Introduction
The superficial emphasis on appearance has been a notorious characteristic of society since its emergence. In his novel, “The Picture of Dorian Gray,” Oscar Wilde ridicules the exaggerated focus on appearance in society. Specifically, Wilde introduces subtle hints at the problems caused by the misguided notion of beauty in society through key plot developments, character arcs, and dialogue. By helping the reader relate to the protagonist only to turn him entirely despicable afterward, Wilde demonstrates the detrimental effects of prioritizing appearance over virtue.
Overestimated Role of Beautiful Appearance
Not surprisingly, the references to looks and their perception are dispersed quite generously across “The Picture of Dorian Gray.” In fact, the author sheds light on the issue of appearance relatively early in the novel. Specifically, the contrast between natural beauty in the titular character and the lack thereof in the painter is rendered in the dialogue between Basil and Lord Henry: “I really can’t see any resemblance between you, with your rugged, strong face and your coal-black hair, and this young Adonis” (Wilde, 1890).
The quote above sets the foundation for the central theme, outlining societal obsession with beauty. Though the exchange between Basil and Lord Henry is barely serious, particularly on the former’s part, the underlying ideas are thought-provoking. Specifically, given Lord Henry’s long-term friendship with Basil and his recognition of the artist’s undeniable talent and good heart, it outlines society’s shallow obsession with appearance.
Appearances are lauded throughout the novel, evidently satirizing society’s fixation on looks and the propensity to judge others based on the social concept of beauty. For instance, even though Dorian Gray seemingly recognizes Sybil’s talent as an actress, it is clear that her beauty is still one of their core priorities: “She was the loveliest thing I had ever seen in my life” (Wilde, 1890). Admittedly, Dorian Gray falls out of love with Sybil when she loses her talent for acting convincingly on stage; both her talent and her beauty initially attracted his attention to her. By portraying the specified extent of shallowness on Dorian Gray’s part, Wilde emphasizes the futility of beauty and the pointlessness of society’s obsession with it.
Furthermore, the characters in the novel are drawn to one another based on their outward appearance. Arguably, Lord Henry’s witty remarks regarding beauty and its overwhelming importance should not be taken for granted and, thus, could be seen as a criticism of the excessive fixation on looks in society: “But beauty, real beauty, ends where an intellectual expression begins” (Wilde). However, with no characters openly dissenting against the concept of beauty, the novel remains a satirical portrayal of the environment where outward appearances are prioritized. Therefore, the book effectively convinces the reader that the protagonists, whether as innocent as Dorian or as experienced as Lord Henry, tend to judge others exclusively by appearance.
Threats of Deceptive Appearances
Furthermore, the novel presents the concept of deceptive appearances in a nuanced and distinctive manner. For instance, Basil mentions the idea that beauty conceals underlying depth, where unexpected characteristics could be lurking: “It is rather the painter who, on the colored canvas, reveals himself” (Wilde, 1890). Thus, the writer renders the idea of beauty as a social construct.
Furthermore, the painter further confirms his obsession with his model, which mostly started with being drawn to his beauty, “He is necessary to me” (Wilde, 1890). One could argue that the specified sentiment could be expanded to Basil’s appreciation of Dorian Gray’s initial naiveté and good nature. Yet, the focus on Dorian’s looks devalues the specified sentiment. Moreover, the notion that the very idea of beauty would not exist without an observer is incorporated. As a result, impeccable appearance is revealed to be a concept to which one should aspire.
Shallowness and Appreciation of Beauty
Though one might consider the characters’ statements to be honest and revealing of the author’s opinion, Wilde’s accurate idea of the subject matter shines through the characters’ undeniable shallowness. Lord Henry’s observations of Basil’s attraction to Dorian and society’s fixation on beauty, in general, confirm the specified assumption, “It is only shallow people who do not judge by appearances” (Wilde, 1980). By making the specified statement, Lord Henry seeks to establish that he is above judging others by their looks. Yet, he does not offer any counterpoint to the perception of beauty as the ultimate value of one’s character. Thus, Wilde ensures that his idea of appearance remains dominant in the narrative.
Most importantly, Wilde incorporates the notion of beauty and its societal expectations into the fabric of his narrative, making the two interconnected and interdependent. For instance, as long as Dorian Gray stays beautiful and young, none of the hideous acts and crimes he commits are proven or even suspected. However, as soon as he stabs the picture, thus reversing the spell and transforming himself into what he should have become at that time, his sinful nature becomes apparent to the viewers: “He was withered, wrinkled, and loathsome of visage” (Wilde, 1890).
Therefore, the author conveys that people’s appearance is shaped by their actions. However, most importantly, Wilde makes it evident that his deeds would have remained concealed unless Dorian Gray had been turned into his true self. Most notably, Wilde asserts that society would not have accepted the idea of a man as beautiful as he is, committing the crimes attributed to him. In turn, Wilde ridicules the specified misconception in his story, deliberately combining the vague descriptions of Dorian’s hideous acts with his fascinating, ever-lasting, youthful, and gorgeous looks.
The somber and mysterious conclusion to the novel serves as an important cautionary tale. Portraying Dorian’s transformation, it proves the futility of obsession with appearances, as well as emphasizes that a breathtakingly beautiful face may serve as a screen behind which a truly sinister mind may lurk: “the evil and aging face on the canvas, and […] the fair young face that laughed back at him” (Wilde). While obvious, the specified sentiment remains a critical concept even in the present environment. The timelessness of the classic novel can be attributed to its ability to delve into the depths of human nature and expose the tendency to trust appearances before delving into the essence of one’s actual nature and intentions. Thus, Wilde warns about the threat of idolizing appearances and overlooking the importance of a more thorough analysis of one’s true character, specifically, one’s values, personal qualities, and virtues.
Conclusion
With the introduction of a unique plot twist at the end, Wilde (1890) conveys the idea that appearance is a superficial construct and that true beauty is linked to one’s virtues. The concept of beauty is often portrayed as a crucial characteristic required for success. However, it is tacitly subverted as the plot develops. The idea of appearance being an essential aspect of people’s judgments is incredibly old. However, even nowadays, people still use appearances as a key criterion on which they base their decisions, which raises the question of what place the subject matter has in contemporary discourse.
Work Cited
Wilde, Oscar. “The Picture of Dorian Gray.” Project Gutenberg, 1890. Web.