Extended Essays 2021

Gray can no longer be associated with ‘divine’ or ‘godly’ beauty as this is reliant upon

congruence of body and soul, which he does not possess as demonstrated by the degradation

of his portrait. Therefore, in a theological sense he could not be considered spiritually or

entirely beautiful. However, as can be addressed using the aforementioned concept of

idolatry, Gray is still a figure of aesthetic beauty, but must not be worshiped or praised due to

the corrupt nature of his internal being. Nevertheless, the characters, Dorian Gray and Basil

Hallward, idolised physical perfection and God-like beauty. Gray aspired to be worshiped, in

perpetuity, thus moving further away from this ultimate perfection, by sacrificing and

destroying his soul.

The analysis of Wilde’s use of the literary features, diction and tone, has further aided in

perpetuating a sense of juxtaposition between Dorian Gray’s body and soul, as well as youth

and age. The author has written that the portrait of Gray will be ‘seared with the lines of suffering and thought’ 10 ,whilst his physical appearance may ‘keep all the delicate bloom and loveliness of his then just conscious boyhood’ 11 . Wilde’s particular diction when referri ng to

age as being a form of ‘suffering’ which is seared on to one’s skin, is contrasted with the

description of Gray’s youth or ‘boyhood’ as being a ‘delicate bloom’ and lovely. This

paradox depicts that a wizened version of Dorian Gray is harsh and undesirable, whilst his

youth is something to be admired. Consequently, the wicked representation of Gray in the

portrait is the true manifestation of his soul, and incompatible with his body. Furthermore,

through the utilisation of the omniscient third person narrator, Wilde has established a

subjective tone. The negative language used to portray Dorian Gray’s soul, has positioned the

narrator in a biased stance against the aged manifestation of Gray. Thus, it is intended for the

reader to find the soul immoral and recognise the disparity between the two components of

Dorian Gray’s being. Hence, this symbolism is utilised to underpin key representations of

human vanity, and demonstrate the character of Dorian Gray’s subversion of theological

aesthetics.

10 P.88, Wilde, The Picture of Dorian Gray 11 P.88, Wilde, The Picture of Dorian Gray

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