a review
In the novel, the most significant acting is Dorian Gray's obsessive identification with the portrait, allowing it to overshadow his human qualities. From the outset, Dorian perceives the portrait as a reflection of himself, by internalizing it extremely. Oscar Wilde, in addressing this, contends that art means nothing but itself, and should be acknowledged as indifferent to life. In contrast, Dorian confuses the borders between life and art, errantly believing that only the portrait, not himself, will bear the consequences of degradation. In this misguided pursuit, he loses not only his humanity but also his aestheticism. This leads Richard Ellmann to characterize Dorian as "the first victim of aestheticism," emphasizing the tragic cost of Dorian's misinterpretation and the subsequent erosion of his dual identity.
The duality inherent in the portrait reflects his inner conflict and the moral dichotomy. At the beginning, the unspoiled portrait represents Dorian’s innocence and serves as an indicator of his untouched morality. As Dorian begins to live in an immoral way, the portrait ages, begins to decay, and become ugly. This degradation reflects the moral cost of Dorian’s actions and the corruption growing within him. His beautiful and youthful appearance contrasts with the corruption and decay depicted in the portrait. This duality highlights the tension between the socially acceptable surface and the hidden corrupt reality. Therefore, the portrait becomes a psychological mirror reflects Dorian’s inner struggle. He is also a symbolic embodiment of aesthetic decadence. He shows fin de siècle’s fascination with superficial beauty and hidden corruption, with his Dionysian character hidden under an Apollyonic image.
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