Stephen Simmons-Uvin
AP English/Mr. George
3/30/10
Character analysis: James Vane
James Vane is the physical representation of revenge gone wrong, setting out to annihilate his sisters “killer,” and suffering the very fate that he wished upon Dorian; he is a critique of human instinct and the very emotions that we feel.
James Vane is a character who appears very few times in the novel. However, James Vane is an essential character in the Picture of Dorian Gray because he can be seen as a critique of people in Wilde’s era, as well as people in the world today. James is first introduced when he promises to murder any man who might wrong his sister, and as we learn later in the novel, when Dorian’s corrupt life coincides with James’, he had been searching for Dorian or “prince charming” so that he may avenge his sisters death and destroy Dorian. The simple act of revenge as we have learned from various other books such as The Scarlet Letter, is a poisonous concoction that harms everyone involved in it and everyone near it. James Vanes over zealous desire to kill Dorian simply leads to his unfortunate death in a hunting accident. He is used as a critique of human nature and emotions because he exemplifies that amplitude of emotions and the serious repercussions of those that we fail to control. Revenge was the real accident, because some emotions are simply uncontrollable.
James Vane is a little child in the sense that he is unable to control his emotions and does not posses what I call a moral filter; something in your head that separates the moral things from everything else, purifying ones acts and cleansing the soul.
James Vane is like Lewis Black, preaching whatever intrudes his mind, and filtering nothing that comes out of it.
Stephen Simmons-Uvin
AP English/Mr. George
3/30/10
Character analysis: Lord Henry
Lord Henry is influence and evil incarnate, using his devious witticisms and abstract logic to manipulate the virgin minds of the innocent and instilling corruption within.
Lord Henry was introduced as a fellow with the tendency to influence people, and to win over the minds of those whom he spoke to. This can be best exemplified in Lord Henry’s influence and control over the young and naïve Dorian Gray, who whimsically fell in love with Henry’s outlandish theories and embarked on his journey to evil, all because Lord Henry proposed that beauty is something that must be savored and should never go away. He felt that Dorian made a fine experiment, and continued to bask Dorian in his lies: “Talking to him was like playing on an exquisite violin…There was something terribly enthralling in the exercise of influence” (Wilde 39). One must take note that Lord Henry was a very intelligent man as he was able to fool anyone and alter their beliefs in a matter of hours, as we saw with Dorian Gray. Henry was intelligent enough to realize the repercussions of his influence, yet seized to stop it and reverse the effect of his demonic paradoxes. Henry was a devil in the sense that he was not bothered by other people’s misery and used the world as his laboratory, which is reflected in Dorian.
Henry is like the devil that lingers on your shoulder perpendicular to the angel. He attempts to influence your decisions and force you to do terrible things. The devil resembles temptation which is what Lord Henry prescribes.
Lord Henry is like the President of the United States whom we all chose and have always chosen to believe for no logical reason, other than his position and presentation.
Wednesday, March 31, 2010
Sunday, March 28, 2010
Stephen Simmons-Uvin
Ap English/Mr. George
3/28/10
PODG end
"Yet it was his duty to confess, to suffer public shame, and to make public atonement. There was a God who called upon men to tell their sins to earth as well as to heaven. Nothing that he could do would cleanse him till he had told his own sin" (228).
Throughout the novel, Dorian showcased a careless vibe, and now that has come back to haunt him. This quotation relates back to the debates on public versus private sin, where we discussed the advantages and disadvantages of concealing and confessing your sin. In analyzing the majority of the texts we have read this year, a recurring theme seems to have been redemption. Through the public confession of sin, one could be absolved of their sins, which is why Dorian perishes with the discomforting thought that he has not been forgiven.
As we have learned characters like Dimmesdale and Proctor were able to achieve redemption due to public confession, but Dorian was unable to due to the fact that he could not confess. His carelessness and inability to show compassion and take responsibility in his actions lead to his demise and ultimate ending. He who does whats right will always have righteousness, which is why Dorian shall never be redeemed. He has failed to intertwine goodness in his life, which is why he has perished.
"The books that the world calls immoral are books that show the world its own shame" (224).
This relates to Wilde's statement in the preface that "there is no such thing as a moral or an immoral book," (1) and that books are simply good or bad. In society, people tend to label other things or people subjectively based on their own moral dilemmas. It is human instinct to shun others simply because we are flawed, which is what Wilde also relates to in the preface: that art contains a little bit of the artist who tries to conceal part of himself in his work. Books in general hold a very strong influence on the people that live in the world, the most famous being the bible. A bible is to the religious folk what the yellow book is to Dorian: it is scriptural influence and something more powerful than the soul. Fortunately, Dorian realized its negative influence, but was too late and too overcome by its message to change.
Ap English/Mr. George
3/28/10
PODG end
"Yet it was his duty to confess, to suffer public shame, and to make public atonement. There was a God who called upon men to tell their sins to earth as well as to heaven. Nothing that he could do would cleanse him till he had told his own sin" (228).
Throughout the novel, Dorian showcased a careless vibe, and now that has come back to haunt him. This quotation relates back to the debates on public versus private sin, where we discussed the advantages and disadvantages of concealing and confessing your sin. In analyzing the majority of the texts we have read this year, a recurring theme seems to have been redemption. Through the public confession of sin, one could be absolved of their sins, which is why Dorian perishes with the discomforting thought that he has not been forgiven.
As we have learned characters like Dimmesdale and Proctor were able to achieve redemption due to public confession, but Dorian was unable to due to the fact that he could not confess. His carelessness and inability to show compassion and take responsibility in his actions lead to his demise and ultimate ending. He who does whats right will always have righteousness, which is why Dorian shall never be redeemed. He has failed to intertwine goodness in his life, which is why he has perished.
"The books that the world calls immoral are books that show the world its own shame" (224).
This relates to Wilde's statement in the preface that "there is no such thing as a moral or an immoral book," (1) and that books are simply good or bad. In society, people tend to label other things or people subjectively based on their own moral dilemmas. It is human instinct to shun others simply because we are flawed, which is what Wilde also relates to in the preface: that art contains a little bit of the artist who tries to conceal part of himself in his work. Books in general hold a very strong influence on the people that live in the world, the most famous being the bible. A bible is to the religious folk what the yellow book is to Dorian: it is scriptural influence and something more powerful than the soul. Fortunately, Dorian realized its negative influence, but was too late and too overcome by its message to change.
Thursday, March 25, 2010
PODG Ch. 16-18
Stephen Simmons-Uvin
Ap English/Mr. George
3/25/10
PODG Ch. 16-18
"The keen, aromatic air, the brown and red lights that glimmered in the wood, the hoarse cries of the beaters ringing out from time to time, and the sharp snaps of the guns that followed, fascinated him with a sense of delightful freedom. He was dominated by the carelessness of happiness, by the high indifference of joy" (207).
