Dorian Gray is one of the best known and most widely read novels of English literature and also a quarry of aphorisms. 1891 has Wilde (1854-1900) published its final version as a book. The reason for this book different theories are used, whether it is humor, bet or just an answer to Huysmans' A Rebours ", the reasons seem pretty inconsequential whether the prophetic biographical content, as more features.
But what makes this book so interesting for today? Once there is very timely, because the principle of eternal youth in the era of anti-aging is still seductive. Then succeeds Wilde to represent the characters of this tale as a reflection of the contradictory and yet complementary moments of his own person. This paradox is self-respect as a stranger, he succeeds but, in accordance with the time to present the art as natural, as would take over the art of nature, in the portrait himself as the content of the story is.
What is meant? Dorian falls in love narcissistically in his image, painted by Basil, the very adored him. To stay so beautiful forever, he asks a prayer, his image may instead his age. This does in fact happen and is the story of the outer frame. In this context he lives in accordance with the nature overcome decadence, his work is purely aristocratic and offers well-kept nothing. His habit corresponds to the social ideas that adapted in different surroundings is revealed. Just as his passion and his own beauty itself can flourish in the life philosophy of Lord Henry over until he wins with his friends Basil, the painter, Lord Henry, the philosopher of life until a corrective. Basil represents the supervisory body, which he urgently needed as Dorian Gray. It shall adopt the instinctual life unhindered out during Lord Henry represents its social mask. Just as Mephisto heated Lord Henry the inside of the driven, like Faust, want to linger at any moment. Eternally young Dorian seems to stay that way, yet he is frightened by the aging portrait. The artificiality takes over the natural, the image takes over his life process as experienced in the beloved actress Sibyl who give him all the love played but seems in the real world of love unsung fails him. As Gretchen she goes to her death to escape a single agent, the failed reality by a final showpiece.
Twenty chapter includes Wild plant, chap. 11 is a break, Dorian recapitulates his first 18 years of life. This chapter is almost a monologue, not a dialogue can be found. He tells of a book, a gift from Lord Henry, the poisoned him. Huysmans work is meant.
Dorian's episode ends no less tragic than that of those who met him. "Whoever has looked upon beauty with eyes, / is already given the death victim" wrote August von Platen and Wilde saw this truth with Dorian. The romance had been left behind and Wilde but he feels it again eager to, as he can play Dorian prompted Lord Henry Chopin, Nocturnes the last time and exactly in the context where Dorian improvement in his decadent and debauched life promises. He feels that his violence towards his adversaries does not work, generated the murder of Basil fortiori in him a conscience. The Double Life of two, real and in the life fetched imagination, recognizes the finiteness of the devil pact only in their own suffering. The aged portrait is a curse and he stabs himself in this and with this death of the image it shines like new and beautiful. Dorian himself is dead, the wrinkles of the image are now with him, the nature has conquered the art.
Basils devotional love towards Dorian is already the prophetic reference to the later love between Oscar Wilde and Lord Alfred Douglas, the only first met in the book publication. Wilde acknowledges with Dorian Gray at the end that this hope of a Vita Nuova calls for a single coherent diagnosis: the diagnosis of failure. "Culture and Corruption ... By two I've met. It seems to me now terrible that they should come together".
Yet hurts his secret. Homosexuality is a blemish. However, he would like to direct show this madness of society. "Teleny" published four years later and is the uninhibited revelation.