A Moral Entertainment
MORAL LESSONS AS SEEN IN DORIAN GRAY’S CHARACTER DEVELOPMENT IN JOHN OSBORNE’S THE PICTURE OF DORIAN GRAY: A MORAL ENTERTAINMENT
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By
BOB MORISON SIGALINGGING
Student Number: 054214103
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2010 MORAL LESSONS AS SEEN IN DORIAN GRAY’S CHARACTER DEVELOPMENT IN JOHN OSBORNE’S THE PICTURE OF DORIAN GRAY: A MORAL ENTERTAINMENT
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By
BOB MORISON SIGALINGGING
Student Number: 054214103
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2010
i
To have knowledge, you must first have reverence for the LORD. Stupid people have no respect for wisdom and refuse to learn.
[Proverbs 1:7]
iv This Undergraduate thesis is dedicated to
Jesus Christ, My Almighty God My Dearest Father and Mother My Beloved Brothers My Faithful Sweetheart and My Big Family
in the Hope for a Better Future
v
ACKNOWLEDGEMENTS
First of all, my deepest gratitude and honor goes to Jesus Christ, The
Almighty God, for His love, blessing, guidance, help and miracle so that I completely can accomplish my remarkable thesis. I also thank Him for my meaningful and hopeful life. I am nothing without Him.
Then, I am particularly thankful to my advisor, Dewi Widyastuti, S.Pd.,
M.Hum. whose friendly, good and clear understanding, guidance, and advice makes me able to finish this thesis. My gratitude also goes to my co-advisor,
Maria Ananta Tri Suryandari, S.S., M.Ed. for her wisdom, patience, and carefulness to give appropriate corrections and suggestions on this thesis so my thesis becomes better.
Next, I would like to give my big thanks to my whole family, my beloved daddy (Karmon Sigalingging) and mommy (Saorlina Samosir) and my cool brothers, Joan Tobit and Weismann Immanuel, for their endless love, support, and prayer.
To all my lovely mates at English Letters ’05, Aris, Jo, Sindu, Ian
‘Barbar’, Fuja, Bruno, Galih, Ben, Steph, Chris, Efrida Ita, Icha, Nila,
Nanda, Naris, Citra, Gretha, Ratri, Bayu, Aye, Desy, Norie, Della and Riana,
I would thank for the pleasant and joyful moment as well as my great play performance team in “In Love with Madonna” for the awesome experience. To my brothers and sisters, Bayu, Christo, Pikal, Silvi, Duon, Ezra, Rollie, Esther,
Nike, Yonas, Tita, Yenny, Sita, Rento, Robbie, Nancy, Wahyu, Ayu, Natalia,
viii Matias, Bona, and Sila, for the religious moment at PMK Efata so that I can keep my faith.
Furthermore, I also want say thanks to Mas Ari, Mas Sorong, Mas
Herman, Mas Evan, Mas Bayu, Mbak Ratna, Mbak Vita, Mbak Rani, Ketrin,
Freddy, Marsia, Lilis, Tri, Ayek, Andri, Horas ‘Neho’, Anto, Sonny, Nope,
Riris ‘Ndut’, Rudi, Ani, Septi, Ari, Ita, Rezky, Vhivie, Obeth ‘Capak’, Yoga,
Arya ‘Tongseng’, Hery, Brigitta, Brian, Nobid, Santi, Ineke ‘Noko’, Sumi,
Irin, Gita, Mbak Marni, Mbak Lusi, Mbak Yuli, Mbak Karni, and Mas Budi for the challenging experience in UKM KOPMA SADHAR. I also want to express my deepest thanks to my second home, Perkutut GK I/299, to Pak Diro,
Mbak Ning, Bu Nur, Pak Ponco, Bu Suswanti, Taufiq Ari, Taufik ‘Shinyo’,
Ian ‘Gamboel’, Erikson Tondang, Pepenk, and Mas Febri for their support, great friendship, and togetherness.
I also would like to express my gratitude to all my lecturers in English
Letters, SAC and other English Department staff, to all my friends and the people that cannot be mentioned one by one here, who have cared about me by giving their friendliness, support and prayer.
And last but not least, my special thanks go to my sweetheart, Aurelia
Melinda Nisita Wardhani for her love, kindness, patience, support, graciousness and prayer. I am thankful to her for giving me strength and empathy when I am down and accompanying me when I am frustrated and crying. I love her so much.
Bob Morison Sigalingging.
ix TABLE OF CONTENTS
TITLE PAGE ...... i APPROVAL PAGE ...... ii ACCEPTANCE PAGE ...... iii MOTTO PAGE ...... iv DEDICATION PAGE ...... v STATEMENT PAGE ...... vi LEMBAR PERNYATAAN PUBLIKASI ...... vii ACKNOWLEDGMENTS ...... viii TABLE OF CONTENTS ...... x ABSTRACT ...... xii ABSTRAK ...... xiii
CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 7 C. Objectives of the Study ...... 7 D. Definition of Terms ...... 8
CHAPTER II: THEORETICAL REVIEW ...... 10 A. Review of Related Studies ...... 10 B. Review of Related Theories ...... 13 1. Theories on Character and Characterization ...... 13 2. Theories on Character Development ...... 19 3. The Relation between Literature and Morality ...... 20 4. Theories on Moral and Morality ...... 21 C. Theoretical Framework ...... 25
CHAPTER III: METHODOLOGY ...... 27 A. Object of the Study ...... 27 B. Approach of the Study ...... 28 C. Method of the Study ...... 30
CHAPTER IV: ANALYSIS ...... 32 A. The Characterization of Dorian Gray ...... 33 B. Dorian Gray’s Character Development ...... 44 C. The Moral Lessons Seen through Dorian Gray’s Character Development ...... 61 1. Beauty and Wealth Does Not Guarantee Someone to Reach Happiness ...... 62 2. We Have to Be Wise in Choosing Friends ...... 65 3. What We Did in the Past Will Affect Our Future ...... 69
CHAPTER V: CONCLUSION ...... 72
x BIBLIOGRAPHY ...... 76 APPENDICES ...... 80 1. The Summary of John Osborne’s The Picture of Dorian Gray: A Moral Entertainment ...... 80 2. The Biography of John Osborne ...... 82
xi ABSTRACT
BOB MORISON SIGALINGGING (2010). Moral Lessons as Seen in Dorian Gray’s Character Development in John Osborne’s The Picture of Dorian Gray: A Moral Entertainment. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University.
The Picture of Dorian Gray: A Moral Entertainment is an adapted play from a fabulous novel which is written by John Osborne. This play serves a little bit different plot of the story based on the author’s point of view, though the content of story is basically the same as the original novel, The Picture of Dorian Gray, written by Oscar Wilde. Therefore, this study tries to focus on the character development of Dorian Gray. Dorian Gray is the major character that obviously appears in The Picture of Dorian Gray: A Moral Entertainment. He has an important role in the story. His character development indicates that there are moral lessons that can be derived. This study aims to answer three research questions as the problems formulation. The first question is on the characteristics of Dorian Gray. The second question is on how the description of Dorian Gray’s character development is described. The third question is on what moral lessons depicted through Dorian Gray’s character development. This study uses the library research method. The writer tries to seek all data and other supported references from the library that can be used for the analysis. Meanwhile, the approach used in analyzing the problems is the moral- philosophical approach. Next, theories on character and characterization are used to solve the first problem. Theories on character development are taken to reveal the appearing character development. Theories on moral and morality, as well as the relation between morality and literature are applied to find the relation between the character developments and the moral lessons. From the analysis, this study finally finds out that the Dorian Gray’s character changes. In the beginning of the story, Dorian Gray has adorable appearance, wealth and good behaviour but he then turns into irresponsible and evil man at the end of the story. From the changes of the major character, the writer eventually can find some moral lessons. The moral lessons that can be obtained by the readers, from the character development of the major character, are presented as follows. They are 1) Beauty and wealth does not guarantee someone to reach happiness, 2) We have to be wise in choosing friends, and 3) What we did in the past will affect our future. The analysis about character developments and their relations with moral lessons will emphasize a point that literature gives its readers a deeper and richer knowledge of human aspect of life.
xii ABSTRAK
BOB MORISON SIGALINGGING (2010). Moral Lessons as Seen in Dorian Gray’s Character Development in John Osborne’s The Picture of Dorian Gray: A Moral Entertainment. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.
The Picture of Dorian Gray: A Moral Entertainment adalah sebuah drama yang diadaptasi dari sebuah novel ternama dan merupakan hasil karya John Osborne. Drama ini menyajikan alur cerita yang sedikit berbeda berdasarkan sudut pandang pengarangnya, meskipun pada dasarnya isi cerita tidak jauh berbeda dengan novel aslinya, The Picture of Dorian Gray, yang ditulis oleh Oscar Wilde. Oleh karena itu, pembelajaran ini mencoba untuk lebih memfokuskan diri pada perkembangan karakter Dorian Gray. Dorian Gray merupakan karakter utama yang secara nyata muncul dalam The Picture of Dorian Gray: A Moral Entertainment. Perubahan karakternya mengindikasikan adanya ajaran moral yang dapat dipetik didalamnya. Pembelajaran ini bertujuan untuk menjawab tiga pertanyaan penelitian yang menjadi permasalahan. Pertanyaan pertama adalah karakteristik apa saja yang dimiliki oleh Dorian Gray. Pertanyaan kedua, jelaskan bagaimana perkembangan karakter Dorian Gray. Pertanyaan ketiga, ajaran moral apa saja yang tercermin dari perkembangan karakter Dorian Gray. Metode penulisan yang digunakan dalam penulisan ini adalah metode riset pustaka. Penulis mencoba mencari seluruh data dan sumber referensi pendukung lainnya dari perpustakaan yang dapat digunakan sebagai penunjang analisis pembelajaran. Sementara itu, pendekatan yang digunakan untuk menganalisa masalah-masalah ini adalah pendekatan filsafat moral. Selanjutnya, beberapa teori tentang tokoh dan karakterisasi digunakan untuk menjawab permasalahan pertama. Beberapa teori tentang perkembangan tokoh dipakai untuk menganalisa perkembangan karakter yang muncul. Teori hubungan antara moral dan moralitas, dan juga hubungan antara moralitas dan sastra diterapkan untuk memperoleh hubungan antara perkembangan karakter dan ajaran moral. Dari hasil analisa, penulis akhirnya menemukan bahwa karakter Dorian Gray mengalami perubahan. Di awal cerita, Dorian Gray adalah seorang yang rupawan, kaya raya, dan berperilaku baik tetapi kemudian dia berubah menjadi seorang yang tidak bertanggung jawab dan jahat di akhir cerita. Dari perubahan karakter tokoh utama tersebut, penulis akhirnya dapat menemukan beberapa ajaran moral. Ajaran moral yang dapat dipetik oleh para pembaca dari perubahan karakter tokoh utama dapat dijabarkan sebagai berikut. 1) Kerupawanan dan kekayaan tidak menjamin seseorang mencapai kebahagiaan, 2) Kita harus lebih arif dalam memilih teman, dan 3) Apa yang kita lakukan pada masa lalu akan berdampak pula pada masa depan kita. Analisis tentang perkembangan tersebut dan hubungannya dengan pesan moral akan menegaskan pendapat bahwa karya sastra memberikan pemahaman yang lebih luas dan mendalam tentang aspek kehidupan bagi para pembacanya.
xiii CHAPTER I
INTRODUCTION
A. Background of the Study
Literature is an interesting and wonderful object to be explored. Words and sentences in literature basically form a meaningful and coherent text.
Literature also contains some kinds of human aspect of life such as moral, history, psychology, social and many more. If we talk about literature, we can find that literature refers to anything written text that has the dual purpose of entertaining and educating its audience. Although the previous statement is one of common opinions to understand the meaning of literature, it is obvious that literary texts are constructed to convey a message and information even it attempts to promote certain idea, values, or ideologies to the audience. Moreover, literature can also be a media for the authors to tell about many things and their expression of them.
The authors create their works based on what they hear, see, feel, and know about anything that mostly happens in human life.
Literature is human creation in certain time to say something or events in certain period or year. It is intended to share some idea or issue to other human beings, because the greatness of the literature work is brought out by the wisest and the most sensitive mind in the form of information, experience, knowledge or non-aesthetic values (Guerin, 1979: 18).
From the quotation above, it appears an assumption that the world created in literary works must be as structured as the real world in which the author lives and the chief purpose of literary works are to tell story through anything written by the authors.