In this chapter Wilde does as very good job of distinguishing the two separate lives that Dorian lives, his life at his Selby Royal estate, and the life consumed by evil and addiction at his main residence in London. Despite their physical characteristics, both estates represent both sides of Dorian. In his hometown, Dorian began going to opium dens, and had previously destroyed the lives of many people. However, at his Selby Royal estate in the countryside, we get a sense that Dorian is not completely consumed by evil and in-humaneness." ". His countryside residence was the bearer of good things, and even though a man had died during the hunt at his estate, Dorian, for a minute moment, showed compassion toward the vengeful James Vane, the dead body. Despite his few seconds of compassion, we must also note that shortly after he was revealed that his stalker was dead and his life was saved. I personally believe that it is things like this, the constant gratification in other peoples misery, and internal corruption that develop into an uncontrollable power that will eat its host away from the inside out. Dorian says that "on a yacht one is safe"(210), which can be true, but it is not safe from that internal corruption and guilt-promoted evil. He may have escaped the physical monster that set out to kill him, but Dorian has yet to confront the emotional monster that resides within him. The body of water surrounding his yacht will not keep out the insanity of the world, but give him more time to think about the insanity that lies within him, Dorian will perish.
"Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible"(201)
This actually explains a lot in regards to Dorian's behavior. As humans, once we experience something great whether it be physical or emotional, we strive to achieve that greatness in order to continuously feel good about ourselves. Dorian's motive for so passionately and violently guarding his youth is simply this: because it felt good to him, watching other people age and perish while he still remained in the same physical form that he did eighteen years ago. His whole life has been constructed around that one main value, protecting it at all costs. He killed his beloved friend because of his portrait, felt no remorse, and sought out no redemption. He is subject of nobodies experiment but his own, and has failed to produce what we would consider "rational results." Dorian's entire life ever, ever since meeting Lord Henry at the beginning of the novel, has been focused around continuing to achieve his goal of fruitfulness, and because he was so consumed in doing that, nothing effected him. He feels no remorse and sympathy for anyone because he has simply ignored those feelings for so long, and would not know what to do with them. He always has, and will be focused on himself until someone turns on the light in the back of his head. This quotation explains Dorian's motives for living, as well as every human beings motives for living. This feeling we experience is like getting an A+ on an exam or for some, doing drugs, it is something that we simply can not forget until we are brought into the realization that life is still life without additives. We all have our judgment day, our "do or die" moment, where we are forced to look beyond our selves and further into our lives by observing others, and Dorian's is approaching.
Ap English/Mr. George
3/25/10
PODG Ch. 16-18
"The keen, aromatic air, the brown and red lights that glimmered in the wood, the hoarse cries of the beaters ringing out from time to time, and the sharp snaps of the guns that followed, fascinated him with a sense of delightful freedom. He was dominated by the carelessness of happiness, by the high indifference of joy" (207).
In this chapter Wilde does as very good job of distinguishing the two separate lives that Dorian lives, his life at his Selby Royal estate, and the life consumed by evil and addiction at his main residence in London. Despite their physical characteristics, both estates represent both sides of Dorian. In his hometown, Dorian began going to opium dens, and had previously destroyed the lives of many people. However, at his Selby Royal estate in the countryside, we get a sense that Dorian is not completely consumed by evil and in-humaneness." ". His countryside residence was the bearer of good things, and even though a man had died during the hunt at his estate, Dorian, for a minute moment, showed compassion toward the vengeful James Vane, the dead body. Despite his few seconds of compassion, we must also note that shortly after he was revealed that his stalker was dead and his life was saved. I personally believe that it is things like this, the constant gratification in other peoples misery, and internal corruption that develop into an uncontrollable power that will eat its host away from the inside out. Dorian says that "on a yacht one is safe"(210), which can be true, but it is not safe from that internal corruption and guilt-promoted evil. He may have escaped the physical monster that set out to kill him, but Dorian has yet to confront the emotional monster that resides within him. The body of water surrounding his yacht will not keep out the insanity of the world, but give him more time to think about the insanity that lies within him, Dorian will perish.
"Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible"(201)
This actually explains a lot in regards to Dorian's behavior. As humans, once we experience something great whether it be physical or emotional, we strive to achieve that greatness in order to continuously feel good about ourselves. Dorian's motive for so passionately and violently guarding his youth is simply this: because it felt good to him, watching other people age and perish while he still remained in the same physical form that he did eighteen years ago. His whole life has been constructed around that one main value, protecting it at all costs. He killed his beloved friend because of his portrait, felt no remorse, and sought out no redemption. He is subject of nobodies experiment but his own, and has failed to produce what we would consider "rational results." Dorian's entire life ever, ever since meeting Lord Henry at the beginning of the novel, has been focused around continuing to achieve his goal of fruitfulness, and because he was so consumed in doing that, nothing effected him. He feels no remorse and sympathy for anyone because he has simply ignored those feelings for so long, and would not know what to do with them. He always has, and will be focused on himself until someone turns on the light in the back of his head. This quotation explains Dorian's motives for living, as well as every human beings motives for living. This feeling we experience is like getting an A+ on an exam or for some, doing drugs, it is something that we simply can not forget until we are brought into the realization that life is still life without additives. We all have our judgment day, our "do or die" moment, where we are forced to look beyond our selves and further into our lives by observing others, and Dorian's is approaching.
Tuesday, March 23, 2010
PODG Ch. 15
Stephen Simmons-Uvin
Ap English/Mr. George
3/23/10
PODG Ch. 15
"A man can be happy with any woman, as long as he does not love her"(184).
This questionable response to the topic of happiness in marriage is said by Lord Henry, proposing the idea that happiness is not found in commitment, but in the absence of love. This line stuck out to me because although it seems irrational, I for one agree with it. The catholic church teaches that marriage is unitive and is the climactic phase of love and happiness. Religion teaches that marriage is a very important sacrament, uniting the man and woman, and in doing so, happiness is given, eventually. However, if you were to ask ten couples if happiness were a recurring theme in their marriage, I guarantee that at least three would say "no." It is a known fact that marriage does not constitute eternal happiness, it only reflects what was once love and what is now an emotional bond that some fail to break through. Happiness is not something that can only be found through a relationship or love. It can be found in friends, family, and even those that you hate. Happiness is a universal feeling in the sense that it comes and goes, and can be found whenever, wherever, and in whoever. This feeling is not something that can only be achieved by loving someone. I personally hate some of the people that I know, but whenever I am with them, I am happy. Lord Henry creates very obscure theories about life and morals throughout the novel, and for once, he proposes a very interesting concept, which is still reflected on today.
"Moderation is a fatal thing. Enough is as bad as a meal. More than enough is as good as a feast"(185).
Once again, Lord Henry's crazed logic floods the content of this chapter. In this quote he states that the whole concept of consuming things or doing things in moderation is silly. He states that "enough of something is as bad as a meal," meaning that just "enough" of something is too little, and that "more than enough is as good as a feast," meaning that too much of something is phenomenal, because you can not turn back. I picked this quote because it completely combats what we are taught as human beings today. In this modern age, we are taught from the way way we eat, to the amount we exercise and do things, that anything is good, as long as it is in moderation, meaning that everything is good for our bodies as long as we are exposed to it over time and not all at once. What seems to be logical to us and has been logical for many generations before us, is not to Lord Henry, and he makes a very valid point. This quote can be applied to the character of Dorian in the sense that Henry's influence on him happened in the course of a couple of chapters or all at once. Now that Dorian has been so exposed to Henry's teachings and done so many horrible things, he is able to "feast" because there is nothing worse that he can do to his corpse.
