Consequence and Responsibility: New Hedonism in The Picture of Dorian Gray

Article: http://www.oscholars.com/TO/Appendix/Library/Gillespie.pdf

Nathan Hendricks

Eng 263

Literary Criticism

March 16, 2010

Consequence and Responsibility: New Hedonism in The Picture of Dorian Gray

In Michael Patrick Gillespie's article Ethics and Aesthetics in The Picture of Dorian Gray, he offers an analysis of various philosophies and ideologies which encompass the issue of art in its relation to morality. He applies these in regards to Wilde's novel; discussing the character's motivations and actions. He starts by mentioning Socrates and the long associations that mankind has made between morals and happiness. “The dialects of Socrates underscore the fact that our society has long affirmed the ideal of right conduct. They further show how we have sought to discover and articulate the moral tenets configuring our conduct in a fashion appropriate to our beliefs. Plato extended these considerations beyond Socratic concern for immediate material gain to the exemption of a system—designated as ethics—that functions as a means to goodness and that sees goodness as a means to happiness (p. 140)”.

From a humanistic point of view, goodness is only a construction of society and is irrelevant to the pursuit of happiness (happiness in terms of being considered that it is not impossible to achieve). It could then be argued that art , as a philosophy, serves no purpose but to encompass aesthetics. During the Victorian period, it was commonly thought that art could be used as a tool (or weapon in some cases) in order to enhance social education or improve moral instruction or enlightenment. It is clear that Wilde set out to spread an ideal that art should not have to be chained to such an imposed purpose (in a Victorian society that is starch and concerned with spreading a unified understanding of propriety and “correct” morals).

Gillespie explains that “the view of art as aesthetically and ethically self-contained, summed up in a single phrase—art for art's sake—that impelled the Aesthetic Movement.” (Gillespie p. 142). Gillespie says about those involved in the Aesthetic Movement (such as Theophile Gautier, Stephane Mallarme, Gustave Flaubert...),

“...subscribed to the doctrine that art represents the supreme value because it stands as self-sufficient and has no aim beyond its own perfection. To this end, they asserted that the function of the work of art lies simplicity in its existence and its ability to exude beauty, indifferent to current social issues” (p. 142). The Aesthetic movement clearly is an influence in The Picture of Dorian Gray, however, Gillespie goes further to pinpoint the motivations for Dorian: New Hedonism (as reinforced with the yellow book that Dorian lives by).

“The novel does prescribe a single mode of answering the questions implicit in its discourse, but it does foreground an internal ethic programme- New Hedonism. This system makes a direct claim for the shaping effect of art upon one's character, and it asserts the primacy of a doctrine of pleasure that absolves individuals from the ordinary responsibilities for their actions. Readers measure its effect by contrasting it with the conventional Victorian morality in the work and with whatever ethical systems, conventional or otherwise that they bring to the text. (p. 145)

Dorian is first introduced to this ideal by Lord Henry,“To realize one's nature perfectly—that is to what each of us is here for. People are afraid of themselves now a days. They have forgotten the highest of all duties, that one owes to one's self...Perhaps we never really had it. The terror of society, which is the basis for morals, the terror of God, which is the secret of religion—these are the two things that govern us. And yet...I believe that if one man were to live his life fully and completely, were to give form to every feeling, expression of every thought, reality to every dream—I believe that the world would gain such a fresh impulse of joy that we would forget all the miladies of medieavalism and return to the Hellenic ideal...But the bravest man amongst us is afraid of himself...Nothing remains but the recollection of pleasure or the luxury of regret. The only way to get rid of temptation is to yield to it. Resist it and your sould grows sick with longing for the things it has forbidden itself, with desire for what is monstrous laws have made monstrous and unlawful" (Wilde p. 19).

It is ideal that sparks Dorian and makes him question his own life and ultimately leads him down the tragic path he chooses (leading to the contribution of Sybil's death, the murder of Basil and his own death). Gillespie goes on to raise the question of whether Hedonism is a paradox just as much as the status quo of whatever society's accepts morality is. Lord Henry (and the yellow book) gives Dorian a predetermined set of values to live by.

“In this stark articulation of the aims of New Hedonism one sees a far different moral view than anything expressed in conventional approaches. Nonetheless, it stands as a viable alternative to traditional ethnical programmes. As one would expect in the outline of any moral system, Lord Henry delineates New Hedonism by laying out its goals, providing guidance on how to achieve those goals, and establishing a means for judging behavior in relation to those goals. This detailed description of New Hedonism, however, does not legitimize it, and so its function stands open to debate" (Gillespie p. 150).

Both Dorian Gray and Lord Henry do not really fully encompass the philosophy of New Hedonism.From a psychoanalytical method of thinking, this philosophy caters to the Ego. It appeals to conscious desires but ignore's the ID's attempt to regulate desires. It is Dorian's denial of this idea that leads him to become overwhelmed with guilt and concern for his soul...ultimately resulting in his own death. If he was really only concerned with appeasing temptations in order to achieve happiness, wouldn't other people's well-fare become irrelevant (when not related to his own desires)? Lord Henry more closely represents the philosophy because he is passive and indifferent to moral consequence of behavior (placing more emphasis on metaphysical implications). He also dismisses Dorian's trouble and guilt as an embracement of conventional morality. Lord Henry is not as radical in enacting the ideal as Dorian, but shows his desire to influence/corrupt beauty and youth (he, however shows restraint in realizing the consequences of fully applying New Hedonism like Dorian) .

Gillespie argues that, in a sense, Wilde is successful in presenting an idea that art is not meant to teach or reinforce morality, but regardless, reflects the creator of it (therefore capturing humanity and unable to be labeled meaningless). Therefore the current Victorian ideals and Hedonism are both paradoxes. “The propositions of the novel, however, go beyond a simple philosophical exercise, for they enable us to indulge a range of alternative ethical responses without incurring the consequences that such behavior would provoke” (p. 153). This is interesting because Wilde appears to be doing the same thing as Le Fanu: allowing the reader to ponder its content safely (especially in regards to the time period both novels are from). Wilde, however in doing this, takes away from the implication that art is apart from political or humanistic agendas.

As Gillespie concludes, “In consequence, The Picture of Dorian Gray, does not and should not bring us closer to a new ethical position or reinforce our old one. Rather, through the actions of its characters its discourse establishes within us a sense of the wide-ranging aesthetic force that ethics exerts upon a work of art. Furthermore Wilde's novel gives us the opportunity to enhance the mix of our aesthetic and ethical views by extending our sense of possibilities for interpretation beyond those delineated by our immediate hermeneutic system" (p. 154).

For the most part Gillespie's interpretation and analysis is agreeable. I also had some unresolved questions:

How much and to what extent is Wilde's life is reflected in this novel?

Is Wilde really making a statement about "art just being art" or is he saying it is impossible not to attach human meaning (because it is created by an artist)?

In denouncing the restrictive status quo of the Victorian period, does Wilde write to help liberate a repressed society? or is he merely spreading his own set of beliefs that could be viewed as equally restrictive?

Works Cited

Gillespie, Michael Patrick. Ethics and Aesthetics in The Picture of Dorian Gray. Available Online: http://www.oscholars.com/TO/Appendix/Library/Gillespie.pdf

Wilde, Oscar. The Picture of Dorian Gray. Oxford University Press. Oxford UK, 2008. Print