1 2
While for the readers, by reading literature, they can enrich their knowledge, since literature may contain special information of life which is useful to learn. Even though it is not identical with the real experience, it provides the profitable supplement in terms of intellectual and critical values because making a mature evaluation of life without having a great deal of direct experience is also possible (Craig, 1980: 7). Meanwhile, according to Wellek and Warren, a literary work does not only please the readers, but also gives them a kind of knowledge
(1956: 30-31). By reading literary works like novel, poetry, and drama or play, we can also get a lot of experiences and pleasure out of it. We can also find various problems and knowledge which are closely related to human aspect of life.
As the human aspect of life, we know that everyone in this world surely has a problem in his or her life. The problem exists when an individual becomes aware of a significant difference between what actually is and what is desired. On the other hand, the environment can be completely considered as the cause of those problems because we live in human society. We have a social life that requires us to do interaction each others, to make a relation, and to lead our own life. When we try to observe human life, we will see that everybody basically has a capability to judge something that is good or bad, right or wrong in his or her interaction, relation, and action. From the previous statement, the writer assumes that the characteristics of someone can influence his or her moral attitude. Moral behavior refers to moral action performed for reasons that are morally estimable.
Therefore, if we deeply try to understand about what moral is, moral can commonly be defined as a kind of judgment about what is good and what is not 3
good. It may be argued that our feelings themselves are proper subject to moral judgment. The description of moral judgment is also stated by Honderich.
In some moral contexts, ‘judgment’ refers not to an epistemological act, but rather to the quality possessed by someone with a particular sensitivity to complex moral situations, where no rule of thumb, no simple appeal to a single principle, can ensure a rational outcome. A case in which none of the conflicting factors loses its serious claim to compliant action calls upon, not arbitrary decision, but fine or ‘nice’ moral judgment (1995: 585).
It means that we have a qualification out of our action to make a judgment about moral thing. We can determine our perception about good and bad thing based on our knowledge and rational thoughts. Moreover, when we are doing something, we surely have a motivation behind our action. Motivation to do what one morally ought to do or what one has moral reasons to do (Honderich, 1995: 598).
Moral as the opposite of amoral or nonmoral refers to all judgments of what befits or does not befit persons as persons. The word moral as the opposite of immoral is a second term which means that a judgment has been made that something is not just morally adjudicable (moral as the opposite of amoral), but that it has already been judged and judged favorably (Maguire, 1978: 71-72). On the other hand, moral view gives direct expression to human preferences and desires, and that it is the essence of a moral system to promote the interest, the general harmony and well-being, of human communities.
A moral lesson can be obtained when the readers of literary work fully understand the characters that are found in it and the readers can find something to be learned from the story. As a literary work, drama or play can be considered as a literary work that likely contains the moral lesson. It is because the characters in 4
the drama can be the representation of the people’s moral orientation. Drama is known as the imitated actions or deeds performed by people in real life so that the readers of the drama can find some values that are described in it. One of the values that can be obtained is the moral value.
Moral values are generally used in the society to measure the goodness of a person as human being. Thus, moral values are able to make a difference between the good people and the bad ones, the right thing and the wrong one, and so on. Moral values are the values that are connected tidily with goodness and badness. Maguire in his book The Moral Choice stated that moral values are more basic than the other values, because moral values not only form what we do or what we experience, or what we have, but also they also form what we are (1978:
3). When the readers of drama studying the characters in the play, it is also possible that at the same time the readers try to understand its moral values.
Therefore, the readers actually can obtain some moral lessons by observing the moral values.
As far as we know, drama shows something being done. Barnet highlights that drama is not simply the presentation of interesting characters, or a matter of preaching interesting ideas; rather, it is the presentation of human beings engaged in action (2001: 1). Inside drama, we can see many kinds of character, society, or even story that contains some philosophical ideas. As one of the genres of literary works, drama gives us pleasure and knowledge. In reading a drama, it is not enough mentally to hear the lines. We must try to see the characters that are costumed and moving with a specified setting; costumes, sets, and gestures are 5
parts of the language of drama. Another understanding of play also attached by
Barranger in her book Understanding Play. She reveals that play is a kind of literary work that contains a unique challenge. It is constructed not only to be read but also to be performed.
A play is often the most difficult type of prose or poetry to read because it is written not only to be read, but also to be performed by actors before audiences (1994: 4).
Here, we can find that as readers, we must visualize all of the elements the playwright has placed on the page to convey a story to us namely its character in action and conflict, its happening in time and space and at the end, the completed meaning of all that has happened.
One of the literary works which can be related to moral value and moral lesson is the adapted play, The Picture of Dorian Gray: A Moral Entertainment, written by John Osborne. This play was performed in theatre in 1975 and became a great performance that was ever held since the original novel written by Oscar
Wilde was published in 1891. John James Osborne was an English playwright, screenwriter, actor and critic of The Establishment. The stunning success of his play in 1956, Look Back in Anger transformed English theatre. In a productive life of more than 40 years, Osborne explored many themes and genres, writing for stage, film, and TV.
He came into the theatrical scene at a time when British acting was enjoying a golden age, but most great plays came from the United States and
France. British plays remained blind to the complexities of the postwar period.
Osborne was one of the first writers to address Britain’s purpose in the post- 6
imperial age. He was the first to question the point of the monarchy on a prominent public stage. During his peak (1956-1966), he helped to make contempt becomes acceptable and now even clichéd onstage emotion, argued for the cleansing wisdom of bad behavior and bad taste, and combined unsparing truthfulness with devastating wit.
(http://www.goodreads.com/author/show/42092.John_Osborne)
Furthermore, he is interested to adapt the novel of The Picture of Dorian Gray into the drama text because one thing that has struck him about the original book is its feeling of willful courage and despair, the qualities only too clearly embodied in the spirit of Wilde himself (the original author of the novel).
The adapted play, The Picture of Dorian Gray: A Moral Entertainment, which was written by John Osborne, is simply but deliberately called a moral entertainment because this play contains a story that reflects the morality through the life of the main character. It was firstly published in 1973. Oscar Wilde’s The
Picture of Dorian Gray is the superb moral entertainment that tells the story of a man who preserves his youth and is feted by society, while his portrait visibly deteriorates with time. John Osborne’s brilliant and concise dramatization highlights the relevance of this tale in the modern to world.
(http://www.flipkart.com/picture-dorian-gray-john-osborne/1840021039-2zx3f99 liq).
The play, The Picture of Dorian Gray: A Moral Entertainment, completely tells of a beautiful young man character who becomes the subject of painting. His beauty is responsible for a new mode in his art. One day, he meets another 7
character that influences him into a new world view. Later, the character development is seen through his thought, attitudes, problems, and life. It eventually also reflects the morality of the main character. The portrait serves as a reminder of the effect each act has upon his soul, with each sin being displayed as a disfigurement of his form, or through a sign of aging.
After reading the play, the writer is curious to analyze what moral lessons can be learned from the story in the play. The moral lessons are represented through the main character development or can be seen from his attitudes and experiences that occur in the story. Therefore, the writer tries to relate how the life experiences can form the morality and teach the moral lessons to anybody.
B. Problem Formulation
There are three questions that will guide the writer to have further discussion in this thesis.
1. How is Dorian Gray characterized in the play?
2. How does the character of Dorian Gray develop in John Osborne’s The
Picture of Dorian Gray?
3. What are the moral lessons seen in Dorian Gray’s character development?
C. Objectives of the Study
The aim of this study is to answer the research questions stated in the problem formulation, which makes the writer has several objectives. The first is to find out how the characteristics of the main character are depicted. The 8
description of the main character is used to consider whether the main character has a good or bad moral in the beginning of the story. The second objective is to understand the process of character development through the main character’s life.
These two objectives will be helpful in understanding the character development which is progressed in the story. The last objective is to identify the moral lessons which are obtained through the main character development.
D. Definition of Terms
Some words will be defined to guide the readers in understanding this paper. The writer gets the definition of the specific terms mostly from books which are considered well-qualified.
1. Moral lesson
Maguire, in his book, defines moral refers to all judgments of what befits or does not befit persons as persons. Meanwhile, according to Webster’s New
Twentieth Century Dictionary Unabridged 2nd Edition, moral is relating to, dealing with or capable of making the distinction between right or wrong in conduct (1983: 1168).
According to the Merriam-Webster Online Dictionary, the term lesson, as a noun, means something learned by study or experience.
(http://www.merriam-webster.com/dictionary/lesson)
Thus, moral lesson is something that concerns with right conduct to be learnt or taught and in a period of time given by learning and teaching. 9
2. Character Development
M.H. Abrams (1993:23) explains that characters are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional equalities that are expressed in what they say and by what they do.
Meanwhile, according to Lemme, development can be defined as a systematic change in behavior overtime that is resulted from interaction between individual and the internal and external environment (1995: 8).
Thus, the character development can be said the changes of a character as a result of his or her action to fulfill some motives regardless of the influence of other characters, society in the drama or play, and his or her own past life. CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
John Osborne’s The Picture of Dorian Gray: A Moral Entertainment is a drama adapted from the Oscar Wilde’s famous novel. When we try to focus on the drama, it can be argued that it has been analyzed and criticized by many critics and experts. The writer found some criticisms on this drama from the internet but it is very difficult to find some related studies that discuss about this play because it is just an adapted play. Therefore, the writer tries to serve some studies that focus on the intrinsic elements of the story.
The analysis of the character in the Picture of Dorian Gray that relates to the thinking of postmodernism has been done by Nassaar. In his article 3 Wilde
Postmodernism and Oscarian Aestheticisim, he writes as follows.
Each of main characters in The Picture of Dorian Gray may stand for art movement. Although some of his allegorical interpretations seem rather far-fetched, the relationship which he notices between the Vane family and Victorian melodrama cannot be questioned. It should be noted that Wilde shares a relativist view of morality not just in art but also in life with postmodernist thinkers, although he starts from different premises. His moral relativity is based on a cultural and a historical relativism which he probably appropriated as a classical scholar. (http://oscarwilde.projectx2002.org/part3_wilde_postmodernism.htm).
In writing literary works, Wilde seems to use a kind of figurative language that will strengthen his works. Then, Wilde also shares his morality view through his works that one of them contains a criticism towards the condition and situation
10 11
of the Victorian Age society. Wilde’s thought basically is based on his life experience that happened both in cultural and in historical aspects.
Another study is conducted by Michael Patrick Gillespie in his article entitled Ethics and Aesthetics in the Picture of Dorian Gray. He offers yet another ethical critique of The Picture of Dorian Gray, although, he fails to consider the role of Victorian Gothic as the engine of the novelist’s moral debate regarding the sanctity of the human soul, opting instead to read the novel in terms of the ethical nature of its aesthetics elements: ‘Through the actions of its characters’. Gillespie writes that:
The Picture of Dorian Gray’s discourse establishes within us a sense of the wide-ranging aesthetics force that ethics exerts upon a work of art. Furthermore, Wilde’s novel gives us the opportunity to enhance the mix of our aesthetics and ethical views by extending our sense of the possibilities for interpretations beyond those delineated by our immediate hermeneutic system. (http://encarta.msn/ethic_and _aesthetic/dorian_gray.html).
Meanwhile, another analysis to explore the The Picture of Dorian Gray comes from Mc Ginn in his article entitled Ethics, Evil and Fiction. He turns his attention to another case of radical aesthetic bifurcation, though one which inverts the polarities of Dorian Gray. He supposes that this story tries to link the meaning of physical beauty is nothing if it is not followed by the inner beauty. He states that:
The Picture of Dorian Gray examines Wilde’s novel in which outward beauty co-exist with ugliness of soul, in part as a means of testing the amoral aestheticism for which Wilde is famed. Nothing that is all human lives run on separate aesthetic rails–beauty of body and of soul. (http://www.avila.edu/journal/fall03/TheGood.pdf). 12
Then, Sheldon W. Liebman in his essay Criticism: Character Design in the Picture of Dorian Gray reveals that it is explained by some critics that the story of The Picture of Dorian Gray actually contains the debate among its major characters toward their own point of view and the debate indirectly influences
Dorian’s mind. The oppositional thing that appears in the story can represent some choices that happen in human life. It is also mentioned that the opposition among the characters may show the conflict of psychological faculties. Liebman significantly thinks that the opposition between Basil and Henry has been seriously oversimplified by most critics, reduced as it is usually to a battle between ethics and aesthetics.