Ap English/Mr. George
3/23/10
PODG Ch. 15
"A man can be happy with any woman, as long as he does not love her"(184).
This questionable response to the topic of happiness in marriage is said by Lord Henry, proposing the idea that happiness is not found in commitment, but in the absence of love. This line stuck out to me because although it seems irrational, I for one agree with it. The catholic church teaches that marriage is unitive and is the climactic phase of love and happiness. Religion teaches that marriage is a very important sacrament, uniting the man and woman, and in doing so, happiness is given, eventually. However, if you were to ask ten couples if happiness were a recurring theme in their marriage, I guarantee that at least three would say "no." It is a known fact that marriage does not constitute eternal happiness, it only reflects what was once love and what is now an emotional bond that some fail to break through. Happiness is not something that can only be found through a relationship or love. It can be found in friends, family, and even those that you hate. Happiness is a universal feeling in the sense that it comes and goes, and can be found whenever, wherever, and in whoever. This feeling is not something that can only be achieved by loving someone. I personally hate some of the people that I know, but whenever I am with them, I am happy. Lord Henry creates very obscure theories about life and morals throughout the novel, and for once, he proposes a very interesting concept, which is still reflected on today.
"Moderation is a fatal thing. Enough is as bad as a meal. More than enough is as good as a feast"(185).
Once again, Lord Henry's crazed logic floods the content of this chapter. In this quote he states that the whole concept of consuming things or doing things in moderation is silly. He states that "enough of something is as bad as a meal," meaning that just "enough" of something is too little, and that "more than enough is as good as a feast," meaning that too much of something is phenomenal, because you can not turn back. I picked this quote because it completely combats what we are taught as human beings today. In this modern age, we are taught from the way way we eat, to the amount we exercise and do things, that anything is good, as long as it is in moderation, meaning that everything is good for our bodies as long as we are exposed to it over time and not all at once. What seems to be logical to us and has been logical for many generations before us, is not to Lord Henry, and he makes a very valid point. This quote can be applied to the character of Dorian in the sense that Henry's influence on him happened in the course of a couple of chapters or all at once. Now that Dorian has been so exposed to Henry's teachings and done so many horrible things, he is able to "feast" because there is nothing worse that he can do to his corpse.
Monday, March 22, 2010
PODG Ch. 14
Stephen Simmons-Uvin
Ap English/Mr. George
3/22/10
PODG Ch. 14
"Your life? Good heavens! what a life that is! You have gone from corruption to corruption, and now you have culminated in crime. In doing what I am going to do, what you forced me to do, it is not your life that I am thinking"(176).
Dorian has finally broken through the shackled fence of human morality, leaving behind all aspects of life and particular characteristics and emotions that define him as human. Previously, Dorian's method of interacting with other people and living life has reflected the very nature of sin and evil, but all humans sin, and all humans have minute traces of evil in their souls. Now Dorian has transformed into a creature that can not be compared with even the worst of criminals today. He has officially become the beast that he had been evolving into ever since he met Lord Henry, and become more powerful than Henry himself. Just a couple of pages ago, Dorian murdered Basil, his best friend since the beginning of the novel, and felt no remorse. Now, Dorian feels the need to rid himself of Basil completely and blackmail Alan, in order for Basil's body to be disposed of. What stuck out to me the most in this chapter was not Dorian's plan to dispose of his dearest friends body, but his choice to sin again, and blackmail Alan, only pages after he had killed Basil. This obviously reflects his newly adopted, animalistic characteristics, and our ability, as readers, to understand Dorian and potentially sympathize with him. Wilde has extinguished all sympathetic feelings the reader might have had for Dorian and replaced them with a burning inferno, and feelings of anger and hatred. Not only has Dorian devolved from understandable to vial in the readers eyes, but he has disabled us from connecting with him as a character: Dorian is no more.
"What was that loathsome red dew that gleamed, wet and glistening, on one of the hands, as though the canvas had sweated blood? How horrible it was!-more horrible, it seemed to him for the moment, than the silent thing that he knew was stretched across the table"(177).
In my opinion, this blood-like substance on Dorian's hand in the portrait can represent a couple of things, the death of his soul or the corruption and demise of his soul and character. Since his selfish wish in the beginning of the novel to have his portrait age while he continuously showcases beauty at its finest, Dorian's portrait has underwent some disturbing changes from becoming very pale, developing wrinkles, and decaying. However, not once have we seen a change so severe as this. This could be explained by the fact that Dorian has never committed such great sins as he had just done, or because the portrait is somehow foreshadowing Dorian's demise. Although it may seem unlikely, the very essence of the portrait persuaded Dorian to kill Basil. It is defined as hideous artwork on the outside, but resembles more of a character than that of Dorian; it is not just a portrait. Once again int his chapter, Dorian is drawn to the ugliness of the portrait over others such as Basil. His connection to the portrait is unrealistic in the sense that he fancies it so much that is it like they are linked in blood. This obsession represents Dorian's corrupt conscience, and if his conscience were ever destroyed, Dorian would follow. People often say that "things get worse before they get better," but there is nothing better on the horizon for our corrupt friend.
Ap English/Mr. George
3/22/10
PODG Ch. 14
"Your life? Good heavens! what a life that is! You have gone from corruption to corruption, and now you have culminated in crime. In doing what I am going to do, what you forced me to do, it is not your life that I am thinking"(176).
Dorian has finally broken through the shackled fence of human morality, leaving behind all aspects of life and particular characteristics and emotions that define him as human. Previously, Dorian's method of interacting with other people and living life has reflected the very nature of sin and evil, but all humans sin, and all humans have minute traces of evil in their souls. Now Dorian has transformed into a creature that can not be compared with even the worst of criminals today. He has officially become the beast that he had been evolving into ever since he met Lord Henry, and become more powerful than Henry himself. Just a couple of pages ago, Dorian murdered Basil, his best friend since the beginning of the novel, and felt no remorse. Now, Dorian feels the need to rid himself of Basil completely and blackmail Alan, in order for Basil's body to be disposed of. What stuck out to me the most in this chapter was not Dorian's plan to dispose of his dearest friends body, but his choice to sin again, and blackmail Alan, only pages after he had killed Basil. This obviously reflects his newly adopted, animalistic characteristics, and our ability, as readers, to understand Dorian and potentially sympathize with him. Wilde has extinguished all sympathetic feelings the reader might have had for Dorian and replaced them with a burning inferno, and feelings of anger and hatred. Not only has Dorian devolved from understandable to vial in the readers eyes, but he has disabled us from connecting with him as a character: Dorian is no more.
"What was that loathsome red dew that gleamed, wet and glistening, on one of the hands, as though the canvas had sweated blood? How horrible it was!-more horrible, it seemed to him for the moment, than the silent thing that he knew was stretched across the table"(177).
