Humor In Oscar Wilde's The Picture Of Dorian Gray

Humor most definitely is an instinct that evolved to serve some purpose in everyone’s lives. There is a meaning The story, What Makes Us Laugh by Leon Rappoport thoroughly analyzes the different theories in people’s reactions of humor. Rappoport discusses how certain jokes succeed and fail, why we laugh when we don’t think we should, and why sometimes we might not react to humor. I found this part quite interesting when he was saying certain people react with either boredom or fascination, with boredom being more prevalent. Personally, I would be captivated in this analysis of theories because not only is it interesting, but it also teaches one further about humor than one would not expect, especially the theory of superiority.

“England is bad enough I know, and English society is all wrong” (Wilde, 145). The Picture of Dorian Gray and The Importance of Being Ernest are both ingenious literary works by the witty Oscar Wilde. The lead roles Dorian Gray and Jack Worthing are the perfect examples of how the Victorian society was phony. Although one is tragic and the other comedic both works by Oscar Wilde offer a social comment on the hypocrisy of the Victorian Era. Through the protagonist’s superficiality, deception and consequence of living a double life such comments are presented. While their superficiality and ability to deceive people are quite similar their consequences for their actions differ a great deal.

Humorists are often seen as insignificant contributors of society. People consider humorists no more than just “entertainers”, willing to make fun of anything in order to make a crowd laugh, however, has the audience ever contemplated why humorists are the some of the only people who are allowed to critique anything that crosses their mind without consequences? Alain de Botton, claims the vital role of humorist is, “to convey with impunity messages that might be dangerous or impossible to state directly.” I agree with Alain de Botton’s claims, that humorists do hold an important role in society, which is far more than to entertain. They break the ice on delicate topics, communicating the messages to society. Political cartoons and the Colbert

Most people are taught from a young age what is right, and what is wrong. These teachings set up the basis for later discovering one’s personal values. In Oscar Wilde’s The Picture of Dorian Gray, these same principles are applied and challenged by Wilde. Not only does he question morality and human nature, but also the ideas of the Aesthetic movement- which influenced the ideals and behavior of Dorian Gray. Through Dorian’s morally ambiguous character, Wilde asserts that one is not purely good or evil, but a mixture of the two; Wilde establishes this theme when Dorian breaks up with Sibyl Vane, murders Basil Hallward, and stabs his decaying portrait.

  "I do not think that one person influences another, nor do I think there is any bad influence in the world," Oscar Wilde uttered when under trial (Hyde 353). Although this statement may be true, one of Wilde's most famous works shows a great deal of the effects of people shaping one another, causing one to wonder about Wilde's sincerity in that statement. The Picture of Dorian Gray shows variations on the existence and purposes of influence, displaying two types of personal influence: obvious manipulations such as that of Lord Henry upon Dorian and that of Dorian over Sybil Vane, and those that are more often overlooked such as the more subtle manipulation of Dorian over

In the book, The Picture Of Dorian Gray by Oscar Wilde, there is a character named Lord Henry Wotton. He is the story's antagonist and whom critics often think most resembles Oscar Wilde. Wilde remarks "Basil Hallward is what I think I am: Lord Henry what the world thinks of me: Dorian what I would like to be-in other ages perhaps." Within the preface of The Picture Of Dorian Gray, there lie the lines "Those who go beneath the symbol do so at their peril. Those who read the symbol do so at their own peril." From Wilde's statement, we can assume that there is a part of Wilde represented in each of the main characters, but how they represent him is up for the reader to decide.

         The novel, The Picture of Dorian Gray, written by Oscar Wilde originally appeared in Lippincott’s Monthly Magazine in 1890.  It was then published in 1891, in book form, containing six additional chapters with revisions. The first reviews of Dorian Gray were mostly unfavorable.  It was condemned for its speculative treatment  of immoral or at least uncomfortable subjects. A review in the St. James’s Gazette by Samuel Henry Jeyes, journalist and biographer was titled "‘A Study in Puppydom."   Jeyes refers to Wilde’s idle, “effeminate” characters in the book and writes: “The puppies appear to fill up the intervals of talk by plucking daisies and playing with them, and

The Picture of Dorian Gray, by Oscar Wilde, is a novel about greed and ruin. Dorian Gray, received infinite youth from a portrait of him, which portrays all his sins and wrongdoings on itself, rather than his body. This freedom from morality leads Dorian Gray down a road of destruction until his sins are returned to him and he meets his end. Through a psychoanalytic Freudian lens, it is clear that Dorian Gray exhibits many of Sigmund Freud’s theories, including his theory of personality, the Oedipus complex, and the defense mechanisms.

