What is the relationship between art, beauty, and morality? In the society of 1890s Victorian England, moral codes, social expectations, and the emphasis on appearances were important values tangled together. Victorians believed that art serves as a tool for social education and moral enlightenment. The Aesthetic Movement, however, of which Oscar Wilde was a part, held the opposing view that art should be appreciated solely for its own sake, beauty, and significance, devoid of further educational responsibilities. Wilde, through writing The Picture of Dorian Gray, sought to liberate art from the burden of being a moral guide, as he advocated for the freedom of artistic expression.

The Picture of Dorian Gray weaves together the lives of three distinct characters, while two critical artworks throughout the story drive the plot forward. At the heart of the story is Dorian Gray, a young man who is extremely good-looking and charming. He used to be innocent, like a flawless plain paper. In the story, he is led to moral corruption and self-indulgence and commits unforgivable crimes. We 

Dorian’s life is shaped by his two friends: the alluring and persuasive Lord Henry Wotton, who practices hedonism, and the morally conscious artist Basil Hallward. Lord Henry, with his philosophical insights on living with beauty and pleasure without restriction by morality, persuades Dorian to stop caring about social norms as he has the ultimate beauty others don’t possess. He is the main contributor to Dorian’s deterioration and corruption. Basil, on the other hand, serves as a voice of conscience in the novel. Despite being highly captivated by Dorian’s physical appearance, he spots the subtle changes in his friend. He tries to warn him not to be influenced by Lord Henry and live a life of indulgence. 

The artworks are the keys of the book: the portrait of Dorian Gray painted by Basil and the “yellow book” bestowed to Dorian by Lord Henry. The portrait, to which Dorian wishes to carry all his aging and decay of beauty while letting him preserve his youthfulness, reflects the steps of his condescension. As Dorian goes on the track of indulgence, the portrait ages and becomes increasingly hideous, reminding him of his decadence and the root of evil inside him. All he remains is a hollow, empty shell with a significant appearance. Anger and irritation rise inside Dorian, and he blames his sufferings on the creator of this mirroring painting—Basil, driving him to lose his last bit of conscience and murders the artist. The other artwork, known as the yellow book, a decadent French novel given by Lord Henry, leads to Dorian's moral downfall. Its content about hedonism resonates with his desire and leads him further astray. 

Eventually, Dorian tries to destroy the portrait: the evidence of his deterioration, his mirror of moral decay, his darkest secret of murder, and the deaths that cost him. Through this, he kills his soul, his mortal body. He lies dead, aged, and loathsome, while the portrait returns to stay in his youth forever. 

In exploring the intersection of art, beauty, and morality, the book challenges the Victorian understanding of art’s moral responsibility, questioning the existence of beauty, the consequence of uncontrolled desire and indulgence, and the boundaries of societal norms. Our desire for aesthetic experience sometimes collides with moral responsibilities. This classic continues to challenge and inspire readers about the relationship between those values and alerts us to examine our moralities.