In my opinion, this blood-like substance on Dorian's hand in the portrait can represent a couple of things, the death of his soul or the corruption and demise of his soul and character. Since his selfish wish in the beginning of the novel to have his portrait age while he continuously showcases beauty at its finest, Dorian's portrait has underwent some disturbing changes from becoming very pale, developing wrinkles, and decaying. However, not once have we seen a change so severe as this. This could be explained by the fact that Dorian has never committed such great sins as he had just done, or because the portrait is somehow foreshadowing Dorian's demise. Although it may seem unlikely, the very essence of the portrait persuaded Dorian to kill Basil. It is defined as hideous artwork on the outside, but resembles more of a character than that of Dorian; it is not just a portrait. Once again int his chapter, Dorian is drawn to the ugliness of the portrait over others such as Basil. His connection to the portrait is unrealistic in the sense that he fancies it so much that is it like they are linked in blood. This obsession represents Dorian's corrupt conscience, and if his conscience were ever destroyed, Dorian would follow. People often say that "things get worse before they get better," but there is nothing better on the horizon for our corrupt friend.
Sunday, March 21, 2010
PODG Ch. 12-13
Stephen Simmons-Uvin
Ap English/Mr. George
3/21/10
PODG Ch. 12-13
"'What is it that one was taught to say in one's boyhood? 'Lead us not into temptation. Forgive us our sins. Wash away our iniquities''" (Wilde 162).
Repentance and religion have been very popular recurring themes in the books that we have read so far in the year, and in all of these books like The Crucible, and The Scarlet Letter, religion has seemed to play a similar role in the sense that it has offered stability and opportunity, if willing to take it. However, in The Picture of Dorian Grayreligion plays no role at all, it is simply granted the honor of being briefly mentioned in the novel. Although it was mentioned briefly in this chapter, Basil's eagerness to repent and redeem not only his "sins," but Dorian's as well simply represents Basil's goodness, and Dorian's triumphant evil. The two represent the conflict between heaven and hell, the complete polar opposites of each other, which is why Dorian is unable to accept possibilities being presented by a person like Basil. He is evil incarnate and hell on earth and Basil is the fallen angel.
"There was a stifled groan and the horrible sound of someone chocking with blood...He stabbed him twice more, but the man did not move. Something began to trickle on the floor"(162).
Although this seems like a climactic event in the novel where Dorian has officially succumbed to the greatest level of evil perpetuated violence, I must disagree. As a reader, this scene did not seem all that important. The lack of description and detail of the murder made it feel like this short scene was insignificant and that something like this has been happening over the years, and will continue to happen. Wilde's writing style is much more different than many other writers, because each writer's style is unique, but the vast majority of writers choose to flesh out their major scenes or climactic events in order to bring attention to them, which makes it seem like Wilde doesn't fail to "flesh out" this event, but chooses not to because it is insignificant. As a reader, Basil's murder is an attention grabber simply because it is the death of a main character in the novel. Wilde tends to over indulge himself in pointless, lengthy descriptions of insignificant things such as the atmosphere, and tends to go on detailed rampages about completely random things. Ironically enough, he chooses not to over crowd this scene with intensive detail, and indirectly hints, through his lack of vivid imagery, that Basil's murder was not a shocking event. I personally believe that murder will become as familiar to the reader as the title of the book.
Ap English/Mr. George
3/21/10
PODG Ch. 12-13
"'What is it that one was taught to say in one's boyhood? 'Lead us not into temptation. Forgive us our sins. Wash away our iniquities''" (Wilde 162).
Repentance and religion have been very popular recurring themes in the books that we have read so far in the year, and in all of these books like The Crucible, and The Scarlet Letter, religion has seemed to play a similar role in the sense that it has offered stability and opportunity, if willing to take it. However, in The Picture of Dorian Grayreligion plays no role at all, it is simply granted the honor of being briefly mentioned in the novel. Although it was mentioned briefly in this chapter, Basil's eagerness to repent and redeem not only his "sins," but Dorian's as well simply represents Basil's goodness, and Dorian's triumphant evil. The two represent the conflict between heaven and hell, the complete polar opposites of each other, which is why Dorian is unable to accept possibilities being presented by a person like Basil. He is evil incarnate and hell on earth and Basil is the fallen angel.
"There was a stifled groan and the horrible sound of someone chocking with blood...He stabbed him twice more, but the man did not move. Something began to trickle on the floor"(162).
Although this seems like a climactic event in the novel where Dorian has officially succumbed to the greatest level of evil perpetuated violence, I must disagree. As a reader, this scene did not seem all that important. The lack of description and detail of the murder made it feel like this short scene was insignificant and that something like this has been happening over the years, and will continue to happen. Wilde's writing style is much more different than many other writers, because each writer's style is unique, but the vast majority of writers choose to flesh out their major scenes or climactic events in order to bring attention to them, which makes it seem like Wilde doesn't fail to "flesh out" this event, but chooses not to because it is insignificant. As a reader, Basil's murder is an attention grabber simply because it is the death of a main character in the novel. Wilde tends to over indulge himself in pointless, lengthy descriptions of insignificant things such as the atmosphere, and tends to go on detailed rampages about completely random things. Ironically enough, he chooses not to over crowd this scene with intensive detail, and indirectly hints, through his lack of vivid imagery, that Basil's murder was not a shocking event. I personally believe that murder will become as familiar to the reader as the title of the book.
Thursday, March 18, 2010
PODG Ch. 11
Stephen Simmons-Uvin
Ap English/Mr. George
3/18/10
PODG Ch. 11
"There were moments when he looked on evil simply as a mode through which he could realize his conception of the beautiful"(150).
This lifestyle that Dorian has adopted over this several year time period is not only unhealthy, but irrational and impossible. The average human being or any human being for that matter has the ability to distinguish right from wrong and moral from immoral, even if they do not necessarily abide by those principle values.That is why we feel like the world is in a war against us when we do something wrong and why we feel the need to help someone who needs to be helped. We are prone to experience certain emotions in specific situations, and rely on our conscience to pave the road of our tumultuous lives. However, Dorian now more than ever seems to not only ignore whats moral and immoral, but is completely oblivious to it. Previously, "the picture, changed or unchanged, would be to him the visible emblem of conscience" (96), and now represents his sick and corroding conscience. As the picture ages and decays, Dorian's conscience does as well, crippling his chances of ever becoming a rational human being once again. Dorian has escaped the bounds of human morality into a world comprised of foolish ideals and devilish pleasure. the average human would not be able to survive in a world without morals because there is no such world. So what then, is Dorian Gray?
"He felt a curious delight in the thought that Art, like Nature, has her monsters--things of bestial shape and with hideous voices"(138).
Nature is beautiful, yet it possesses hideous things. Dorian is beautiful and he possesses this old, decaying, sickly-faced, piece of canvas that Dorian calls a painting. The point being that at the root of every evil there is beauty and glory, whether it be good or bad. Also that even those less beautiful things such as the painting and aspects of nature such as hurricanes and earthquakes are important, and not in fact "useless" as Wilde stated in the preface. Beauty is not something that spontaneously comes into existence, but erupts from the gruesome terrors which surround it, just as the most beautiful of flowers blossom from the most hideous of seeds. Dorian is a counterexample for Wilde's opinion of art in the preface. Dorian's situation proposes that art is not in fact useless because it grants him the one thing that he had desired since the very beginning of the novel: beauty, and the happiness that comes with it. This portrait means more to Dorian than the value of human life, and although it might reflect his hideous and devilish nature beneath his skin, it simply mirrors what Dorian is not: unbearable, agonizing ugliness.
