Dorian Gray #2

            Lord Henry serves as an outlet for Oscar Wilde’s radical, offensive, and paradoxical ideas in The Picture of Dorian Gray. Not only does Lord Henry exert influence over those around him, but he also is very blatant about his desire for power. He relishes in overturning common ideas and converting people into seeing his beliefs. The ability to influence so profoundly as to get people to accept views contrary to their own is the ultimate form of control. This is similar to doublethink in 1984; the Party’s ideas make logical sense simply because no one can contradict them. Harry presents his ideas so eloquently and matter-of-factly that others believe him as well. Perhaps what draws him to Dorian Gray is Dorian’s mutability. For Harry, speaking to Dorian “was like playing upon an exquisite violin. He answered to every touch and thrill of the bow…. There was something terribly enthralling in the exercise of influence” (Wilde 26). Unlike Basil, who knows when to ignore Harry’s suggestions and claims, Dorian accepts what Harry tells him as truth. Dorian has become somewhat dependent upon Harry, acknowledging that he will confess anything to him. Indeed, Dorian admits that he has fallen in love with an actress names Sybil Vane. Harry scoffs at him, claiming that “the people who love only once in their lives are really the shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination” (36). Harry’s idea about love contradicts what most people believe. However, he presents it in a convincing way, forcing the reader to think about what he has said. Similarly, Harry influences the guests at his aunt’s luncheon. He responds to the Duchess’s question about regaining youth: “To get back one’s youth, one merely has to repeat one’s follies” (30). Harry’s claim contradicts the commonly held belief that one must learn from one’s mistakes. However, his argument persuades the guests to understand his side. Dorian in particular may be swayed by this idea in the future. Not only is he extremely susceptible to Harry’s assertions, but he also has an infatuation with his youth. Harry wields a significant amount of influence in the novel.

"Miniver Cheevy" Outline

Thesis: Edwin Arlington Robinson alludes to great feats of the past in order to establish an ironic contrast between the glory Miniver desires and the insignificance he has attained.

While alluding to famous people and nations of the past, Miniver seems to share no similarities with those he admires.

• Miniver “dreamed of Thebes and Camelot, / And Priam’s neighbors” (11-12). By alluding to strong nations, Miniver suggests that he desires the renown and glory associated with these names. He wants to be recognized as great and strong. However, he does not try to accomplish anything; he merely laments that he was not born during a different age.

• He “loved the Medici, / Albeit he had never seen one” (17-18). Again, Miniver draws upon famous names in order to feel important. His greatest desire is to be remembered and placed on pedestal like these people. Despite this goal, there is no evidence of him working toward it.

Although Miniver imagines himself in the shoes of glorious knights in past ages, looking condescendingly down upon average people, nothing suggests that he would have risen to this rank in society.  

• Miniver “missed the medieval grace / Of iron clothing” (23-24). Miniver alludes to the strength and honor of knights in contrast to the normal “khaki suits” of his own era (22). Miniver believes that he would have been the equivalent of a knight in another age, and he imagines that he has some connection to them. He “miss[es]” something that he never attained, and given his lack of effort, he probably would not have reached this status.   

• When thinking about his own time period, “Miniver cursed the commonplace” (21). Although he disdains the “commonplace” in his life, Miniver seems to be a part of it. He claims to hate the normality of his time, but any given time period seems normal to the people living in it. Miniver either does not realize or chooses to ignore the idea that he must take life into his own hands in order to reach his goal.  

Miniver acts as though he is doing something important with his life, but all evidence seems to point to the contrary.

• Miniver spends time dreaming about the past as he “rest[s] from his labors” (10). Robinson may be alluding to the story of creation, a biblical account describing how God worked for six days creating the earth and then took the seventh day to rest. God’s “rest” comes after an enormous amount of work and a huge accomplishment. Miniver does not appear to have done anything with his life, so he sounds incredibly insignificant in comparison.   
• As he bemoaned his misfortune, Miniver “kept on drinking” (32). Robinson reveals that Miniver spends his time drinking rather than attempting to accomplish anything with his life. Although he wishes he had been born in a different time period because he would have had the opportunity to undertake great feats, Miniver clearly has never tried to do anything noteworthy. In a different time period, it is unlikely that he would have accomplished anything either.

Dorian Gray #1

            Oscar Wilde develops intriguing relationships between three of his characters at the beginning of The Picture of Dorian Gray. Wilde begins by introducing Basil Hallward, an artist, and his friend Lord Henry Wotton. They seem to understand each other and have a well-established relationship. Harry says some rather offensive things, but Basil does not pay them any mind. Following Harry’s discourse on the immorality of both the upper and lower classes, Basil responds, “I don’t agree with a single word that you’ve said, and, what is more, Harry, I feel sure you don’t either” (Wilde 7). Based on Basil’s reactions, Harry is not as immoral and heartless as he presents himself to be. If the reader is to trust Basil’s interpretation, Harry merely spews controversial ideas to get people to react to him. Harry and Basil appear to have a comfortable relationship in which they balance each other out.