Much of the criticism regarding The Picture of Dorian Gray by Oscar Wilde has dealt with Dorian Gray’s relation to his own portrait (Raby 392). While some may argue that the portrait represents a reflection of Dorian Gray’s character, this is only a superficial analysis of the novel and Dorian’s character. While Dorian Gray’s true character never changes, it is his own perception of his character (his conscience) that is reflected in the changing face of his portrait. In essence Dorian’s picture becomes a mirror through which the "true Dorian" judges his own metamorphasis as the superficial "Lord Henry Dorian" attempts to embrace Lord Henry’s teachings. Dorian’s

Oscar Wilde was a figurehead for a larger cause in the late nineteenth century. His reality crumbled under the cognitive dissonance of the high-class aristocrats and their struggle to find any reason to overthrow those who are cognizant enough to see and react to said dissonance. What are best known as the Wilde trials, consisted of using completely fictional literature as evidence to real events. Wilde’s novel, The Picture of Dorian Gray was a tool used to undermine Wilde’s authority and testimony about his personal romantic encounters. While, the book may hold status as a revolutionary novel about exploring ideas, the Victorians did not think as much once they took a closer look. Once a popular novel about high-class society soon became an object of severe scrutiny and libel for the author. The Victorians began to change how they perceived the entire English language. The aesthetics that they once sought after were now being thrown into question.

Throughout his life Oscar Wilde had many strong influences exerted upon him. During his early childhood his mother influenced him and into college some of his professors and certain philosophers left a substantial impression upon him. Into adulthood these influences leaked out in his writing. These influences gave him ample ideas for writing The Picture of Dorian Gray. Wilde's study of the Hellenistic ideals of Epicurus, his coddled lifestyle as a child and his devotion to the movement of Aesthetics and Moral Ambiguity have produced one of the most astounding works of horror fiction.

    In spite of the novel's heterosexual text, many critics agree that it has various homosexual elements in its characters, in the dialogues, and even in the portrait itself. One of the critics, Richard Dellamora, mentions this feature of the text, and comments that "By definition this context is heterosexual. Wotton is married and pursues actresses. Basil himself is a graduate of Oxford, a well-established artist, and respectable to a fault" (28). However, he also remarks the intensity of male friendships, and referring to Basil, he continues "Later, he repeatedly enjoins Dorian to conformity. Both older men live in a network of male friendships that ramify through the novel "

The only published novel by Oscar Wilde, which appeared in Lippincott’s Monthly Magazine in 1890, was seen as immoral and scandalous, so the editors of the magazine censored about five hundred words without Wilde’s knowledge. Even with that, the novel was not received very well. Disappointed with this, Wilde revised his novel, added a preface, where he explains his philosophy of art, and six new chapters.

In chapter 20 of The Picture of Dorian Gray by Oscar Wilde, Dorian reflects on his past crimes and wonders whether he will ever change and retrieve his innocence again. Throughout the final chapter of the novel, the elements of Gothic novel that Wilde explores conveys the idea of the pursuit of individualism. Dorian’s wild, racing emotions clearly show how much he is driven by his readiness to fulfill his desires under any circumstance. Through this, the use of specific words and punctuation markings highlight Dorian’s personal yearning of removing himself from his past.

Hedonism is the “pursuit of pleasure as a matter of ethical principle” (Dictionary.com). In Oscar Wilde’s, the Picture of Dorian Gray, the story revolves around a young lad named, Dorian Gray. Throughout the story, three recurring characters appear which are Basil, Dorian, and Lord Henry. The three begin a discourse on philosophy whilst Basil refutes Lord Henry’s hedonistic philosophies. Gray damns the picture, stating that whatever ailments of age may affect him may be put onto the picture. Basil pleads Dorian not to be influenced by the figure Lord Henry, yet Dorian is so infatuated by his ideals that he cannot resist the temptation. Later on, Gray begins to act more and more selfishly, committing many atrocities such as, leading young men away from diligence, slaining an actress, and murdering the artist of the picture, Basil. Guilt consumes Gray as his actions alter the picture into a horror. Planning to end it all, Gray gives the picture one last stab, unknowingly reversing the curse the picture held and unleashing his own knife upon himself. In Wilde’s, the Picture of Dorian Gray, hedonism is an attribute that inevitably precipitates consequence and is proved through literary devices, epigrams, and themes to ultimately discourage the audience from succumbing to fleshly desire.