Ap English/Mr. George
3/18/10
PODG Ch. 11
"There were moments when he looked on evil simply as a mode through which he could realize his conception of the beautiful"(150).
This lifestyle that Dorian has adopted over this several year time period is not only unhealthy, but irrational and impossible. The average human being or any human being for that matter has the ability to distinguish right from wrong and moral from immoral, even if they do not necessarily abide by those principle values.That is why we feel like the world is in a war against us when we do something wrong and why we feel the need to help someone who needs to be helped. We are prone to experience certain emotions in specific situations, and rely on our conscience to pave the road of our tumultuous lives. However, Dorian now more than ever seems to not only ignore whats moral and immoral, but is completely oblivious to it. Previously, "the picture, changed or unchanged, would be to him the visible emblem of conscience" (96), and now represents his sick and corroding conscience. As the picture ages and decays, Dorian's conscience does as well, crippling his chances of ever becoming a rational human being once again. Dorian has escaped the bounds of human morality into a world comprised of foolish ideals and devilish pleasure. the average human would not be able to survive in a world without morals because there is no such world. So what then, is Dorian Gray?
"He felt a curious delight in the thought that Art, like Nature, has her monsters--things of bestial shape and with hideous voices"(138).
Nature is beautiful, yet it possesses hideous things. Dorian is beautiful and he possesses this old, decaying, sickly-faced, piece of canvas that Dorian calls a painting. The point being that at the root of every evil there is beauty and glory, whether it be good or bad. Also that even those less beautiful things such as the painting and aspects of nature such as hurricanes and earthquakes are important, and not in fact "useless" as Wilde stated in the preface. Beauty is not something that spontaneously comes into existence, but erupts from the gruesome terrors which surround it, just as the most beautiful of flowers blossom from the most hideous of seeds. Dorian is a counterexample for Wilde's opinion of art in the preface. Dorian's situation proposes that art is not in fact useless because it grants him the one thing that he had desired since the very beginning of the novel: beauty, and the happiness that comes with it. This portrait means more to Dorian than the value of human life, and although it might reflect his hideous and devilish nature beneath his skin, it simply mirrors what Dorian is not: unbearable, agonizing ugliness.
Wednesday, March 17, 2010
PODG Ch. 9-10
Stephen Simmons-Uvin
Ap English/Mr. George
3/17/10
PODG Ch. 9-10
"When she knew its unreality, she died, as Juliet might have died. She passed again into the sphere of art"(113).
The sphere of art, where all great works come together in one vague genre of masterpieces, and where fiction has no bounds, is constantly referred to in this novel, especially when speaking of Dorian. His carelessness and inability to become an independent human being is what separates Dorian from a fictional world and a world of non-fiction. There have been many examples of "art" in this novel from paintings to books, but one form of "art," the most magnificent and bountiful form of art, has seemed to connect the fictional world with the real world: humans. As I had said previously, art has no bounds and humans are all unique pieces of artwork, and the world is our gallery. Some of us dance, some of us play sports, and some of us create robots and preach to the people every Sunday. We, as humans, are very different from one another, but we all coexist on this one gargantuan mixing tray called earth, where our "world" is separated from that of the literary arts, and from the paintings, and the sculptures. As rational human beings we are able to distinguish a difference between Romeo and Juliet and the real world, and are able to respect plays and paintings for what they are because they will always be plays and paintings. I personally believe that Dorian does not posses the ability to distinguish fiction from real life, and that he is stuck between a collision of the two, which is why he is unable to think like a rational human being and show compassion. "It is the spectator...that art really mirrors,"(2) and Dorian is on messed up guy.
"The mere cadence of the sentences...made him unconscious of the falling day and the creeping shadows"(129).
Henry's influence will simply never pass and it will eat away at Dorian's poor juvenile soul until it consumes him. The introduction of this "yellow book" initially seemed to me like the end of Dorian, seeing that it was given to him by Lord Henry. However, it seems as if Dorian finds great amusement in the "book with no plot," almost as much amusement and excitement that he did in Basil's portrait of Dorian. This also reminded me of the Preface where it states that, "There is no such thing as a moral or an immoral book,"(1)which is something that I completely agree with. Then what do we call books that influence its reader, and preach disturbing messages, and contradict what we know to be the very meaning of moral? We call them, influential and persuasive, which are two words that could doom Dorian or instill in him a continuous flame of corruption.
Ap English/Mr. George
3/17/10
PODG Ch. 9-10
"When she knew its unreality, she died, as Juliet might have died. She passed again into the sphere of art"(113).
The sphere of art, where all great works come together in one vague genre of masterpieces, and where fiction has no bounds, is constantly referred to in this novel, especially when speaking of Dorian. His carelessness and inability to become an independent human being is what separates Dorian from a fictional world and a world of non-fiction. There have been many examples of "art" in this novel from paintings to books, but one form of "art," the most magnificent and bountiful form of art, has seemed to connect the fictional world with the real world: humans. As I had said previously, art has no bounds and humans are all unique pieces of artwork, and the world is our gallery. Some of us dance, some of us play sports, and some of us create robots and preach to the people every Sunday. We, as humans, are very different from one another, but we all coexist on this one gargantuan mixing tray called earth, where our "world" is separated from that of the literary arts, and from the paintings, and the sculptures. As rational human beings we are able to distinguish a difference between Romeo and Juliet and the real world, and are able to respect plays and paintings for what they are because they will always be plays and paintings. I personally believe that Dorian does not posses the ability to distinguish fiction from real life, and that he is stuck between a collision of the two, which is why he is unable to think like a rational human being and show compassion. "It is the spectator...that art really mirrors,"(2) and Dorian is on messed up guy.
"The mere cadence of the sentences...made him unconscious of the falling day and the creeping shadows"(129).
Henry's influence will simply never pass and it will eat away at Dorian's poor juvenile soul until it consumes him. The introduction of this "yellow book" initially seemed to me like the end of Dorian, seeing that it was given to him by Lord Henry. However, it seems as if Dorian finds great amusement in the "book with no plot," almost as much amusement and excitement that he did in Basil's portrait of Dorian. This also reminded me of the Preface where it states that, "There is no such thing as a moral or an immoral book,"(1)which is something that I completely agree with. Then what do we call books that influence its reader, and preach disturbing messages, and contradict what we know to be the very meaning of moral? We call them, influential and persuasive, which are two words that could doom Dorian or instill in him a continuous flame of corruption.
Sunday, March 14, 2010
PODG Ch. 7 and 8
Stephen Simmons
Ap English/Mr. George
3/14/10
PODG
"The quivering, ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into the mirror after he had done some dreadful thing"(94).