            Dorian Gray adds another dynamic to Basil and Harry’s friendship. Both men have some sort of strong feelings for Dorian. Basil meets Dorian at a party and immediately feels a connection to him. Dorian becomes the subject of Basil’s portrait, a portrait so personal that Basil refuses to show it to the public. When asked how often he sees Dorian, Basil replies, “Every day. I couldn’t be happy if I didn’t see him every day. He is absolutely necessary to me” (7). Basil is reluctant to allow Harry to meet him, yet when Dorian asks Harry to stay, Basil requests the same in order to please him. There is a possessive quality to their relationship; Basil wants Dorian all to himself. Harry is likewise fascinated by Dorian, and he decides to advise Dorian to just live to serve himself and stop resisting temptations. Dorian finds himself captivated by the idea. Harry “felt intensely interested. He was amazed at the sudden impression that his words had produced […] He had merely shot an arrow into the air. Had it hit the mark? How fascinating the lad was!” (14). Harry’s thoughts support Basil’s belief that Harry enjoys being controversial for the sake of being provocative. He seems to have some desire to influence Dorian, and this wish may cause some division in his relationship with Basil. Already he is stealing Dorian away, and Basil may come to resent him for it.   

Dorian Gray Preface

Oscar Wilde’s Preface to The Picture of Dorian Gray considers the logic of aesthetic philosophy. Aesthetic philosophy is the idea that beauty, particularly art, should be embraced in every way. Wilde believes that the purpose of art is to be beautiful, and “To reveal art and conceal the artist is art’s aim” (Wilde vii). Art does not reflect the artist; instead, art should be as distant from the reality of the artist’s life as possible. Reality seems to be the antithesis of art. Wilde further tries to distance art and reality, saying, “Art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril” (vii). One loses his appreciation for the beauty of art when he tries to connect it to life. However, art does symbolically represent something, for it “is at once […] symbol.” In the end, Wilde concludes, “All art is quite useless” (viii). Something that is useful cannot be art, and therefore cannot be beautiful. Something is only beautiful if the only function it serves is to be beautiful. There is a paradoxical nature to his description of this philosophy, for art seems to serve a purpose even if the only purpose it serves is to represent beauty.

Wilde’s tone toward his audience is somewhat playful but simultaneously superior as he describes the nature of art in the Preface. Wilde seems to enjoy the idea of ensnaring the reader into his paradoxical mind traps. He has no qualms about proposing rather unconventional ideas, such as “There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all” (vii). Some readers are sure to disagree with not only his statement but also the manner in which he expresses it. Often people consider the primary function of books to be some example or explanation of morality. To further frustrate the reader, Wilde does not defend his claim. He just leaves his statement and moves on. The reader wants him to justify it so that there is something to contradict or grasp onto. Instead, Wilde leaves the readers to figure out his logic, forcing them to generate his own idea. The use of “That is all” just adds to the superiority of his tone. He seems to be toying with the reader as he identifies paradoxes within society. For instance, he comments, “The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass” (vii). People dislike the fact that Realism shows harsh and sometimes ugly reality, yet they dislike that Romanticism ignores the true nature of things. Wilde does not equivocate in his writing; he is very straightforward with his ideas even if these ideas are difficult for the reader to understand.      

"The Chimney Sweeper"

Thesis: William Blake relies on a rhythmical structure and an allegorical anecdote to add to the irony in “The Chimney Sweeper,” hoping to elicit an indignant response from the reader at the unjust working conditions of the young chimney sweepers.

The positive, almost playful structure of the poem starkly contrasts the dismal and submissive lifestyle being described, creating an unnatural feeling for the reader.

• The poem begins with the boy describing his past: “When my mother died I was very young, / And my father sold me while yet my tongue / Could scarcely cry” (lines 1-3). The entire poem is written in rhyming couplets, and the format is similar to a folk ballad. This positive rhythmical structure seems unnatural given the depressing circumstances of the boy’s life.

• The boy explains the result of being sold to the chimney sweepers, saying, “So your chimneys I sweep, and in soot I sleep” (line 4). The alliteration of the soothing “s” sound contrasts with the lifestyle the boy is describing. The reader feels uncomfortable because the tone is so matter-of-fact; based on the imagery in the poem, the diction should be harsh and depressing. To make it even more uncomfortable, the boy addresses the reader by referring to “your chimneys.” The author makes the reader feel responsible and accountable for the conditions the boy is living in.

Blake uses an allegory to represent the discrepancy between the carefree enjoyment of life that a young boy should experience and the preoccupation with death that Tom deals with.

• The other boys in Tom’s dream “Were all of them locked up in coffins of black” (line 12). The black coffins are clearly associated with death. Perhaps being a chimney sweeper is like a living death for these boys, or perhaps Tom actually knows people who have died doing this job. Either way, the boys are trapped doing this work and have no freedom. It is an awful way of life.

• In the dream, “the Angel told Tom, if he’d be a good boy, / He’d have God for his father, and never want joy” (lines 19-20). The dream shows that Tom hopes for the possibility of a better life. However, it seems as though Tom must wait until death to experience love and joy. A young boy should not have to feel that this is the case.

The irony in the poem ensures that the reader recognizes and responds to the contrast between the safe and comfortable atmosphere that a young boy should be raised in and the frightening conditions that the chimney sweepers experience.  

• After his friend’s hair is shaved off, the speaker remembers consoling him, “Hush Tom! never mind it, for, when your head’s bare, / You know that the soot cannot spoil your white hair” (lines 7-8). The speaker’s logic is ironic because clearly Tom’s hair cannot be spoiled if he has no hair left. The reader notices the irony, forcing him to actually think about what has happened to Tom.  
• Based on his dream, Tom believes that “if all do their duty they need not fear harm” (line 24). This ending line highlights the irony present throughout the poem. From all of the descriptions so far, it is clear that the boys are being harmed. However, although Tom recognizes that his life is not good, he does not completely understand that this is unjust. It is up to the reader to generate these feelings of anger about the awful conditions these boys are subjected to.