In the novel, the well meaning artist Basil Hallward presets young Dorian Gray with a portrait of himself. After conversing with cynical Lord Henry Wotton, Dorian makes a wish which dreadfully affects his life forever. For that I would give everything! Yes, there is nothing in the whole world I would not give!
A term heard and used very frequently in circles of literature; a genre broad and continental; a multitude of different variants, produced during approximately two centuries of genre development. The term Bildungsroman was coined in by Karl Morgenstern Boes and refers to a type of narrative that focuses on the development of its protagonist.
This development usually concentrates on both the psychological and physical growth of the protagonist by depicting his maturation as well as his physical growth through the transition from childhood to adulthood. The progress also involves one or several cross-road situations where the protagonist can move in one of two opposite directions.
At the end of the novel, the protagonist is usually at harmony with himself and well-integrated into the society that surrounds him see Broich The narrative perspective is typically either autodiegetic or homodiegetic; therefore, the narrative perspective coincides with the perspective of the protagonist so that the reader has knowledge of the feelings and thoughts of the protagonist but not of the other characters, which evokes a feeling of close proximity to the protagonist and the events happening.
As a British Bildungsroman written at the end of the 19th century, it is part of the British genre variant of Oscar wilde self love dorian gray essay German Bildungsroman, but it also does not fit into the definition of the typical British Bildungsroman itself.
However, the genre evolved in England as well as in Germany and other European countries and due to the existing dissimilarities concerning the historical, social and political circumstances, the genre development also differed between countries see Moretti A general change of the British Bildungsroman took place during the Victorian era.
The nearer the 19th century came to its end, the more the literary tendencies changed. Referring to The Picture of Dorian Gray, Broich states that the lack of Victorian morality in the novel is typical for the time frame around the turn of the century see Broichwhich suggests that the decreasing interest in writing a traditional Bildungsroman also reflects the decreasing agreement of society with the Victorian virtues.
The negative Bildungsroman is thus a variant of a variant of the traditional Bildungsroman — it is the late-Victorian version of the British Bildungsroman see Broich The term also hints at the negation of the Victorian morals; indirectly through deviation from the early-Victorian pattern of the Bildungsroman, but also directly through the content of the novel.
It is opposite of the development in a traditional British Bildungsroman and naturally falls into the general category of oppositional features, but the character development being oppositional also means that it is literally a negative one.
The hero of the traditional Bildungsroman rises and then reaches a steady high; he learns from his mistakes, grows as an individual, and is usually rewarded by experiencing a happy ending.
His development can therefore be described as positive. Differences and similarities between The Picture of Dorian Gray and the typical British Bildungsroman in the 19th century 3.
Narrative Perspective The first difference between The Picture of Dorian Gray and other Bildungsroman novels one notices is the narrative perspective. Bildungsroman novels like David Copperfield and Jane Eyre fit into the traditional pattern, not only in their direction of character development, but also because the protagonist himself narrates his story.
The story of Dorian Gray, however, is told by a heterodiegetic narrator. This has the effect that the intimacy and maybe even attachment that can be felt by the reader as a result of an autodiegetic perspective is replaced by the opposite: Dorian Gray rarely reflects upon his actions and when he does, it is not a deep but a very superficial, egotistical way of thinking in which he does not take responsibility for his deeds see Wilde For this reason, an autodiegetic or homodiegetic narrative perspective is not necessary and the heterodiegetic perspective is a formal aspect supporting the content.
Contrary to this, Dorian is not introduced during any point of his childhood. The full-length portrait of him, painted by Basil Hallward, is presented before the actual character Dorian Gray is introduced. The introduction of the portrait states that, at this stage, Dorian is more of a passive object, a patient, instead of an agent.
To introduce the portrait before the actual character seems fitting, because he is a lot like the portrait, i. He has not yet formed ideas about the world and is naively unaware of his exceptional beauty and his effect on others, which makes him easily impressionable and manipulated.
Dorian is therefore presented as a sort of innocent child in the first chapters, but his actual childhood and origin is only mentioned a couple of times. Dorian is also an orphan and grew up living with his grandfather.
Passivity Another characteristic of the typical Bildungsroman is the passivity of its protagonist. As already established, The Picture of Dorian Gray certainly does not follow the mentioned fairytale-pattern, but it coincides with the typical Bildungsroman in making the protagonist more of a patient than an agent for a large part of the plot, especially due to the dominance Lord Henry has over Dorian, as will be shown later on.
The presented differences between The Picture of Dorian Gray and the typical British Bildungsroman all show that it is most certainly a very different Bildungsroman.
The mentioned similarities to the British Bildungsroman are used in a non-traditional way that only fuels the negativity of the novel, i. His development is characterized by moral decay instead of moral growth, it is a character deformation instead of a formation.I loved Mr.
Ellmann's full biography of Oscar Wilde, but was not aware of this book until I saw it offered here at Amazon. I was immediately struck by Stanley Wyatt's macabre jacket illustrating the climax of THE PICTURE OF DORIAN GRAY in a work that resembled a black & deep mauve kaja-net.coms: 1.
In The Picture of Dorian Gray, Oscar Wilde demonstrates the corruption of youth by taking the initial innocence of Dorian and turning his values completely immoral under the control of Lord Henry mainly through the use of symbolism.
Oscar Wilde and a host of others have learned that there is only one true love.
It is the love that inspires the laying down of one’s life for ones friends and enemies. Wilde came out of the darkness of the closet into which his own sinfulness had thrust him, finding the true light of day.
Oscar Wilde is best known for the novel The Picture of Dorian Gray and the play The Importance of Being Earnest, as well as for his infamous arrest and imprisonment for being gay.
Oscar Fingal O'Flahertie Wills Wilde was born on October 16, in Dublin, Ireland. Sep 08, · In Wilde’s essay The Decay of Lying – published just a few months before he started writing Dorian Gray – he had made a plea for more imagination in literature.
“I think his whole purpose. In The Picture of Dorian Gray, the character, Dorian Gray goes through a major transformation. His major concern throughout the book is himself, which makes .