Interpreting rather than evaluating the play, most recent critics have seen Dorian Gray as in some sense a running debate between two of its major characters, Henry Wotton and Basil Hallward, and, furthermore, a debate carried out in the mind of Dorian Gray. In the past, many readers concluded that this opposition represented a plain choice between right and wrong, conscience and temptation, good and evil, positive and negative moral influences, or love and egoism. Although this opposition was usually seen as a battle symbolically waged by Henry and Basil, it was sometimes taken to be a conflict between warring psychological faculties: conscience vs. libido or intelligence vs. sensibility. (http://www.yingyudaxue.com/book/criticism-character-design-in-the- picture-of-dorian-gray-by-sheldon-w-liebman)
Many researches have commented about the story. The comments are also various, from praising it as a worthy masterpiece, to criticize the element within.
However, none of them do the research on the moral lesson from the character development inside the character of Dorian Gray in the adapted play which is done by John Osborne. The play by John Osborne contains a little different point of view instead of the original novel by Wilde. Therefore, in this thesis, the writer 13
tries to serve something different research about the moral lessons that can be taken from Dorian Gray’s character development.
B. Review of Related Theories
In answering the problem formulation that will be discussed further, there are some theories related to the topic that are taken from several sources, such as theory on character and characterization, theory on character development, theory on moral and morality, and the relation between literature and morality. The writer tried to explain those theories one by one because the theories were closely related to be used to make the exact analysis of each problem formulation stated in the previous chapter.
1. Theory on Character and Characterization
The description of character essentially is not different from the description of things. Yet, the character drawing has a special problem of its own.
To be acceptable, a character has to behave in consistent manner. M.H. Abrams in his book A Glossary of Literary Terms Sixth Edition explained that characters are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed what they say–the dialogue–and by what they do–the action (1993:
23).
A story mainly has major character and minor character (Stanton, 1965:
17-18). Each type of character has its own role. 14
a. Major character
The major character is categorized as the most important character and become the center of the story. They may dominate the whole story and is presented frequently to develop the main story. Therefore, the story usually focuses on the major character from the beginning until the end of the story. The major character can also be divided into two. They are put as follows.
1) Protagonist character
Protagonist character is a character whose motivation and history are fully established. He or she always faces conflicts and changes as the story progress.
2) Antagonist character
Antagonist character is a character whose actions are done to oppose the protagonist character. b. Minor character
Minor character is less important character than major character. They are presented to explain and to help the other characters, especially the major character. They support the development of the story itself and to help the major or other characters.
Moreover, X.J. Kennedy and Dana Gioia in their book Literature: An
Introduction to Fiction, Poetry, and Drama gives an explanation about what character is. He stated:
A character, then, is presumably an imagined person who inhabits a story although that simple definition may admit to a few exception. But, usually we recognize, in the main character of the story, human personalities that become familiar to us. If the story seems “true to life”, we generally find that its characters act in reasonably consistent manner, and that the author 15
has provided them with motivation, that is sufficient manner to behave as they do (1999: 60).
The term character is used to designate the individual speech and action. In other words, the character can represent human being’s actions, behaviors, and attitudes. It is a complicated term that includes the idea of the moral constitution of the human personality, the presence of moral uprightness, and the simpler notion of the presence of creature in art seem to be human beings of one sort or another (Holman and Harmon, 1986: 81).
In the different way, Boynton and Mack in their book, In Introduction to the Short Story mentioned that there are six specific ways in which a writer can reveal character. Each of details has to be looked at in relation to the total picture; taken alone a detail may not reveal accurately what the author means it to reveal
(1965: 27-29). a. What a character does
Stories show action. Therefore, the most obvious method for revealing character is through what a person does. b. What a character says
Another way of revealing what people are like is to show what they say. c. What a character thinks
A writer may also reveal the character of people by showing what they think. d. How others react to a character
Much can be shown about a character by the way others react to him, or by what they say about him. 16
e. How a character react to his surroundings
One of the commonest ways to reveal character is to show how a person reacts to his surroundings–to things and places. f. Direct description or explanation
A final method of character revelation is through direct description or explanation by the author. The way he chooses to reveal what he knows determines how “directly” he seems to be controlling his characters.
As we know that the existence of characters in a literary work is very important. The authors usually reveal their real life through any kind of literary work so that the reader will be interested. Therefore, they have to describe all of the characters as realistic as possible. The creation of these imaginary persons so that they exist for the reader as lifelike is called characterization (Holman and
Harmon, 1986: 81).
According to Holman and Harmon, in A Handbook to Literature, there are three fundamental methods of characterization (1986: 81). They are put as follows. a. Explicit presentation, which reveals the character directly through the
exposition. b. Action presentation, which gives a few descriptions about the character
because the author expects the readers will be able to recognize the character
through his or her action the story. c. Character presentation, which does not reveal the character’s description at all. 17
Furthermore, in Introduction to Literature Volume I, Barnet, Berman and
Burto expressed that characterization is the representation of the character, whether by direct description, by showing the character in action, or by the presentation of other characters that help to define each others (1994: 1536).
While according to Baldick, in The Concise Oxford Dictionary of Literary Terms, characterization is the representation of a person in dramatic or narrative work.
This may include direct methods like the attribution of qualities in description from character’s action, speech, or appearance (1990:34).
On the other hand, M.J. Murphy in his book Understanding Unseen stated that there are nine ways in which an author attempts to make his characters understandable to, and come alive for, his readers (1972: 161-173). a. Personal description
The author can describe a person’s appearance and clothes. b. Character as seen by another
Instead of describing a character directly the author can describe him through the eyes and opinions of another. The reader gets, as it were, a reflected image. c. Speech
The author can give us an insight into the character of one of the persons in the book through what the person says. Whenever person speaks, whenever he is in conversation with another, whenever he puts forward an opinion, he is giving us some clue to his character. 18
d. Past life
By letting the reader learn something about a person’s past life the author can give us a clue to events that have helped to shape a person’s character. This can be done by direct comment by the author, through the person’s thought, through his conversation or through the medium of another person. e. Conversation of others
The author can also give us clues to a person’s character through the conversations of other people and the things they say about him. People do talk about other people and the things they say often give as a clue to the character of the person spoken about. f. Reactions
The author can also give us a clue to a person’s character by letting us know how that person reacts to various situations and events. g. Direct comment
The author can describe or comment on a person’s character directly. h. Thoughts
The author can give us direct knowledge of what a person is thinking about. In this respect he is able to do what we cannot do in real life. He can tell us what different people are thinking. i. Mannerisms
The author can describe a person’s mannerisms, habits or idiosyncrasies which may also tell us something about his character. 19
Those theories above are the theories of character and characterization that will be used to explain how Dorian Gray as the character in the play The Picture of Dorian Gray is characterized. In other words, Dorian Gray will be characterized through the statement from the author, his own dialogues and actions, and others characters’ dialogues and actions toward Dorian Gray.
2. Theory on Character Development
In some stories, there is a finding that the character of the stories may develop or change. The development may be good, bad, and so on through the certain condition and process. In his book, M. H. Abrams agrees with what has been stated by E. M Forster that there are two types of characters. They are flat and round characters. a. A flat character
A flat character is built around “a single idea or quality” and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence. Therefore, it is easy to be recognized. b. A round character
A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising us (1985: 24). A round character is capable of changing and moving through the action.
According to Holman and Harmon in A Handbook to Literature (1986:
83), a character may be either static or dynamic. 20
a. A static character
A static character is one who changes little if at all. Things happen to such a character without things happening within. The pattern of action reveals the character rather than showing the character changing in response to the actions. b. A dynamic character
A dynamic character, on the other hand, is one who is modified by actions and experiences, and one objective of the work in which the character appears is to reveal the consequences of these actions.
The change of the character basically does not happen suddenly. There are motivation and step that should be done in certain time to show the development itself. The development does not mean that the existing character will change into a new character but the important thing here is the change especially occurs to the personality of the character. From the previous explanation, the writer finds that the character of Dorian Gray has a dynamic character because the character changes through his motivations, actions, and experiences in his life.
3. The Relation Between Literature and Morality
As we know, literature is closely related to the real world, and because of this relationship, literature contains some aspects of human life. It can be satire, criticisms, religion messages, or ethics. Whatever the work is, however, it must contain some aspect of moral teaching. Since literature and moral teaching are related one another, the reader can obtain the moral values as the teaching by making the deep comprehension on the content of the work. 21
In his book On Moral Fiction, Gardner asserts that literature as an art is essentially and primarily moral—that is life-giving—moral in its process of creation and moral in what it says (1978: 15). Moreover, Gardner also says that a work of art that contains moral lesson tests values and rouses trustworthy feelings about the better and the worse in human action (1978: 19). By that statement, literary works sometimes can be the transferring media of obtaining moral value as the lesson for the reader. Of course moral value may be reflected by the characters of literary work and their relationship to the other characters.
Guerin in his book, A Handbook of Critical Approaches to Literature, states that the function of literature is to teach morality and to probe philosophical issues. The reader would interpret literature within a context of the philosophical thought of a period or group (1979: 29).
4. Theory on Moral and Morality
Human being is a social creature that means he or she cannot live by himself or herself. He or she must live together inside a community of other human beings or society. Inside every society, we will find a set of rules or norms which are meant for the goodness of the people to lead their life.
According to the Encarta MSN Dictionary, the term norms, as a noun, defined as a standard pattern of behavior that is considered normal in a society.
There are several norms inside every society of human in the universe. One of them, which will be mentioned in this part and has a connection with this analysis, is the morality norm. This norm is used in this analysis to help to make a 22
judgment on the goodness or badness of moral conscience inside each of the characters through their characterizations.
The term moral derives from the Latin plural mores, meaning manners or moral (Ross, 1972: 68). Meanwhile, according to Longman Dictionary of
Contemporary English Third Edition with New Words Supplement, moral can be understood as principles or standards of good behavior (2001: 1176). Therefore, we can determine the degree to which something is right or wrong, good or evil and so on. Moral appears to have taken the form such the direction of impulse as would make for the development of the individual and the preservation and welfare of the group (Titus and Morris, 1957: 22). It can be assumed that moral is a clue or direction of how to act rightly, to differ from what is good from what is not good. It means that moral refers to the way of how to act rightly or how to do good things. Moral actions can be learnt from somewhere, like story or event.
Cochrane, Hamm, and Kazepides, in their book titled The Domain of
Moral Education, say that moral thinking is about the fundamental values by which we profess to live (Cochrane, 1979: 7). They also state that the basic fact from which moral thinking starts is that human actions are never done in a vacuum but in a context which directly or indirectly involves other persons. They explain that human actions are not performed in a vacuum is thus to say that most actions tend to affect both the agent and the other persons. It is clearly implied that during their action, people can influence one another.
Then, in On Moral Fiction, Gardner mentions that the literary work contains the moral lesson that tests values and rouses trustworthy feelings about 23
the better and the worse in human action (1978: 19). Moral lesson explores, open- mindedly, to concern about good or bad attitude. In other words, the moral lesson has an important role to teach people in relation with good or bad values and principles. Therefore, it can be stated that moral lesson is something that concerns with right conduct to be learnt or taught and in a period of time given by teaching and learning. Thus, it is not just about a message that contains an idea or thought which is intended to express through literary work however message might be also considered as a suggestion related to practical moral lesson obtained by the readers through the story.
On the other hand, morality somehow has a deeper sense than moral in the sense of goodness or badness. Morality comes from Latin word moralis which means customs or manners. Morality is about the relationship between human being. In Ethic Theory and Practice written by Thiroux, it is stated that the area of morality concentrates on human conduct and human values (1995: 3). It means that human behavior, attitude and action as well as human relationship between one another in the society can determine the morality.
Hence, when we talk about the morality inside the society, it means that we will talk about the morality norm as one of the norms which exists in human’s society (Ross, 1972: 68). It means that we will talk about the rightness of moral actions in the society. In the different way, the term morality related to the society can be also used either 24
a. descriptively to refer to a code of conduct put forward by a society or, some
other groups, such as a religion, or accepted by an individual for his or her
own behavior or b. normatively to refer to a code of conduct that, given specified conditions,
would be put forward by all rational persons.
(http://plato.stanford.edu/entries/morality-definition/)
Daniel C. Maguire in his book The Moral Choice explains that morality is relational. It means that morality depends on the relation between people. He also said that what is moral for one person may be immoral for another because of the diversity of circumstances (1978: 63). Therefore, everyone surely has different perspective to define morality based on their knowledge and life experience in certain circumstance.
C.S Lewis defines morality on three levels as it relates to our behavior. He defines them as: (1) to ensure fair play and harmony between individuals; (2) to help make us good people in order to have a good society; and (3) to keep us in a good relationship with the power that created us.
