Hedonism In Oscar Wildes The Picture Of Dorian Gray - the
In this updated version of the Faust story, the tempter is Lord Henry Wotton, who lives selfishly for amoral pleasure; Dorian's good angel is the portrait painter Basil Hallward, whom Dorian murders. The book highlights the tension between the polished surface of high society and the life of secret vice. Although sin is punished in the end the book has a flavour of the elegantly perverse.Hedonism In Oscar Wildes The Picture Of Dorian Gray Video
MASSOLIT: Aestheticism and Decadence in The Picture of Dorian Gray Hedonism In Oscar Wildes The Picture Of Dorian Gray.Hedonism In Oscar Wildes The Picture Of Dorian Gray - pity
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He describes his reaction to Dorian in these words: "When our eyes met, I felt I was growing pale. http://pinsoftek.com/wp-content/custom/stamps/summary-of-bartleby-the-scrivener.php curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself.
It signals an intimation of something super-human. The word "fascinating" comes from fascinum, which means "spell.
It grips us; it holds us in its power; it acts upon us. The expression "face to face" suggests an image of a "god" — cf. Jacob's experience at Peniel Gen. Dorian as both Dionysos and Apollo corresponds to both Jung's definitions of the Self: "a god-image in the psyche," and a "complexio oppositorum" Vol. For Jung held source a god-image must be a mixture of opposites "if it is to represent any kind of totality" CW According to Jung, the Self is an autonomous archetypal image, which symbolizes something towards which the individual is striving. An experience of the Self thus represents an intimation of a meaning which the individual has not yet assimilated.
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The individual's task is to integrate the meaning implicit in his or her particular experience, but not to identify with it, for this would signal psychological inflation. Basil lives only for his art He is afraid of life, because it is capable of exerting an influence over him which he feels as threatening. He is afraid of Dorian, because Dorian personifies the Dionysian side of his own personality which he has repressed.
Thus he Hedonnism Dorian, because only through Dorian can he feel that he is alive. The contrast between them is suggestive.
Basil is fascinated by what he himself is not. The attributes which he finds so fascinating stand in "compensatory" relation to him. But, instead of seeing his fascination as symbolic of a need to develop the Dionysian side of his own personality, he Piicture to perpetuate his experience through art.
His ambition signals the same kind of inflation as Marsyas: artistic inflation. He is punished by Dorian-Dionysos for not giving expression to his Dionysian side, and by Dorian-Apollo for thinking too highly of his art.
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The novel traces the consequence of his "artistic idolatry. Lord Henry is a dandy who has elaborated Grsy theory of Individualism. He advises Dorian to enjoy life to the full, to here way to every temptation, to realize his every fantasy — but not to allow any experience to arrest the pursuit of his pleasure.]
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