The alteration of Dorian's portrait is something that we are obviously going to see more of and represents Wilde's way of developing Dorians character further. The portrait also represents Dorian's conscience and acts as a "self examination." " The picture, changed or unchanged, would be to him the visible emblem of conscience"(96) Since the beginning of the novel, Dorian has changed drastically, constantly changing his views and principles on life. However, this chapter represents his undecided nature very clearly. In the beginning of the chapter, Dorian is overcome with love and wishes to marry Sibyl, and shortly after wants nothing to do with her because she performed poorly in the theatre. However, after going home and "checking" himself, Dorian decides that it would be in his best interest to marry Sibyl, as he planned to do previously. Unfortunately, this would not have been possible because Sibyl died for which Dorian fest no remorse. The point is that Dorian is very undecided, maybe even to the point of corruption, and now that he is beginning to turn away from Henry and distance himself gradually, despite his lingering influence in Dorian, such uncertainty can not be good.
"What did it matter what happened to the colored image on the canvas? He would be safe. That was everything"(110).
Perhaps I was mistaken, the influence of Lord Henry in Dorian will simply never fade away. Their relationship is like a lobster trap. Dorian represents the lobster, lured in by the pleasurable odor of fish, or in his case, the empowering feeling of obtaining everything, and unable to escape. Lord Henry represents the trap, cleverly luring his victims in with fancy language and promise. Although it may have seemed earlier that Dorian and Harry were growing apart, this is not the case. Dorian is capable of thinking and operating independently as we have seen, but is constantly influenced by Harry into believing that he is not. In correspondence to influence, one main characteristic that should be noted in Dorian in this chapter is selfishness. Although this characteristic was recently adopted by Dorian, I have a feeling that it is here to stay. His goal is to have beauty, wealth, and everything that his heart desires, and as we have learned from Sibyl, he will do anything and accept anything that he needs to in order to achieve those things.
Ap English/Mr. George
3/14/10
PODG
"The quivering, ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into the mirror after he had done some dreadful thing"(94).
The alteration of Dorian's portrait is something that we are obviously going to see more of and represents Wilde's way of developing Dorians character further. The portrait also represents Dorian's conscience and acts as a "self examination." " The picture, changed or unchanged, would be to him the visible emblem of conscience"(96) Since the beginning of the novel, Dorian has changed drastically, constantly changing his views and principles on life. However, this chapter represents his undecided nature very clearly. In the beginning of the chapter, Dorian is overcome with love and wishes to marry Sibyl, and shortly after wants nothing to do with her because she performed poorly in the theatre. However, after going home and "checking" himself, Dorian decides that it would be in his best interest to marry Sibyl, as he planned to do previously. Unfortunately, this would not have been possible because Sibyl died for which Dorian fest no remorse. The point is that Dorian is very undecided, maybe even to the point of corruption, and now that he is beginning to turn away from Henry and distance himself gradually, despite his lingering influence in Dorian, such uncertainty can not be good.
"What did it matter what happened to the colored image on the canvas? He would be safe. That was everything"(110).
Perhaps I was mistaken, the influence of Lord Henry in Dorian will simply never fade away. Their relationship is like a lobster trap. Dorian represents the lobster, lured in by the pleasurable odor of fish, or in his case, the empowering feeling of obtaining everything, and unable to escape. Lord Henry represents the trap, cleverly luring his victims in with fancy language and promise. Although it may have seemed earlier that Dorian and Harry were growing apart, this is not the case. Dorian is capable of thinking and operating independently as we have seen, but is constantly influenced by Harry into believing that he is not. In correspondence to influence, one main characteristic that should be noted in Dorian in this chapter is selfishness. Although this characteristic was recently adopted by Dorian, I have a feeling that it is here to stay. His goal is to have beauty, wealth, and everything that his heart desires, and as we have learned from Sibyl, he will do anything and accept anything that he needs to in order to achieve those things.
Wednesday, March 10, 2010
PODG Ch. 5 and 6
Stephen Simmons-Uvin
Ap English/Mr. George
3/10/10
PODG
"Believe me that if this man wrongs my sister, I will find out who he is, track him down, and kill him like a dog. I swear it"(75).
Revenge and hate are simply things that can not be experimented with. They are monstrous chemicals who cause even the purest of heart to do dreadful things, when they are apart, and lethal when mixed together. As we have learned the act of revenge is in and of itself murder of the mind and of the human body. Edmond Dantes, from The Count of Monte Cristo, sought out revenge on those who had initially wronged him and in doing so, stained his hands with the blood of the accused. Robert Chillingworth, from The Scarlet Letter, violently desired to unravel his wife's "partner in crime," and in doing so he indirectly killed Reverend Arthur Dimmesdale. The point is that revenge and hating someone for an act or a crime that they may have or will commit is not beneficial to everyone involved, in one way or another. Although Jim's threat was described as "over exaggerated," there is simply no telling what he will do if the situation presents itself. After all teenagers tend to exaggerate everything and have the nature of rolling dice: they are simply unpredictable. Personally I believe that Jim will return from his adventures and execute his initial plans to kill Dorian if he wrongs his sister, Sibyl. A child who can travel the world alone and provide his own safety and care for himself is most certainly capable of murdering a man in my book, but will he?
"He would be a wonderful study"(79).
Dorian is simply an "experiment," or "study," in the eyes of Harry, which reflects Harry's carelessness. It seems as though he is simply not effected by the possible outcomes of his influence and "studies" on Dorian. He seems to resonate toward a more teleological view of the world and life as opposed to a deontological view. He lives the present as he wishes because he simply has no value for human life, because the world, specifically Dorian, are his lab rats, and the results are very amusing. Harry simply lives for amusement, poisoning the minds of those who grow too close, and influencing them to believe what he believes and do what he says is right. Harry is the pianist and the citizens are his keys to which an ear-warming masterpiece is created. And he will play those keys and awe many people with his knowledge and talent until one day he might be given a show, and he might spectate some other genius who knew the world as well as he did, and he, for once, will be influenced by another and exposed to his own concoction.
Ap English/Mr. George
3/10/10
PODG
"Believe me that if this man wrongs my sister, I will find out who he is, track him down, and kill him like a dog. I swear it"(75).
Revenge and hate are simply things that can not be experimented with. They are monstrous chemicals who cause even the purest of heart to do dreadful things, when they are apart, and lethal when mixed together. As we have learned the act of revenge is in and of itself murder of the mind and of the human body. Edmond Dantes, from The Count of Monte Cristo, sought out revenge on those who had initially wronged him and in doing so, stained his hands with the blood of the accused. Robert Chillingworth, from The Scarlet Letter, violently desired to unravel his wife's "partner in crime," and in doing so he indirectly killed Reverend Arthur Dimmesdale. The point is that revenge and hating someone for an act or a crime that they may have or will commit is not beneficial to everyone involved, in one way or another. Although Jim's threat was described as "over exaggerated," there is simply no telling what he will do if the situation presents itself. After all teenagers tend to exaggerate everything and have the nature of rolling dice: they are simply unpredictable. Personally I believe that Jim will return from his adventures and execute his initial plans to kill Dorian if he wrongs his sister, Sibyl. A child who can travel the world alone and provide his own safety and care for himself is most certainly capable of murdering a man in my book, but will he?
"He would be a wonderful study"(79).