(http://www.allaboutphilosophy.org/morality.htm)
Based on the above quotation, it is clear that our beliefs are critical to our moral behavior. Morality consists of principles that govern our behavior. Morality becomes something that guides our life to be good and harmony as social creature.
Morality has become a complicated issue in the multi-cultural world we live in today. Some comparative and evolutionary psychologists have recently taken morality, or a close anticipation, to be present among groups of non-human 25
animals, primarily other primates but not limited to them. Morality has also been taken to refer to any code of conduct that a person or group takes as most important.
Furthermore, in The Moral Choice, Maguire also states that the foundation of morality is the experience of the value of persons and their environment (1978:
72). This experience is the distinctively human and humanizing experience and the gateway to personhood. It is the experience that sets us apart from beast and barbarian. It is the seed of civilization, the root of culture, and the badge of distinctively human consciousness. Without an in-depth participation in this experience, morality would seem a meaningless intrusion on our whim and fancy and moral language would be nonsense.
It is stated above that moral is principles or standards of how to do good things and morality is about the relationship between human being and basically the reason behind human action. Thus, both of the things are similar but not totally the same.
C. Theoretical Framework
The review of related theories that are included above will help the writer in doing the analysis, since the writer focuses on the moral lesson of the main character Dorian Gray. The first theory that the writer used is the theories on character and characterization. Those theories are used to analyze Dorian Gray’s attitude and behavior from the beginning to the end of the story, find out the 26
description of Dorian Gray’s character, and understand the character of Dorian
Gray through his actions and dialogues.
The second theory is the theory on character development. This theory helps the writer to understand how Dorian Gray’s character develops during the story. After examining the description of Dorian Gray’s character, it can be seen that his character is shown through the changing of his character from the beginning to the end of the story.
The third theory is the theory on moral and morality. By using these two theories, the writer tries to find out the basic meaning between moral and morality. Then, from the meaning, the writer gets more information about what is moral and what is morality.
The last theory is the theory of the relation between literature and morality.
This theory is used as the basic to reveal the message of the story. Furthermore, from the message, the moral lessons of the story can be derived, because basically, there are some moral lessons in the message of the story. Based on the whole explanations above, it can be seen that those theories are related to each others. They are needed to help and to support the process of analysis. CHAPTER III METHODOLOGY
A. Object of the Study
The object of this study is an adapted play The Picture of Dorian Gray:A
Moral Entertainment. The play itself is written by an English playwright and screenwriter, John Osborne, who considers The Picture of Dorian Gray: A Moral
Entertainment as a great story that gives its readers pleasure. According to
Osborne, in the introduction of the adapted play The Picture of Dorian Gray:A
Moral Entertainment, the original novel is a superb entertainment; notwithstanding all the things that one knows about it and has been said many times. It is melodramatic and steeped in the personal of Wilde himself (1973: 11).
This play has 94 pages and is divided into 3 acts.
The Picture of Dorian Gray: A Moral Entertainment by John Osborne was also the superb moral entertainment that tells the story of a man who preserves his youth and is feted by society, while his portrait visibly deteriorates with time.
John Osborne's brilliant and concise dramatization highlights the relevance of this tale in the modern to world, where, as Osborne said that it was obligatory to be slim, trim, and careless.
(http://www.biblio.com/The Picture of Dorian Gray-byOscar_Wilde_John_
Osborne_-_11950738.html)
The play tells of an innocent young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is greatly impressed by Dorian's physical beauty and becomes strongly infatuated with him, believing that Dorian’s
27 28
beauty is responsible for a new mode in his art. Talking in Basil's studio, Dorian meets an aristocrat named Lord Henry Wotton, a friend of Basil, who worships beauty and art, and advocates indulgence in all sensual experiences in order to fully taste what life has to offer. He is a talker rather than a doer. Dorian is finally enthralled by Lord Henry's world view and he slowly leaves Basil to get closer to
Lord Henry.
The writer is interested to reveal the moral lesson through the life of the main character. It can be found from the character development of the main character Dorian Gray. It hopefully can give something which teaches morality to readers. The writer uses few books about moral philosophy and also the sources from internet to analyze the play.
B. Approach of the Study
In A Handbook of Critical Approaches to Literature, the moral- philosophical approach is an approach which insists on finding out and stating what is exposed and taught to get better understanding in a literary work (Guerin,
1979: 25). The previous statement means that the moral-philosophical approach achieve the moral quality through what is seen and learned from a character.
The important thing is the moral or philosophical teaching. In the larger sense, all great literature teaches the critics who employ the moral-philosophical approach insists on ascertaining and stating what is taught. If the work is in any degree significant or intelligible, this meaning will be there. It seems reasonable to employ moral-philosophical analyses among other methods (such as textual study 29
and recognition of genre) in getting at the total meaning of literary work when the work seems to call for them. Such approaches are less likely to err on the side of over interpretations than are more esoteric methods. And over interpretation is a particularly grievous critical error (Guerin, 1979: 26).
The advantage of moral-philosophical approach is presenting an obvious moral philosophy. It is also useful when considering the themes of works. Finally, it does not view literature merely as “art” isolated from all moral implications; it recognizes that literature can affect readers, whether subtly or directly. It seems that such an approach can be too judgmental. Some believe literature should be judged primarily on its moral or philosophical content.
This study basically deals with the moral lessons reflected in the main character. Discussing moral is always current and relevant with the life of human being. It needs intellectual and rational ability to develop the moral quality of human life. The proponent of this approach emphasizes that moral lesson beneath the story is needed to govern human attitude and behavior. Moral attitude of individual is confined by his personal circumstances. Therefore, the writer eventually analyzes the person’s character development that can reveal moral lesson. It is reasonable to apply the moral-philosophical approach to solve the problem in understanding the basic matter about moral that is discussed in this thesis. 30
C. Method of the Study
The method of the study that the writer used in this paper is library research. The study was done by reading and collecting data from some books to support the analysis. However, to get more information about the work and the author, the writer also browsed many sources from the internet. As references to make the analysis, the writer uses the theory on character from Abram’s A
Glossary of Literary Terms Sixth Edition, Kennedy’s An Introduction to Fiction,
Poetry, and Drama, and Boynton and Mack’s Introduction to the Short Story. The theory on characterization also taken from Holman and Harmon’s A Handbook to
Literature, Barnet, Berman and Burto’s Introduction to Literature Volume I,
Baldick’s The Concise Oxford Dictionary of Literary Terms and Murphy’s
Understanding Unseen.
Moreover, the theory on character development that is given by Forster in
Abram’s A Glossary of Literary Terms Sixth Edition and Holman and Harmon’s A
Handbook to Literature have an important role to make the significant analysis.
Because of this study is closely related to the moral topic, the theory on moral and morality, and the concept of the relation between literature and morality that are stated in Encarta MSN Dictionary, Cochrane, Hamm, and Kazepides’s The
Domain of Moral Education, Gardner’s On Moral Fiction, Maguire’s The Moral
Choice, and the approach from Guerin’s A Handbook of Critical Approaches to
Literature is needed as the important and appropriate sources to be used. Some additional sources like other books, websites and articles which are related to the topic also are added to support the analysis. 31
In writing this research, the writer did some steps. The steps which were done by the writer could be stated as follows: first, the writer read and comprehended the play so that the writer could comprehend the story and the details, which were essential in the process of writing the thesis. Second, the writer determined the topic to be discussed in this study, the moral lessons, which could be reflected through the character development of the main character. Third, the writer formulated some questions as the problem formulation, which could lead to the discussion of the topic. Fourth, the writer started to analyze the play.
The analysis focused on obtaining the answers of three questions stated in the problem formulation. In this part, firstly, the writer attempted to answer the first problem by finding what Dorian’s personalities are. In this case, the writer tried to pay attention to the whole text focusing on Dorian’s behaviors and attitudes.
Secondly, the writer attempted to answer the second problem by explaining the character development of Dorian Gray. The last step was the writer attempted to answer the third problem by finding out the moral lessons portrayed through the character development of Dorian Gray. Finally, the writer drew conclusion of the discussion. CHAPTER IV
ANALYSIS
In this chapter, the writer tries to answer the three problems formulated in the problem formulation. Moreover, the analysis will be divided into three parts.
In the first part, the description of the characteristics of Dorian Gray will be provided. The writer tries to find out how the character of Dorian Gray is described through his personal description, attitudes, speech, reaction, thoughts, and other characters’ opinion. From those findings, the writer will find out the changes that happen in his characteristics. The changes, later, will be described clearly in the second part.
In the second part, the writer tries to reveal how the character of Dorian
Gray developed. The changes that happen in the play are useful to analyze the character development of the major character. In this part, it will also be explained how the character development is strongly influenced by another character.
Finally, after knowing the description of Dorian Gray’s character development, the writer comes to the third part which consists of the finding of the moral lessons that can be obtained from the story of the play. In this case, the moral lessons will be revealed and observed more. The writer, then specifically, tries to find out the moral lessons that are reflected through the character development. It is because the character and moral have a close connection.
Furthermore, it is also based on the explanation of the problem number two stated in the second part of the analysis.
32 33
As a result, this chapter will consist of three subchapters: The
Characterization of Dorian Gray, The Character Development of Dorian Gray, and The Moral Lessons Seen through Dorian Gray’s Character Development.
A. The Characterization of Dorian Gray
In the The Picture of Dorian Gray: A Moral Entertainment, Dorian Gray is the major character that develops in the story. It is appropriate with Stanton’s theory on character, “The major character is categorized as the most important character and becomes the center of the story. They may dominate the whole story and is presented frequently to develop the main story” (1965: 17). Dorian Gray is presented as the last Lord Kelso’s grandson and the son of Lady Margaret
Devereux. His mother is an extraordinarily beautiful woman who marries a penniless young soldier. They have a son in their marriage life. He is named
Dorian. Lord Kelso eventually is discontented because of what her daughter, Lady
Margaret, has done. Then, to bring her daughter back, Lord Kelso gets a brute to insult his son-in-law in public and pays him to challenge his son-in-law in a duel.
The duel finally causes the husband dies and it makes Lady Margaret very sad because she has lost the man that she really loves. Lord Kelso succeeds to bring her daughter back to home but what happens later is very different. Lady Margaret never speaks to her father again. She extremely hates her father after the sorrowful tragedy and dies soon after. After Lady Margaret dies, Dorian, the poor child, is looked after in Shelby Royal, the big house which is full of luxurious furniture and rooms. 34
Then, several years passed. Lord Kelso is finally dead and leaves his fortune to his grandson, Dorian, so he is financially well-provided, and inherits more money when he comes of age. He then grows up into a handsome young man. It can be seen that Dorian comes from the wealthy family, or the member of aristocracy, the descendant of a family with hereditary titles, usually still in possession of considerable wealth. The Dorian’s family history is implicitly described when Lord Henry, one of Dorian’s friends, comes to his uncle, Lord
Fermor, to search any information about Dorian that he meets in the Basil’s studio.
Here, Murphy’s theory that says “By letting the reader learn something about a person’s past life the author can give us a clue to events that have helped to shape a person’s character. This can be done by direct comment by the author, through the person’s thought, through his conversation or through the medium of another person” (1972: 167) is clearly seen.
LORD HENRY. That is what I’ve come to learn, Uncle George. Or, rather, I know who he is. He’s the last Lord Kelso’s grandson and his mother was a Devereux; Lady Margaret Devereux. I want you to tell me about her. Whom did she marry, for instance. You’ve know nearly everyone in your time. LORD FERMOR. Of course I knew her. Extraordinarily beautiful girl. Made all the men frantic running away with a penniless young nobody. Subaltern in a foot regiment or something of that kind. Yes, poor chap was killed in a duel at Spa, just afterwards. Ugly business. They did say Kelso got some Belgian brute to insult his son-in-law in public and then paid him to spit him afterwards like a pigeon. The thing was hushed up but Kelso ate his chop alone at the Club for some time afterwards, I can tell you. Oh yes, it was a bad business. He brought her back with him but she’d never speak to him again and then she died as well before the year was out. So she left a son, did she? What’s he like? If he’s like his mother he must be good-looking sort. LORD HENRY. Oh, he is that. LORD FERMOR. Long as he falls into proper hands. Should have a bit of money waiting for him if Kelso did the right thing by him. 35
LORD HENRY. I fancy he’s well off. He has Shelby, I know. (Osborne, 1973: 30)
The Murphy’s theory on conversation of others can also be applied to find the characteristic of Dorian. At the beginning of the story, Dorian Gray is exceptionally good-looking and wonderful young man. His adorable appearance makes everyone admire his looks. He lives in the society where people energetically work to fulfill their life expectancy. He lives among the upper class of his society. He has a close friend named Basil Hallward. Basil is a painter and well-known artist. He absolutely flatters Dorian as a man who is quite different from anyone else that he ever encounters in his life.
