bible continue to view homosexuality as sinful.

1890s: Britain holds the position of the world's leading power but faces growing competition from Germany, which is rapidly expanding its industrial and military capabilities.

Today: After fighting against each other in two world wars, Britain and Germany are now allies within the European Community and NATO. Britain no longer holds the status of the world's leading power.

1890s: British society is marked by stark class divisions, with significant differences in dress, manners, and lifestyles between the wealthy and the poor. Families tend to be large, and only working-class women are employed outside the home. University education is inaccessible to women and the working classes.

Today: Britain has become a more egalitarian society than ever before. Mass culture, through television, films, and advertising, has diminished class differences in dress and manners. Women from all classes now constitute a significant portion of the workforce, and higher education is available to everyone.

In Oscar Wilde's renowned novel, the settings not only serve as backdrops for the unfolding drama but also as reflections of the characters' inner lives and societal positions. From the opulent Mayfair district to the modest streets surrounding Euston Road, each location encapsulates the essence of its inhabitants and their ambitions. These settings weave a complex tapestry that enriches the narrative, offering insights into the characters' social standings and personal transformations.

Mayfair

Mayfair, the wealthiest district of London, is a stage for much of the novel’s drama. Nestled between Hyde Park, Oxford Street, and Piccadilly, it hosts significant locations that mirror the characters' opulence and social stature. Lord Henry Wotton, a central figure, resides in an unspecified house characterized by its grand oak-paneled library, adorned with Persian rugs. His familial connection to Lord Fermor, who resides in the prestigious Berkeley Square, underscores their elite status. The association with such an exclusive area reflects their upper-class heritage and influences their worldview.

Dorian Gray himself inherits a townhouse in Grosvenor Square, another illustrious Mayfair location, from his grandfather, Lord Kelso. This residence becomes a canvas for Dorian’s internal contrasts. While the uppermost schoolroom symbolizes his lost innocence with its satinwood bookcase and Flemish tapestry, the rest of the house transforms into a lavish display of Dorian’s decadent tastes. He fills it with luxurious fabrics and richly textured furnishings, reflecting his embrace of aesthetic hedonism contrary to the conservative Victorian disdain for such extravagance.

Schoolroom

The schoolroom, perched at the top of Dorian’s grand house, serves as a metaphor for his forsaken purity. Furnished with a cassone and ornamented with detailed tapestries, it harks back to a simpler, untainted time. This room houses the portrait that embodies Dorian’s hidden truths, contrasting sharply with the rest of the house, which is enveloped in sumptuous silks and velvets. This dichotomy highlights the tension between Dorian’s outward sophistication and inward corruption.

Selby Royal

Selby Royal, the site of Dorian’s country estate, follows the traditional model for any socially significant family of the nineteenth century. While it serves as a retreat from city life, Dorian, like many of his contemporaries, prefers the bustling atmosphere of London. Despite its picturesque location, Selby Royal becomes significant as a setting for Dorian's darker deeds, specifically the place where he evades the vengeful pursuit of James Vane.

Euston Road

In stark contrast to Mayfair, Euston Road represents a more modest existence. During the 1880s, this area was a respectable residential district, yet it paled in comparison to the affluent Mayfair. The Vane family, struggling to afford their rent here while aspiring to a higher social class, represents a narrative of ambition and despair. Sibyl Vane’s performances at the Royal Theatre in Holborn and her family's aspirations only heighten their discontent, culminating in tragedy.

Basil Hallward’s Studio

Basil Hallward’s studio resides in an unnamed suburb of London, fittingly positioned conceptually between the luxurious Grosvenor Square and the serene Selby Royal. With its French windows overlooking a fragrant garden, the studio’s slightly Bohemian interior contrasts with the formality of Mayfair. This space reflects Hallward’s artistic soul and his position within a social class just above his birth, analogous to the Vanes’ aspirations but within artistic circles.

Each setting in "The Picture of Dorian Gray" intricately contributes to the novel’s exploration of aesthetic beauty, societal roles, and moral ambiguity. From the grandeur of Mayfair to the humble Euston Road, these locales provide more than mere backdrop; they are integral to understanding the characters and their journeys through a world defined by both opulence and decay.

The Picture of Dorian Gray has been adapted into several films: the 1945 version featuring George Sanders (Warner); the 1973 version directed by Glenn Jordan; and the 1976 BBC version, directed by John Gorrie, with Sir John Gielgud as Lord Henry.

Sources

Ericksen, Donald H., Oscar Wilde, Twayne’s English Authors Series, No. 211, Twayne Publishers, 1977, pp. 96–117.

Gillespie, Michael Patrick, The Picture of Dorian Gray: “What the World Thinks Me,” Twayne’s Masterwork Studies, No. 145, Twayne Publishers, 1995.

Kohl, Norbert, Oscar Wilde: The Works of a Conformist Rebel, translated by David Henry Wilson, Cambridge University Press, 1989, p. 138.

Pater, Walter, “Conclusion,” in The Norton Anthology of English Literature, 4th ed., Vol. 2, Norton, 1979, pp. 1580–83, originally published in Studies in the History of the Renaissance, 1873.

Wilde, Oscar, “The Critic as Artist,” in The Artist as Critic: Critical Writings of Oscar Wilde, edited by Richard Ellmann, Random House, 1969, pp. 340–408.

—, The Picture of Dorian Gray, Unicorn Press, 1948.

Further Reading

Cohen, Ed, “Writing Gone Wilde: Homoerotic Desire in the Closet of Representation,” in Critical Essays on Oscar Wilde, edited by Regenia Gagnier, G. K. Hall, 1991, pp. 68–87. Cohen examines The Picture of Dorian Gray to demonstrate how a text can challenge conventional standards and depictions of acceptable male conduct, even without explicit homosexual language or actions.

Cohen, Philip K., The Moral Vision of Oscar Wilde, Fairleigh Dickinson University Press, 1978, pp. 105–55. Cohen discusses Wilde’s recurring themes of sin and redemption, as well as the tension between Old and New Testament moral views, focusing on judgment and love. He delves into these themes in The Picture of Dorian Gray.

Paglia, Camille, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, Vintage, 1991, pp. 512–30. In her acclaimed and provocative analysis of Western culture, Paglia considers The Picture of Dorian Gray as the most comprehensive exploration of the Decadent erotic principle: the transformation of a person into an objet d’art.

Raby, Peter, Oscar Wilde, Cambridge University Press, 1988, pp. 67–80. This introductory essay highlights two key aspects of the novel: the Sybil Vane episode and the yellow book that Lord Henry gives to Dorian.