Dorian is simply an "experiment," or "study," in the eyes of Harry, which reflects Harry's carelessness. It seems as though he is simply not effected by the possible outcomes of his influence and "studies" on Dorian. He seems to resonate toward a more teleological view of the world and life as opposed to a deontological view. He lives the present as he wishes because he simply has no value for human life, because the world, specifically Dorian, are his lab rats, and the results are very amusing. Harry simply lives for amusement, poisoning the minds of those who grow too close, and influencing them to believe what he believes and do what he says is right. Harry is the pianist and the citizens are his keys to which an ear-warming masterpiece is created. And he will play those keys and awe many people with his knowledge and talent until one day he might be given a show, and he might spectate some other genius who knew the world as well as he did, and he, for once, will be influenced by another and exposed to his own concoction.
Tuesday, March 9, 2010
PODG Ch. 4
Stephen Simmons-Uvin
Ap English/Mr. George
3/9/10
PODG
"It was to tell him[Henry] that he[Dorian] was engaged to be married to Sibyl Vane"(63).
Thus far in the novel Dorian has grown very close to Lord Henry, as we all know, and seems to be transforming into a younger Henry, accepting and retaining all of the old mans ideas and philosophies and utilizing them himself. Although Dorian will pretty much believe anything, one trait in particular, of Harry's, seemed to get the best of Dorian. This was Harry's obsession with manipulation and controlling others. It may seem as if Dorian has fallen deeply in love with the beautiful actress, Sibyl Vane, but there is a fine line between wanting someone for love and wanting someone for control and an art or skill that they possess. It seems as if Dorian simply wants to manage Sibyl's talent, not her love. "We must get her out of the Jew's hands...[and] take a West End Theater and bring her out properly"(59) exclaimed Dorian after commenting on her many talents. Sibyl is simply an act to Dorian, with additional beauty to top it off. The more time he spends with Harry, the more he becomes Harry and the more interesting Dorian becomes. In conclusion, Dorian is also establishing himself as a man who can think on his own, disagreeing with Harry's take on women and marriage, but more often then not, he thinks through other people.
"To a large extent, the lad was his own creation"(61).
What I want to emphasize the most in this quote is the word creation. The concept of creation is no stranger to the novel and can be simply translated into the word "art". As we read in the preface, art directly mirrors the spectator, and as we have learned through Basil's portrait of Dorian, this does not seem to always be true. However, the importance is not whether or not the painting reflects the spectator, but how frequently it turns up in the novel. Everyone is someones artwork. Dorian is Harry's work of art, but more literally, Basil's work of art. Henry is the societies work of art, created with all aspects and understanding of society. The greater idea behind this is that everyone is someones work of art, and as we have so vaguely learned from the preface, the artist conceals himself in his work, which serves no divine purpose. Harry conceals himself in Dorian, Basil conceals himself in Dorian's portrait, and society conceals itself in the very few members of that society such as Lord Henry. Furthermore, Wilde conceals himself through his characters, or so it may seem. This entire novel is about art and creation, and how those artworks and creations exist and are viewed in society. "To reveal art and conceal the artist is art's aim,"(1) Wilde states in the Preface. However, one day those secrets will be revealed and true works of art, whether they be vibrant portraits with canvas and oak framing, or paintings with flesh and a beating heart, will be no more.
Ap English/Mr. George
3/9/10
PODG
"It was to tell him[Henry] that he[Dorian] was engaged to be married to Sibyl Vane"(63).
Thus far in the novel Dorian has grown very close to Lord Henry, as we all know, and seems to be transforming into a younger Henry, accepting and retaining all of the old mans ideas and philosophies and utilizing them himself. Although Dorian will pretty much believe anything, one trait in particular, of Harry's, seemed to get the best of Dorian. This was Harry's obsession with manipulation and controlling others. It may seem as if Dorian has fallen deeply in love with the beautiful actress, Sibyl Vane, but there is a fine line between wanting someone for love and wanting someone for control and an art or skill that they possess. It seems as if Dorian simply wants to manage Sibyl's talent, not her love. "We must get her out of the Jew's hands...[and] take a West End Theater and bring her out properly"(59) exclaimed Dorian after commenting on her many talents. Sibyl is simply an act to Dorian, with additional beauty to top it off. The more time he spends with Harry, the more he becomes Harry and the more interesting Dorian becomes. In conclusion, Dorian is also establishing himself as a man who can think on his own, disagreeing with Harry's take on women and marriage, but more often then not, he thinks through other people.
"To a large extent, the lad was his own creation"(61).
What I want to emphasize the most in this quote is the word creation. The concept of creation is no stranger to the novel and can be simply translated into the word "art". As we read in the preface, art directly mirrors the spectator, and as we have learned through Basil's portrait of Dorian, this does not seem to always be true. However, the importance is not whether or not the painting reflects the spectator, but how frequently it turns up in the novel. Everyone is someones artwork. Dorian is Harry's work of art, but more literally, Basil's work of art. Henry is the societies work of art, created with all aspects and understanding of society. The greater idea behind this is that everyone is someones work of art, and as we have so vaguely learned from the preface, the artist conceals himself in his work, which serves no divine purpose. Harry conceals himself in Dorian, Basil conceals himself in Dorian's portrait, and society conceals itself in the very few members of that society such as Lord Henry. Furthermore, Wilde conceals himself through his characters, or so it may seem. This entire novel is about art and creation, and how those artworks and creations exist and are viewed in society. "To reveal art and conceal the artist is art's aim,"(1) Wilde states in the Preface. However, one day those secrets will be revealed and true works of art, whether they be vibrant portraits with canvas and oak framing, or paintings with flesh and a beating heart, will be no more.
Monday, March 8, 2010
PODG Chapter 3
Stephen Simmons-Uvin
Ap English/Mr. Player
3/8/10
PODG ch. 3
"I can stand brute force, but brute reason is quite unbearable. There is something unfair about its use. It is hitting below the intellect"(42).
Despite his constant urge to influence the minds of other people and instill his ideologies into their brains, Lord Henry is a very well spoken man who is very skilled in the art of persuasion. He constantly preaches thoughts and ideas which he does not stand by, but promotes some of the most intellectual statements and philosophies I have ever heard. At the luncheon, every attending member gets a piece of Harry's influential persona who brings up the interesting topic of beauty/one's physical features versus intellect and reason. Harry so convincingly states that intellect poses a greater threat than brute force because reason and ones intellect can do wonders to the mind; poison it and manipulate it to believe the unimaginable. Unfortunately I agree with Harry, even though he will probably be defending the other side later on in the novel, simply because the world is made up of ninety nine percent reason and one percent logic, in my opinion. Reason and intelligence is everywhere and everything. They are our security systems, our newspapers, our weapons for warfare, but most importantly, they are our identity, and what we chose to make ourselves. I cant believe I am admitting this, but I think for once Harry might be right, and although reason is something greater than this novel I believe that reason is defined through this novel and what may occur in this novel.
"I would sooner come with you; yes, I feel I must come with you"(47).