LORD HENRY. Is he fond of you? BASIL. He likes me I think…Although, now and then, he seems to take a real delight in giving me pain. I flatter him. (p. 21-22)
BASIL. Dorian Gray has a simple and beautiful nature. Don’t try to influence. For my sake, and my work’s sake. Mind, Harry, I’m trusting you. LORD HENRY. What nonsense you do talk! Come! (p. 22)
In fact, Dorian is also attractive and fascinating. His enchantment can affect the attention of people around him, especially women. It is depicted when
The Duchess of Monmouth, a young woman who has married to an older man is secretly in love with Dorian and flirts with him.
LORD HENRY. You are flirting disgracefully with him. You had better take care. He is very fascinating. DUCHESS. If he were not, there would be no battle. Courage has passed from men to women. It is a new experience for us. Describe us as a sex. (p. 88) 36
His appearance, way of thinking, and friendliness support him to have many friends. Moreover, the adorable appearance of Dorian encourages Basil to create a picture of Dorian. It is because Dorian brings a great vision and new harmony into his art. Dorian then serves as his artistic model, which enables Basil to produce work of a higher order than he has managed before. Here, Boynton and
Mack’s theory, “Much can be shown about a character by the way others react to him, or by what they say about him” (1965: 28) can also be understood.
BASIL. He is absolutely necessary to my art-at the moment-almost daily. I sometimes think there are only two eras of artistic importance. The first is the appearance of a new medium and the other is the appearance of a new personality to express it. And he is much more than a model or a sitter. I tell you, what I have done of him is the best work of my life. We’ve all invented a realism that is vulgar or an ideality that’s void. Dorian Gray is a new harmony. It’s there, and I’ve always missed it. (p. 21)
Dorian also exists as something of an ideal. He is the archetype of male youth and beauty. His beauty also indicates that he is charming and agreeable. It is reflected when Dorian makes a friendship with Lord Henry, after Basil introduces them in his studio. Dorian looks so kind and friendly to meet his new friend. Then,
Dorian has a little talk with Lord Henry that later on makes him slowly interested towards that guy. Lord Henry explains his point of view about the importance of beauty and art that is never known by Dorian. Dorian is apparently naive. He is even not aware of beauty that he belongs to can keep his existence in the society.
DORIAN. I beg your pardon, Basil. I didn’t know you had anyone with you. BASIL. This is Lord Henry Wotton, Dorian. An old Oxford friend. (p. 22) 37
LORD HENRY. He’s right. You are indeed a wonderful creation. You know more than you think you know. Just as you know less than you want to know. (DORIAN is disturbed) You mustn’t let yourself become sunburnt. It would be most unbecoming. DORIAN (laughs). What could it possibly matter? LORD HENRY. It should matter everything to you. DORIAN. Why? LORD HENRY. You have the most marvelous youth. And that is the one thing worth having. (p. 24)
Dorian is fond of music and likes playing piano. The information is obtained from the Basil’s words when he has a little talk with Lord Henry in his studio. He tells about his first meeting with Dorian at Lady Brandon’s place and what Lady Brandon testifies about Dorian. Murphy’s theory on character as seen by another clearly supports the above explanation.
LORD HENRY. My dear friend, she tried to found a salon and only succeeded in opening a restaurant. How could one admire her? But, tell me, what did she eventually say? BASIL. Oh, something like ‘quite forget what he does—afraid he— doesn’t do anything—oh yes, plays the piano—or is it the violin, Mr. Gray?’ Neither of us could help laughing at that one and we seemed to become friends right away. (p. 20)
Dorian is actually kind and helpful for anyone else. He is well-behaved.
When somebody has a difficulty in doing something, he is ready to give a help as much as possible voluntarily. In fact, not only his appearance but also his attitude encourages people to give deeper appreciation and respect to him. It becomes a positive value for him to get an important role in the society. He becomes an awe- inspiring and famous person. He is also often invited to attend many events in his 38
society, such as dinner and going to the theatre or opera, as usual done by the upper class.
LORD HENRY. The name. My aunt, Lady Agatha, told me she’d discovered a wonderful young creature who’s going to help her in the East End. She never said anything about being good-looking. (p. 22)
LORD HENRY. Ah, this morning! You have lived since then…Let’s go to the theatre tonight. There’s sure to be something on, somewhere. I had promised to dine at White’s but it was only with an old friend, so I can send a wire saying I’m prevented from coming because of a subsequent engagement. That would be rather a nice excuse. Yes, it will have all the surprise of candour. BASIL. It’s such a bore putting on dress-clothes. LORD HENRY. Yes, the costume of the nineteenth century is awful. Sin is the only real-colour-element left in modern life. DORIAN. I’d like to come with you, if I may. (p. 28)
From all previous descriptions, it is known that Dorian is always interested in making friends with anyone else. He also becomes quite famous in his social life. It is because Dorian is still young and he likes to learn something new from others, though he is thoughtless. His adorable appearance does not make him arrogant and selfish, but he remains to be a good, friendly, and spoilt young man.
Moreover, he also tries to keep his famous existence in the society. Because he is innocent, responsive, calm, and still young, his way of thinking can be easily influenced by people around him. For instance, Lord Henry’s statement reveals some secret potency of Dorian that has never been touched before in his life. It guides Dorian to realize his life is actually great and colorful and to understand the importance of his own beauty deeper. As a result, it causes Dorian to begin to worry about his youth and beauty. He fears that he may lose them someday and he realizes that it will slowly influence his existence in the future. 39
LORD HENRY….Yes, Mr. Gray. The Gods have been good to you. For the present. But don’t, don’t, squander the gold of your days. Listening to the tedious, trying to improve the hopeless failure of it, the false ideals of our age. Let nothing to be lost upon you. Be afraid of nothing. A new sensation—horizon—that is what our century wants. You might be its visible—oh, symbol, if you like. The reaches of your personality are endless. For a season. (Pause.) The moment I met you I saw that you were unconscious of what you might be. I felt I must tell you. The twenty-year pulse becomes sluggish. Limbs fail. Senses rot. Become cringing puppetry…Youth—no…there is absolutely nothing else in the world. (Pause. BASIL comes over to them.) BASIL. Dorian—I am waiting! (They follow him.) LORD HENRY. You are glad you have met me, Mr. Gray? DORIAN. Glad now. I wonder if I shall always be? (p.25)
Next, the result of painting done by Basil is remarkable. It causes Dorian to be a jealous, expressive, and also worrisome person when Basil shows the painting to him. Here, Murphy’s theory that states “The author can also give us a clue to a person’s character by letting us know how that person reacts to various situations and events” (1972: 168). While he stares at his painting, Dorian is very pleased as if he recognizes his likeness for the first time because the portrait looks awesome and artistic but finally his feeling suddenly changes into curiosity and oddity. It is because the beauty which is depicted in the portrait will remain for a long time. Dorian is so struck by his own beauty in the picture. Then, Dorian finally has desire to retain his youth. In front of the picture he whispers his fateful wish that he should forever remain young and beautiful and the aging should be reflected only in the portrait. He conveys the earnest request which is pointed out to ask for eternal beauty. Dorian feels that the portrait has a mystical power 40
afterwards. Something strange, terrified, and frightened but could make unity between him and the portrait. He is also increasingly scared that he will lose his beauty when he becomes older in his life, but unfortunately it is not the same thing happens with the portrait.
BASIL. I have never had such friend as you. You tell me that you are jealous, or could be, of, well, material things, in such a way? You are finer than any of them. DORIAN. I’m jealous of that portrait. Why should I keep what I lose? Every moment it takes something from me. If only it could all change. Why did you paint it! So that one day I shall be mocked by it! (Pause.) (p. 26-27)
In another occasion, Dorian Gray is described as a faithful, respectful, and dedicated lover. Boynton and Mack’s theory mentions that “Stories show action.
Therefore, the most obvious method for revealing character is through what a person does” (1965: 27) definitely helps the writer to recognize the major character. Those characteristics are shown when he falls in love with a female actress of theatre in the East End of London, Sibyl Vane. Dorian likes Sibyl and is in love with her because of her ability to bring great art to his life. Here, the art is
Sibyl’s acting. According to Dorian, the acting of Sibyl on the stage is something genius and marvelous to be seen. He always incessantly gives standing applause and some flowers as the great appreciation for her performance. He lovelily worships her. Dorian also directly becomes a romantic man who always adores
Sibyl Vane whenever she performs her acting. Sibyl’s performance is always perfect and he feels lucky to attract her attention.
LORD HENRY. So when did you first speak to Miss Sibyl Vane? 41
DORIAN. After the third evening. She’d been playing Rosalind and I couldn’t help myself. I’d thrown her some flowers and she looked up at me. At least, I thought she did. The old boy was still persistent. He seemed set on taking me round, so I said yes. It was curious, my not wanting to meet her the first time, wasn’t it? (p. 39)
DORIAN. Sibyl is the only thing I care about now. Every night of my life I go to see her. And every night she’s more marvellous. (Pause.) (p. 39-40)
Besides, Dorian also is a worth, caring, and enchanting gentleman. It is depicted when Dorian bring a new color to Sibyl’s life, especially for the reality.
He appears a new change in his relationship with Sibyl. The important thing is
Dorian completely makes Sibyl understand the meaning of love. It just happens because he really loves his woman. The next thing occurs is Sibyl also falls in love with Dorian and she is happy to have a closed relationship with Dorian. She actually never expects to be the chosen woman.
SIBYL. If only you could see him, you’d think him the most wonderful person in the world. Some day you will—when you come back from Australia. You’ll like him so much. Everybody does. And I…love him. I just wish you could come to theatre tonight. He’s going to be there and I’m playing Juliet What about that, to be in love and play Juliet! I shall probably frighten the company to death. To be in love is to surpass oneself. Poor old Mr. Isaacs will be shouting ‘genius’ to all his cronies at the bar. Our proverbs want rewriting. They were made in winter. Now it’s summer or springtime or something. I don’t know who said it. Perhaps I did. Just then. (p.45)
Because of his love to Sibyl, Dorian engages to be married soon. In fact, his friends consider that there is something awkward behind the decision of
Dorian. To introduce the candidate of his wife, Dorian invites his friends, Basil and Lord Henry, to watch the performance of Sibyl in the theater at one night. 42
Dorian’s plan becomes something unthinkable that makes his friends surprised because they did not consider that Dorian will quickly take a big decision like that.
Here, Dorian Gray is shown as a hasty and reckless person. He assumes that marriage is a simple thing to be done without an exact consideration. Here,
Murphy’s theory on mannerism is applied.
LORD HENRY. I suppose you’ve heard the news? BASIL. No, what is it? As long as it’s not about politics. LORD HENRY. Dorian Gray is engaged to be married. BASIL. Engaged to be married! I don’t believe it. LORD HENRY. It’s perfectly true. BASIL. To whom? LORD HENRY. Some little actress or other. BASIL. I don’t believe it. Dorian is far too sensible. LORD HENRY. Dorian is far too wise not to do foolish things now and then, my dear Basil. (p. 45-46)
In the next event, Dorian shows that he is an emotional and rough-and- ready person. It is reflected when he breaks off his relationship with Sibyl because at one night, the performance of Sibyl is dreadful. He says that Sibyl has killed his imagination. He supposes that Sibyl has destroyed his meaningful art, the acting.
The effort and sacrifice that he has committed for Sibyl to make her famous become useless. Those are a fundamental reason why Dorian looks so angry and no excuse for it. Dorian also ignores some words given by his friends in order to calm him down. He is very disappointed. He also reveals that he never loves Sibyl as a woman. He just apparently attracts to a great talent that belongs to Sibyl. In fact, all things that happen between them are obviously just based on the admiration. Dorian never forgives Sibyl for her mistake and he eventually abandons Sibyl. The impact is extreme. Sibyl is very desperate and depressed. She 43
eventually commits suicide by drinking poison. Their marriage is cancelled, no happy ending on their love, and tragically destroyed in a few minutes. A little mistake can break all things that they have built together.