Sometimes it is simply frightening how quickly friendships develop. We have only just begun the novel and Dorian is already beginning to fancy Lord Henry over his initial friend, Basil. Unfortunately when humans tend to rush things or when people tend to rush relationships, hearts get broken, as well as some bones, but oddly enough this does not seem to be the case with Dorian and Harry. Dorian possesses something very valuable to Henry, an ear to listen, and naivety. Lord Henry, in compensation, possesses something that Dorian so passionately desires, the secret to eternal youth and beauty. It seems as though their relationship is going to continue growing and Basil is going to continuously become more frustrated until he reaches his boiling point, as we have seen in many characters in the novels we have read thus far. Furthermore, I think it is important to note Dorian's wish in the beginning of the novel to have his portrait age as opposed to himself in relation to Harry's "secret." Perhaps the two could be related.
Ap English/Mr. Player
3/8/10
PODG ch. 3
"I can stand brute force, but brute reason is quite unbearable. There is something unfair about its use. It is hitting below the intellect"(42).
Despite his constant urge to influence the minds of other people and instill his ideologies into their brains, Lord Henry is a very well spoken man who is very skilled in the art of persuasion. He constantly preaches thoughts and ideas which he does not stand by, but promotes some of the most intellectual statements and philosophies I have ever heard. At the luncheon, every attending member gets a piece of Harry's influential persona who brings up the interesting topic of beauty/one's physical features versus intellect and reason. Harry so convincingly states that intellect poses a greater threat than brute force because reason and ones intellect can do wonders to the mind; poison it and manipulate it to believe the unimaginable. Unfortunately I agree with Harry, even though he will probably be defending the other side later on in the novel, simply because the world is made up of ninety nine percent reason and one percent logic, in my opinion. Reason and intelligence is everywhere and everything. They are our security systems, our newspapers, our weapons for warfare, but most importantly, they are our identity, and what we chose to make ourselves. I cant believe I am admitting this, but I think for once Harry might be right, and although reason is something greater than this novel I believe that reason is defined through this novel and what may occur in this novel.
"I would sooner come with you; yes, I feel I must come with you"(47).
Sometimes it is simply frightening how quickly friendships develop. We have only just begun the novel and Dorian is already beginning to fancy Lord Henry over his initial friend, Basil. Unfortunately when humans tend to rush things or when people tend to rush relationships, hearts get broken, as well as some bones, but oddly enough this does not seem to be the case with Dorian and Harry. Dorian possesses something very valuable to Henry, an ear to listen, and naivety. Lord Henry, in compensation, possesses something that Dorian so passionately desires, the secret to eternal youth and beauty. It seems as though their relationship is going to continue growing and Basil is going to continuously become more frustrated until he reaches his boiling point, as we have seen in many characters in the novels we have read thus far. Furthermore, I think it is important to note Dorian's wish in the beginning of the novel to have his portrait age as opposed to himself in relation to Harry's "secret." Perhaps the two could be related.
Sunday, March 7, 2010
PODG chapter 1-2
Stephen Simmons-Uvin
AP English/Mr. George
3/7/10
PODG
"That had stirred him at the time, and now, as he stood gazing at the shadow of his own loveliness, the full reality of the description flashed across him. Yes, there would be a day when his face would be wrinkled and wizen, his eyes dim and colorless"(Wilde 27).
We have only just been introduce to Dorian Gray and already we get a sense of his innocence and naivity. We learn that although he may hold important values, he is very easily influenced by Lord Henry and convinced that youth and beauty are characteristics beyone wordly importance. We discover a lot about Dorian Gray in this chapter, including his wish to retain his youth while his portrait experiences the effects of aging. However, this chapter does not only introduce us to Dorian Gray's fickle nature, but Lord Henry's habit of influencing people. We have previously read books with characters who desire control over others or influence others, such as Chillingworth, Lady Catherine and Edmond Dantes, and the outcomes for all of these characters was more negative than positive. I am not saying that Lord Henry is a Screwtape or Wormwood, but simply a character who finds pleasure in influencing others decisions, and someone who true goodness may not exist.
AP English/Mr. George
3/7/10
PODG
"That had stirred him at the time, and now, as he stood gazing at the shadow of his own loveliness, the full reality of the description flashed across him. Yes, there would be a day when his face would be wrinkled and wizen, his eyes dim and colorless"(Wilde 27).
We have only just been introduce to Dorian Gray and already we get a sense of his innocence and naivity. We learn that although he may hold important values, he is very easily influenced by Lord Henry and convinced that youth and beauty are characteristics beyone wordly importance. We discover a lot about Dorian Gray in this chapter, including his wish to retain his youth while his portrait experiences the effects of aging. However, this chapter does not only introduce us to Dorian Gray's fickle nature, but Lord Henry's habit of influencing people. We have previously read books with characters who desire control over others or influence others, such as Chillingworth, Lady Catherine and Edmond Dantes, and the outcomes for all of these characters was more negative than positive. I am not saying that Lord Henry is a Screwtape or Wormwood, but simply a character who finds pleasure in influencing others decisions, and someone who true goodness may not exist.
Thursday, March 4, 2010
Preface Reflection
Stephen Simmons-Uvin
Ap English/Mr. George
3/4/10
preface reflection
Wildes opinion on art is interestingly described in the preface where he says that it is neither good or bad, or beautiful or ugly, but that it is basically neutral and completely useless. Despite his intreaging take on art and spectators of art, one part that really stuck out to me was in the end when Wilde says, "It is the spectator, and not life, that art really mirrors"(Wilde 2).I believe the reason it was so appealing to me was because it reminded me of my childhood, visiting tons of museams and going to a hand full of artshows with my grandma. She would always ask me one question, which I still dread to this day, "how does this[the art] make you feel?" I would always reply in the most positive way possible to hide my boredom, but I never trully took that question seriously. I joke about it now but I never truly understood what she would be getting at. As Wilde states, the spectator mirrors the painting and the spectator determines what is good art and bad art and chooses which emotions appeal to him/her through paintings and art. I never understood what my grandmother was really getting at, but Wilde offers a very fair argument and a very insightful one as well. Art is what we make it out to be, it is neither good or bad because we all make it out to be something different, so it is simply useless and a net for our emotions.
Ap English/Mr. George
3/4/10
preface reflection
Wildes opinion on art is interestingly described in the preface where he says that it is neither good or bad, or beautiful or ugly, but that it is basically neutral and completely useless. Despite his intreaging take on art and spectators of art, one part that really stuck out to me was in the end when Wilde says, "It is the spectator, and not life, that art really mirrors"(Wilde 2).I believe the reason it was so appealing to me was because it reminded me of my childhood, visiting tons of museams and going to a hand full of artshows with my grandma. She would always ask me one question, which I still dread to this day, "how does this[the art] make you feel?" I would always reply in the most positive way possible to hide my boredom, but I never trully took that question seriously. I joke about it now but I never truly understood what she would be getting at. As Wilde states, the spectator mirrors the painting and the spectator determines what is good art and bad art and chooses which emotions appeal to him/her through paintings and art. I never understood what my grandmother was really getting at, but Wilde offers a very fair argument and a very insightful one as well. Art is what we make it out to be, it is neither good or bad because we all make it out to be something different, so it is simply useless and a net for our emotions.
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