SIBYL. I acted so bad tonight, Dorian. DORIAN. Horribly! You were dreadful. Are you ill or something? Haven’t you any idea what it was? You obviously have no idea of what I went through. (p. 53)
DORIAN. You have killed all that. (She laughs a little and goes to stroke his hair, then kneels beside him but he draws away, as if she were utterly distasteful to be near.) Yes, you killed it. You used to stir my imagination. Now, you don’t even stir my curiosity. In fact, you produce no effect on me at all. I loved you because you were a marvellous thing. Because you had genius and intellect. Because you seemed to give substance to all things I’d ever dreamed of. You’ve thrown that away. You are shallow and stupid. My God! What could I have been thinking of! You are a nothing. I’ll never see you again, I’ll never think of you, I’ll even forget your name. I only wish I’d never laid eyes on you. What little you know about love if you say it mars your art. Without your art you’re nothing. I’d have made you famous, splendid, magnificent. You’d have been worshipped by everyone and my name would have been on you. What are you know? (p. 53-54)
After leaving Sibyl alone in her sadness, Dorian returns to his residence. He enters to the room where he places his portrait. Dorian finds again that the portrait of him reflects a mystical power. What he has done to Sibyl slowly changes his portrait. The portrait shows the horrible thing of age and experience that he fears while his body remains youthful.
From all explanations about the main character, here, it can be seen that those characteristics describe Dorian Gray as an attractive and affectionate young man who has a good looks. He comes from a wealthy family. He grows up 44
without the love of his parents since he is a child, but it does not form him to be a bad person. In fact, he is also a helper and respected by the society. His good attitude and beauty cause some people admire him. Sometimes, he is also a reckless and thoughtless. It is because he is still young, he can easily be influenced by people around him without considering it will affect him better or worse. Dorian character is a round character, which is capable of changing and moving through the action. Therefore, this will be used as the base for his character development. Finding the characteristics of Dorian Gray from the first chapter, the writer has some developments that make him worse, change him into an immoral and irresponsible person, and act as a villain.
B. The Character Development of Dorian Gray
In this subchapter, the writer tries to answer the second problem relating to
Dorian Gray’s character development. Holman and Harmon in their book A
Handbook to Literature (1986: 83) stated that a character may be either static or dynamic. A static character is one who changes little if at all. Things happen to such a character without things happening within. The pattern of action reveals the character rather than showing the character changing in response to the actions.
Meanwhile, a dynamic character, on the other hand, is one who is modified by actions and experiences, and one objective of the work in which the character appears is to reveal the consequences of these actions. The development does not mean that the existing character will change into a new character but the important thing here is the change especially occurs to the personality of the character. 45
Here, the writer will try to find out the details of Dorian Gray’s character development by understanding changes of his thought, motivation, attitude, decision, and action through the events in the story. Moreover, the character development can be seen from the influence of other characters, society in the drama or play, and his own past life. In the end of this chapter, the writer will conclude whether the Dorian’s character is categorized into a static or dynamic character based on the theory above.
As mentioned in the previous subchapter, the main character, Dorian Gray, a wealthy young man with his innocent beauty, comes to the Basil’s studio to look at the picture of him that is painted by Basil. Basil, the close friend of Dorian, simply adores Dorian because he thinks that Dorian brings a great harmony in his art. In Basil’s studio, Dorian meets Lord Henry Wotton for the first time. Lord
Henry is an aristocrat who is very interested in the picture done by Basil. Lord
Henry is a cultivated, refined man who is at home in all the arts. Lord Henry worships beauty and art. When he meets Dorian he is immediately drawn to the young man's physical beauty and innocence.
LORD HENRY. …I am quite sure your mysterious young friend in your picture illustrates this. That is what is fascinating; he is some brainless, beautiful creature, who should be always here in winter when we have no flowers to look at, and always here in summer when we need something to chill our intelligence. No, don’t flatter yourself Basil, you are not in the least like him. (p. 18)
Dorian is actually the person who is interested in making friend, but it does not mean he can easily get closer to anyone. He chooses a friend who gives a deeper appreciation and attention to him. At first, he has a close friendship with 46
Basil Hallward but after his acquaintanceship with Lord Henry, he finds something different from his new friend. He feels that Lord Henry is an interesting man that he never meets before. Finally, he slowly leaves Basil and tries to get closer to Lord Henry.
Because of his friendliness, Dorian easily accepts Lord Henry to become his friend because he thinks that Lord Henry has a unique personality. According to Dorian, Lord Henry is a brilliant person especially in expressing art. That is the reason why Dorian feels that Lord Henry has experiences and thoughts that make him curious and amazed. It is an appropriate thing based on his characteristic when Lord Henry states he likes friendship that can give an appreciation for beauty and art. It is reflected when he has a talk with Basil.
LORD HENRY. I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellects. A man can’t be too careful in the choice of his enemies. I haven’t got one who is a fool. They are all men of some intellectual power, and consequently they all appreciate me. (p. 21)
Dorian previously stands for a naive man who is even not aware of the beauty that he belongs to. After he has a discussion with Lord Henry in the Basil’s studio, he seriously gives his attention to Lord Henry’s words about the importance of the beauty and art. Lord Henry brings a new thought that makes
Dorian realizes his adorable appearance is a key point to keep his existence in the society. Dorian then realizes the beauty that he has actually can deeply attract people’s attention and it is surely a part of art like what Lord Henry has said. For this reason, he feels confident to explore the potency of himself that is never realized before. Here, the intelligence of Henry’s thought starts to influence 47
Dorian slowly step by step. As a result, Dorian is glad to know more about Lord
Henry.
LORD HENRY. He’s right. You are indeed a wonderful creation. You know more than you think you know. Just as you know less than you want to know. (DORIAN is disturbed.) You mustn’t let yourself become sunburnt. It would be most unbecoming. DORIAN. (laughs) What could it be possibly matter? LORD HENRY. It should matter everything to you. (p. 24)
LORD HENRY. …You smile? Ah—when you have lost it will be no time to smile…you may think that beauty—but, to me, nothing is more superficial than thought. It’s only shallow people who don’t judge by appearances. The mystery of the world is in the visible. Not the invisible… (p. 25)
LORD HENRY. You are glad you have met me, Mr. Gray? DORIAN. Glad now. I wonder if I shall always be? (p.25)
After having that moment, Dorian who is firstly inappreciative, never concerns with the remarkable picture of him, and supposes the picture as an ordinary work changes into a man who can appreciate to both himself and the art.
He starts to understand the picture is the meaningful art. He also thinks that his beauty which is reflected in the picture is an essential part that cannot be separated from him. Although at first he is jealous and dislikes the picture, he finally concerns with what another people has done for him. Moreover, the real Dorian
Gray is entirely drawn in the canvas. It is shown when he tries to save the painting that will be destroyed by Basil. It is because the painting causes a little quarrel among the people in the studio. 48
BASIL. Harry, I can’t quarrel with my two best friends at once but, between you, you have made me hate the finest piece of work I have ever done. Very well. I’ll destroy it. It’s only colour and canvas. I won’t let it cut across three lives and-apparently mar them. (He goes to the deal painting-table, takes up a long palette knife, and, turning to rip at the picture quite systematically, is stopped by DORIAN. The knife is grabbed from him and torn out of his hand, and thrown across the room.) DORIAN. Don’t Basil! Don’t! It would be a murder. BASIL (coldly). I’m glad you appreciate my work at last. I never thought you would. Dorian. Appreciate it? It’s part of myself. I feel it… (p. 27)
Dorian, a young man, shows that at first he is never afraid of aging and getting older because everybody will experience it. Unfortunately, the friendship which is closely tight with Lord Henry becomes the important factor that makes
Dorian finally has desire to retain his youth. Lord Henry succeeds to persuade
Dorian that youth and beauty are the most valuable things in life. Dorian who is known as a jealous and innocent figure changes into an arrogant, self-assertive, and anxious man because of Lord Henry’s thought. Dorian thinks that he is special and the power of his beauty will help him to acquire all things what he wants, including great life, love and pleasure.
LORD HENRY. Which are? DORIAN. Oh, theories about life, about love, your theories about pleasure. All theories. LORD HENRY. Pleasure is the only thing worth having a theory about. But I am afraid I can’t claim that as my own. It belongs to nature, not to me. Pleasure is nature’s test, her code of approval. When we are happy we are always good, but when we are good we are not always happy. BASIL. Ah! But what do you mean by good? DORIAN. Yes, what do you mean? LORD HENRY. To be good is to be in harmony with oneself. Discord is to be forced to be in harmony with others. One’s own life—that’s an important thing. Individualism is the highest aim. Whereas 49
modern morality consists in accepting the standards of one’s age, I believe that for any man of culture to accept the standard of his age is the grossest immorality. (p. 49)
Here, the influence of Lord Henry towards Dorian’s life is more significant than before. He sets out to dominate him, to persuade him to live his life the way Lord
Henry prescribes. He is pleased when Dorian does indeed fall under his influence.
His influence on Dorian turns out to be a negative one.
Another change that is shown in the story is Dorian who shows himself as a faithful, respectful and dedicated lover suddenly transforms into an ignorant and heartless person. Dorian who fully ever worships and loves Sibyl ironically assumes that Sibyl’s death is because her foolishness. However, the great influence of Lord Henry towards Dorian is significantly started after the Sibyl’s death. The tragedy encourages Lord Henry to visit Dorian’s house. He wants to inform the news of Sibyl’s death to Dorian. Dorian is surprised when he hears the bad news. The death of Sybil makes Dorian blame himself. He is very regretful.
He thinks Sibyl’s death is caused by his egoism and he is very sad. He is inhumanly cruel to her and seems hard to forget his fault. He never sees Sibyl again, the woman that he loves, for the rest of his life. Lord Henry stands for sympathizing. He supposes that the death of Sibyl is not fully Dorian responsibility. He says that Sibyl Vane kills herself for love of Dorian. She herself has chosen her fate. It is just a tragedy that must happen so that Dorian extremely does not need to regret about Sibyl’s terrible death. It is just the bad experience and the past. He suggests that Dorian should arise to fight his own victories.
Dorian must continue his life wisely. Then, the words from Lord Henry make a 50
change in Dorian’s mindset. Finally, Dorian realizes that what Lord Henry said is true. Dorian begins to think that Sibyl’s death is because of her guilty action. He realizes that everybody has their own decision to choose the best thing in their life.
DORIAN. So: I have murdered Sibyl Vane. Just as if I’d cut her throat myself with a knife. (He looks out into the garden.) …That was the first real love letter I’ve ever written in my life. The first and that to a girl already dead...And there’s nothing to keep me straight. Perhaps she could have done that for me. She’d no right to kill herself. No right. (p. 59-60)
LORD HENRY. …Someone has killed herself for love of you. I wish such a thing had ever happened to me…The one charm of the past is that is the past…Really, Dorian, how different Sibyl must have been from all the women one meets! There is something almost beautiful about her death… (p. 61)
LORD HENRY. No, she will never come to life. She had played her last part. But you must think of lonely death in some tatty dressing- room as something else. The girl never really lived. And so she has never really died. (After a darkening silence, DORIAN looks up.) DORIAN. Well, Harry, you seem to have explained myself to me. I wonder if you know me as well as you seem to think. I don’t want us to talk about this again. Ever. It has been an experience. That is all. I can’t think that there can be much else in store. (p. 62)
Furthermore, Dorian who is responsive changes into someone who is stubborn, sentimental, and irresponsible person. Dorian who previously has a close relationship and often shares about anything with Basil actually starts to ignore Basil. It is shown when Basil Hallward comes to his house to give his condolence and clarify about the Sibyl’s death, Dorian responds by saying it does not really matter because it is just the past and what is past is the past. He is not responsible for what happens to Sibyl. It is only a tragedy and he wants to forget 51
that. He is sure that people will sacrifice for him because he is the special one among the people. The reason is because many people admire him. What Dorian said makes Basil questions the motive that encourages Dorian to give a response like that. The girl who Dorian ever loved dies but he acts as if there is nothing happens in his life. An unusual thing is indicated by Dorian.
BASIL. Dorian, Sibyl Vane has been lying dead in some lodging house or wherever it may be—and people talk about other women being charming and of Patti singing divinely! Why, the girl you love hasn’t even yet found a grave to crawl into for all we know. Let alone whatever else may face her then! DORIAN. Don’t go on to me, Basil! You must not tell me about things…What is past is past. BASIL. You call yesterday the past? DORIAN. All I know is that I don’t want to be at the mercy of my emotions. I want to use them, to enjoy them. And to dominate them. (p. 64)
DORIAN. When I heard that Sibyl Vane had killed herself— BASIL. Killed herself! You mean there isn’t any doubt about it? DORIAN. Surely you don’t think it was a vulgar accident? Of course she killed herself. BASIL. How awful. (p. 65)
Then, Dorian who is gentle and friendly also changes into rude and egoistic man. He seems to demand people to do what he wants. Now, people around Dorian feel difficult to follow his way of thinking. Basil suggests that the change of Dorian’s attitude is caused by Lord Henry’s influence. Basil supposes that Lord Henry has given a bad influence. The attitude of Dorian causes Basil is greatly confused and wonders why Dorian looks so different from Dorian that he meets at the first time. When Basil visits Dorian’s house, he asks Dorian to give the picture to him because he plans to exhibit it in Paris in the autumn. Dorian is surprised to hear that. Then, he does not allow Basil to take the picture. Dorian 52
refuses even to show him the picture. He loudly prohibits Basil to talk about the picture again. Dorian answers that the portrait is very valuable for him. Nobody can touch the portrait except himself. It appears a little quarrel between them.
BASIL. But that’s horrible. Something has changed you. To me you look at the same creature who, day after day, used to come down to my studio to sit for his picture. But you were simple, natural and affectionate then. You were the most unspoilt character in the whole world. Now, I don’t know what’s come over you. You talk as if you had no heart, no pity in you. Is it Harry’s influence? (p. 64-65)
DORIAN. Don’t speak! BASIL. But what is the matter? Of course I won’t look at it if you don’t want me to. But, really, it seems rather absurd that I shouldn’t see my own work, especially as I am going to exhibit it in Paris in the autumn. I shall probably have to give it another coat of varnish before that, so I must see it some day, and why not today? DORIAN. You want to exhibit it? (p. 67)
The development of Dorian’s character is also shown through the change of his emotion. Dorian at first is awe-inspiring and calm but after his little quarrel with Basil, he becomes temperamental, emotional, and hateful. Any kind of situation that makes him unpleasant will arouse his anger. It is depicted when
Basil Hallward finds something mysterious happens with the portrait that will expose Dorian’s secret. Basil shifts his view into the portrait of Dorian. He feels something strange. The portrait is pulled by the screen. He questions it to Dorian but again Dorian refuses to answer. He keeps silent. Basil remains to hold the picture but Dorian quickly forbids Basil to get that. Then, Dorian threatens if
Basil remains to take the picture, he will not hesitate to neglect Basil during the rest of his life. The threat makes Basil cancel his intention. It is because he does 53
not want to lose Dorian and Basil then confesses to Dorian the feelings he has about him. Basil simply feels that he admires Dorian too much.
BASIL. Let us sit down, Dorian. Let us sit down. And just answer me one question. Have you noticed in the picture something curious? Something that probably at first didn’t strike you, but that suddenly…revealed itself to you? I see you did… (p. 68)
BASIL. Too strong! Surely not, my dear fellow? It is an admirable place for it. Let me see it. (BASIL walks towards the corner of the room.) DORIAN. Basil, you must not look at it. I don’t wish you to. BASIL. Not look at my own work! You are not serious? Why shouldn’t I look at it? DORIAN. If you try to look at it, Basil, on my word of honour I will never speak to you again as long as I live. I am quite serious. I don’t offer any explanation, and you are not to ask for any. But, remember, if you touch this screen, everything is over between us. (p. 67)
BASIL. Dorian, from the moment I met you, your personality had the most extraordinary influence over me. I was dominated, soul, brain, and power by you. You became to me the visible incarnation of that unseen ideal… (p. 68)
Time goes by fast. Dorian Gray who never lives in the extravagant life though he is rich starts to act as a hedonist. He decides to seek out new sensations and dedicate himself to eternal youth, beauty, and art. His hedonistic lifestyle describes that he only gives priority to pursue his happiness and pleasure.
Unfortunately, in his pursuit of pleasure, Dorian also commits numerous unnamed sins, and many of his friends turn against him or are ruined by their contact with him. It is known that Dorian gets something belief or philosophy from the yellow book given by Lord Henry. The book title is never mentioned but it has a big 54
influence toward Dorian. The book itself inspires him to be a pleasure seeker and sinner with no regard for conventional morality.
DORIAN. Your letter? Oh yes. I did see it but I didn’t open it. My mind was on Sibyl. Oh and I read some of that book you sent me. It fascinated me so much. While I was waiting for Sibyl, I almost forgot the time. Oh, I’d rather you. (p.58)
DORIAN. I am not the same, Harry. LORD HENRY. Yes, you are the same. DORIAN. I am a little changed already. LORD HENRY. You cannot change to me, Dorian. You and I will always be friends. DORIAN. Yet you poisoned me with a book once. I should not forgive that. Harry, promise me that you will never lend that book to anyone. It does harm. (p. 93)
Then, Dorian who is an innocent young boy changes to start his new life which is full of lie when he becomes adult. The new life forces him into a hypocrite. To keep his existence, he carefully maintains his good relation with others, especially the aristocrats so that he can still be respected by society. He pretends in front of the society to keep maintaining his good status, wealth, and power. In contrast, he remains to continue his sinful life behind the society.
Unfortunately, after twenty years passed, people begin to know the crime which he does, his bad secret. His licentious behaviors appear a bad gossip and sensation in the society. As a reaction, Basil visits Dorian’s house to ask about the truth of the gossip to Dorian. Basil advises Dorian that he should be fine because English society is all wrong. Basil comes to give supports to his best friend but Dorian still remains to ignore his bad image in the society.
DORIAN. I know these people—or they think they have known me, I have been more—more curious. That, at least, I have taught myself to be. 55
And yet, I’ve not been really reckless…Anyway, a lot do have a natural instinct of terror about passions and sensations seeming to me, at any rate, that such things can’t be killed. A resistance sets in. Loss! So much surrendered. By me and those before me. Willful rejections, self-torture and denial and God knows what! But I believe, and I do believe this, whatever may be its opposite happening, that there will be a new life, a new kind, kind—sort, way, access to life, to re-create it… (p. 74)
BASIL. It is about yourself. I think it right that you should know that the most dreadful things are being said are being said against you in London. (p. 75)
BASIL. Dorian, that is not a question. England is bad enough, I know and English society is all wrong. That is the reason why I want you to be fine. You have not been fine. One has a right judge of a man by the effect he has over his friends. I know you and Harry are inseparable. Surely for that reason, if for none other, you should not have made his sister’s name a byword. (p. 77)
Next, Dorian is described as a scandalous man as well as troublemaker whereas he is firstly known as kind, helpful and famous person in the society. It can be seen while the friendship between Dorian and Basil becomes worse from day to day. On the other hand, the life of Dorian is also full of scandals in the society. One of the scandals is revealed by Basil. He tries to straighten a corrupt scandal between Dorian and Lady Gwendolen, the sister of Lord Henry. He thinks that Dorian has a great influence to interest Lady Gwendolen easily whereas she has a husband. It is something ridiculous for Basil if Dorian commits adultery. It seems that Basil and Dorian drift apart, but when they meet by chance, Basil demands to know the truth about the rumors that are circulating about Dorian.
What Basil tells makes Dorian absolutely sensitive. Basil has insulted his feeling and dignity. He cannot accept the critical statement that is pronounced by Basil. 56
The devil comes to his mind and Dorian plans to arrange a murder for Basil. He eventually invites Basil to look at the picture in the schoolroom and Basil is horrified. Dorian, in a rush of hatred for his former friend, stabs him to death with a knife. Because of his hatred, Dorian changes into a cruel killer that can murder anyone who is against him, even his former best friend. He murders Basil when his old friend confronts him about the rumors that are circulating about his degenerate behavior.
BASIL. I must speak, and you must listen. You shall listen. When you met Lady Gwendolen, not a breath of scandal had ever touched her. Is there a single decent woman in London now who would drive with her in the park?...You have a wonderful influence. Let it be for good, not for evil. They say that you corrupt everyone with whom you become intimate, and that it is quite sufficient for you to enter a house, for shame of some kind to follow after. I don’t know whether it is so or not. (p. 77)
BASIL. You’re mad, Dorian. Or playing a part. DORIAN. You won’t? Then I shall. It’s too late for prayer, Basil, if that’s what you’re thinking of. (He tears away the screen. The lamp falls. BASIL screams. Then gets to his knees.) BASIL. Dorian. Kneel, Dorian. Kneel with me. If you can. DORIAN. I told you, Basil. Prayer comes too late. BASIL. Kneel with me, Dorian. Kneel. DORIAN. Very well. (p. 78)
(We see him take a knife from within the room. He closes the door and we see the silhouettes of the two me kneeling. Then another scream and a body falls. Silence. After a while, the following happens: the door opens. BASIL is lying inert on the floor.) (p.79)
As mentioned in the previous chapter, Dorian is described as a hasty and reckless person. It helps Dorian to develop into a tricky and hurting person. The death of Basil brings about a panic in Dorian’s thought. He does not seem to be 57
aware of the possible danger when he murders Basil. His face is full of fear and confusion. He should immediately find his way to conceal the crime. Dorian then remembers he has an old friend who can save him from this problem. On the next day, Dorian invites his old friend, Alan Campbell, to discuss an important thing in his residence. Alan Campbell is a brilliant man, having excelled as a scientist and is known for his study of chemistry. Dorian needs a help from Alan because he thinks Alan is the right person to save him from his crime. Dorian informs Alan that he has murdered Basil and it is beyond his awareness. Because of that, Dorian summons Alan to dispose the corpse in the schoolroom. Alan initially refuses
Dorian’s wish. He thinks that Dorian should be arrested because of his crime.
Dorian must be responsible for his criminal behavior. The refusal causes Dorian look foolish but he does not surrender just like that. Dorian still tries hard to seek a manner that can make Alan obeys to him. Then, Dorian suddenly gets a way to trap Alan. Dorian writes something in a piece of paper and he gives the note to
Alan, a warning that can threaten Alan’s position in his job. Alan is fearful of seeing the note. He apparently has no choice to avoid from this circumstance. If he does not want to cooperate, Dorian will unhesitatingly send the letter to the address attached in the paper. The letter will reveal Alan’s secret later on. Finally,
Alan compromises to help Dorian so that Dorian can cancel his plan as well as he can save his job. Again, the writer can see that the yellow book given by Lord
Henry has strongly influenced Dorian to follow the belief that teaches him to commit with sin and evil. It finally changes Dorian become a villain, someone who uses every way to achieve his purpose. 58
DORIAN. Alan, it was murder. I killed him. You don’t know what he had me suffer. Whatever my life is, he had more to do with the making of the marring of it than poor Harry has had. He may not have intended it; the result was the same. ALAN. Murder! Good God, Dorian, is that what you have come to? I shall not inform upon you. It’s not my business. Besides, without my even stirring in the matter, you are certain to be arrested. Nobody ever commits a crime without doing something stupid. But I’ll have nothing to do with it. (p. 82)
DORIAN. I am sorry for you, Alan, but you leave me no alternative. I have a letter written already. Here it is. You see the address. If you don’t help me, I must send it. If you don’t help me, I will send it. You know what the result will be. But you are going to help me. It is impossible for you to refuse now. I tried to spare you. You will do me the justice to admit that. You treated me as no man has ever dared to treat me—no living man, at any rate. Now it is for me to dictate terms. (ALAN buries his face in his hands, and a shudder passes through him.) ALAN. I cannot do it. DORIAN. You have no choice. (p. 83)
Over the years pass but the appearance of Dorian remains adorable. Dorian still looks charming and wonderful as if the aging does not give any influence to his beauty. In contrast, Dorian who at first is admired and respected by people becomes an outcast because of his bad attitude. His wealth and beauty encourage him to underestimate people around him. His bad attitude causes a danger for him.
Once upon a time, when people are busy with their own business in his house, an unknown man comes to seek Dorian. He enters Dorian’s house and walks into
Dorian’s room. From the inside, Dorian softly hears that someone’s steps reach his room. Dorian guesses that it is Adrian Singleton, one of the young men who have been ruined by their contact with Dorian, comes to his room. Dorian’s prediction is completely wrong. The figure is not Adrian Singleton but James 59
Vane, the brother of Sibyl Vane. He encounters Dorian to take revenge. He wants to murder Dorian because he must be responsible for the death of his sister eighteen years ago. Dorian is fearfully frightened because he sees James Vane is really mad. When James chokes Dorian with his bare hands and forces Dorian to confess his sin, Dorian denies that he never knows Sibyl Vane. James has caught the wrong person. Dorian extremely demands James to set him under the lamp and carefully pays attention to his face. James follows the Dorian’s appeal and drags Dorian under the lamp. James suddenly looks at something different in
Dorian’s face. James is shocked and finally releases his hold. He apologizes for the mistake. Finally, he goes away from the house. From the previous explanation,
Dorian is described as a liar and coward whereas he ever described as a gentleman.
What he did eighteen years ago takes him into a serious threat. Fortunately, he is lucky. His youth and beauty survives him from death and punishment without having a time to confess his sin.
JAMES. Keep quiet. I’m going to kill you. DORIAN. You’re mad! What have I done to you! JAMES. Sibyl Vane was my sister. She killed herself. I know it. Her death’s at your door. I swore I would kill you. I had no clue, no trace. I knew nothing of you but some pet name she used to call you. Make your peace with God, for tonight you are going to die. DORIAN. I never heard of her. You are mad. (p. 85)
DORIAN (suddenly). Stop. How long ago is it since your sister died? Quick, tell me! JAMES. Eighteen years. Why do you ask me? What do years matter? DORIAN. Eighteen years! Eighteen years! Set me under the lamp and look at my face! (JAMES VANE hesitates for a moment, not understanding. Then he seizes DORIAN and drags him into the light. He loosens his hold and reels back.) (p. 85) 60
However, Dorian who is good-looking, innocent, kind, and affectionate eventually fulfills his life with sin. The sinful life committed by Dorian actually becomes a weapon that attacks him. His evil deeds bring him into suffering. He cannot stand longer for the burden of all his sins. In fact, his youth and beauty that becomes his pride finally ruin him. Because of many horrible things he has done,
Dorian eventually faces his destiny by killing himself. Dorian takes the knife that is ever used for murdering Basil and starts to destroy the evidence of his sin. The picture is the only one evidence that disturbs him. It is because every crime that he does is reflected in the picture. The change of his picture shows the change of
Dorian’s character in the play. He then stabs the picture of himself. The screaming sound awakens the servants. Then, they come to the room with two constables.
They see the old carcass of Dorian Gray holds the knife and canvas and still drapes over the stairs.
From all explanations about the main character, the writer concludes that
Dorian Gray’s character development is mostly influenced by two important events in the play. Those are the influence from another character and the yellow book which inspires him to be a pleasure seeker and sinner with no regard for conventional morality. As Dorian grows mature, he develops into a person who commits sin and evil for the sake of his eternal youth, beauty, pleasure, and existence in the society. Before his meeting with Lord Henry, Dorian is just a boy who lives in a pure life. However, Lord Henry has a philosophy of life that enables Dorian to change his way of life. Lord Henry encourages Dorian to treat his own life as if it were a work of art. His influence slowly changes Dorian into a 61
villain, who does crime and often hurts other people even kills his best friend. In conclusion, the character of Dorian is categorized as a dynamic character because the character changes through his motivation, action, attitude, and experience in his life.
C. Moral Lessons Seen through Dorian Gray’s Character Development
As God’s creature, humans are given the freewill to conduct themselves based on their choice. Therefore, humans also have an ability of learning and judging what is right or wrong, good or bad based on the circumstances that they faced in a life. The life experience becomes an important thing where humans can learn some lessons and build their own conviction. Some of those lessons that they obtain teach them in relation with good or bad principle and how to be the better people in their future life.
Gardner in his book On Moral Fiction says that the literary works contain the moral lessons that provide values and rouses trustworthy feelings about the better and the worse in human action (1978: 19). In this subchapter, the writer therefore would like to focus his discussion to answer the third problem formulation. The problem that will be discussed in this part is the moral lessons that can be seen through Dorian Gray’s character development. In order to find the moral lessons, it is important to look back the previous part discussing Dorian
Gray’s character development.
Based on the previous part, there are some moral lessons that can be derived from Dorian Gray’s character development. The first is beauty and wealth 62
does not guarantee someone to reach happiness. The second is we have to be wise in choosing friends, and the last is what we did in the past will affect our future.
Later, they will be described one by one in the following explanation.
1. Beauty and Wealth Does not Guarantee Someone to Reach Happiness
We will surely not deny that one of the purposes of our life is to achieve happiness. Everyone in this world has their own concept about what kind of happiness that will fulfill their needs. Everything that we think, say, and do is a part of our way to construct the meaning of happiness. To reach the happiness, people must be able to realize every single moment in their life. It means that people know what happens in their life and see that actually every single moment in their life is different. Through their life experience, it is believed that humans step by step always make an effort to reach happiness based on their own understanding of life.
Now, as the focus is on Dorian Gray’s character development, it can be seen that Dorian is the grandson of Lord Kelso. His grandfather comes from the aristocratic family. Since he was a little child, Dorian is left by his parent but he is financially well-provided, and inherits more money when he comes of age. The aristocrats are much respected in the society. Dorian grows up into a handsome young man and his adorable appearance and enchantment make people around him fully admire him. Unfortunately, Dorian at first is even not aware of the beauty that he belongs to. He is innocent and acts as if he knows nothing until he meets Lord Henry who gives a great appreciation to beauty and art. Lord Henry is 63
immediately drawn to Dorian's physical beauty and innocence. He changes
Dorian’s mindset by revealing his thought that actually Dorian’s beauty can be a good weapon to keep Dorian’s status in the society. As a result, Dorian starts to explore his beauty and makes a fateful wish that he should forever remain young and beautiful in front of the picture made by Basil. He also becomes afraid of aging.
Dorian’s great charm brings him to have a closer relationship with some women. For instance, he makes an intense relationship with Sibyl Vane, a female actress of theatre in the East End of London. Dorian falls in love with her because of her ability to bring great art to his life. He supposes that Sibyl is genius in acting. Dorian really loves and flatters Sibyl even he eventually plans to get married with her. He believes that his marriage will bring happiness to his life.
Meanwhile, Sibyl also simply adores Dorian. She is lucky to be the chosen.
LORD HENRY. I suppose you’ve heard the news? BASIL. No, what is it? As long as it’s not about politics. LORD HENRY. Dorian Gray is engaged to be married. BASIL. Enganged to be married! I don’t believe it. LORD HENRY. It’s perfectly true. BASIL. To whom? LORD HENRY. Some little actress or other. (p. 45-46)
LORD HENRY. And what did you say then? DORIAN. That I loved her of course. She said—oh, something about not being worthy to be my wife. Something like that. (p. 48)
BASIL….Your idea of marriage is quite right. I didn’t think so at first but now I admit it, freely. Sibyl Vane was made for you. Without her you would probably have been incomplete for the rest of your life. (p. 52) 64
Unfortunately, Dorian never marries with his beloved lady. Dorian suddenly decides to leave Sibyl and cancels their marriage at one night. It is actually because Sibyl’s performance is dreadful and makes Dorian bored, ashamed, and disappointed. He thinks that Sibyl has killed his imagination. He feels that he cannot spend the rest of his life with the woman who has destroyed his interest. What Dorian does causes Sibyl to commit suicide. It is because Sibyl is depressed because her love ends. Here, it is finally known that Dorian does not get his happiness through his marriage plan. At first, he imagines that he will live happily together with Sibyl but what happens eventually is only a tragedy that cannot be avoided by both of them. Moreover, Dorian also has a relationship with the other women who have married such as, Lady Gwendolen and Duchess of
Monmouth.
Dorian changes his life after the tragedy of Sibyl’s death. Dorian starts to act as a hedonist. It is because he learns something from the yellow book given by
Lord Henry. His hedonistic lifestyle describes that he only gives priority to pursue his happiness and pleasure. It is also described that in order to reach happiness,
Dorian commits numerous unnamed sins in his purpose to pursue his pleasure. He can use anything to realize his purpose without considering any possible bad thing.
His wealth and status in the society becomes the weapons to achieve all things that he wants. He obtains his pleasure by using a wrong way. It causes many of his friends turn against him or are ruined by their contact with him. Many people eventually dislike his attitude. Dorian assumes that his wealth can easily be used to fulfill his happiness but it actually does not. Any crime that he applies to pursue 65
his pleasure affects his feeling. He cannot stand longer for the burden of all his sins.
In conclusion, it can be said that Dorian Gray’s character development has explained that beauty and wealth does not guarantee someone to get happiness.
The power of beauty and wealth he belongs to eventually change him into a bad person. It contrasts with what Lewis states about morality as it relates to our behavior that “It is to keep us in a good relationship with the power that created us”. It can be assumed that what guarantees someone to reach happiness is likely how we can build and maintain close togetherness among people and try to appreciate each others with the power and talent that we have. The way one enjoys life will determine how far he or she can be happy. Beauty and wealth which are supposed to be happiness for Dorian’s life finally ruin him and also bring him into sufferings because of the bad behaviors that he commit to get a pleasure. Humans actually can get happiness not only from riches in this world.
2. We Have to Be Wise in Choosing Friends
As a social creature, human always lives together with others. Human is also a social creature because there is a motivation and need inside the human’s thought to interact one another. In social life, a man needs friend to share about what he or she think, feel, and experience to make a relation between them.
Therefore, it can be seen that humans can influence each others in order to reach their own purpose.
Cochrane, Hamm, and Kazepides, in their book titled The Domain of
Moral Education, say that moral thinking is about the fundamental values by 66
which we profess to live (Cochrane, 1979: 7). In the beginning of the story,
Dorian Gray is described as a kind and helpful man. He likes to help anyone who is in trouble like when he helps Lady Agatha in the East End. He is also friendly and interesting in making friendship. His good personality becomes a strong appeal to make a good relation with others. Dorian at first has a close friend named Basil Hallward, who creates the picture of him. Basil is a talented, though somewhat conventionally minded, painter. He is also a good friend who really cares about Dorian. In Basil’s studio, Dorian eventually meets Lord Henry Wotton and makes their friendship. Lord Henry is the old friend of Basil. Unfortunately,
Basil warns Dorian to be careful to Lord Henry because Lord Henry can give a bad influence over Dorian’s life.
BASIL. There’s not much left to do. And Dorian’s whims are laws to everyone, except himself. So just stay nod sit down again, Harry, and you, Dorian, get up on the platform and don’t move about too much. Or pay any attention to what he says. He’s a bad influence over all his friends except me. (DORIAN steps up on to the dais.) (p. 23)
In contrast, Dorian then is easily attracted to Lord Henry because he sees that
Lord Henry has a unique personality. He has a different idea about Lord Henry.
He thinks Lord Henry is brilliant and has many thoughts that can make him curious and amazed. It is so different from what Basil said. Dorian then starts to know more about Lord Henry and slowly ignores Basil.
After meeting Lord Henry, Dorian slowly changes into someone who is stubborn, emotional, heartless, egoistic, and rude. Lord Henry succeeds to influence Dorian to live his life based on the way Henry prescribes. He also gives 67
Dorian a book that is able to change Dorian’s mind. As a result, Basil, who ever has a close friendship with and absolutely cares about Dorian, wonders why his best friend suddenly changes into a different person. Basil supposes that Dorian must be under the bad influence of Lord Henry. Dorian denies Basil’s argument.
He assumes that the change that happens in his life is because the Basil’s mistake not Lord Henry. Dorian thinks that Lord Henry is a good friend for him. He guides Dorian to realize that youth and beauty are the most valuable thing in life.
BASIL. But that’s horrible. Something has changed you. To me you look the same creature who, day after day, used to come down to my studio to sit for his picture. But you were simple, natural and affectionate then. You were the most unspoilt character in the whole world. Now, I don’t know what’s come over you. You talk as if you had no heart, no pity in you. Is it Harry’s influence? DORIAN. I owe a great deal to him, Basil. More than I owe to you. You only taught me to be vain. (p. 64-65)
The change of Dorian is also apparently shown when he and Basil then quarrel over Basil's desire to exhibit his painting of Dorian. Dorian refuses even to show him the picture. He prohibits Basil to touch the picture because he fears
Basil will know something mysterious about the picture if Basil can hold it. Basil cannot understand why Dorian does not allow him to see the picture done by him.
He feels that he has the right to talk about his masterpiece. Unfortunately, Basil’s action irritates Dorian even he emotionally threatens Basil to end their friendship if Basil still wants to look at the picture.
Dorian’s anger towards Basil continues when Basil tries to clarify the scandal rumor between Dorian and Lady Gwendolen. It was something ridiculous for Basil if his best friend seemingly could commit adultery. What Basil says 68
hurts Dorian’s feeling. Dorian assumes that Basil has gone too much. Then,
Dorian in his temper invites Basil to look at the picture in the schoolroom. There, he eventually murders Basil with a knife. Here, we can see that in his unconsciousness Dorian has been a villain who even can kill his former best friend.
However, Moral appears to have taken the form such the direction of impulse as would make for the development of the individual and the preservation and welfare of the group (Titus and Morris, 1957: 22). From the quotation, we can conclude that Dorian has determined his own way of life. He changes into a bad person at the end of the story. The changes which are found like from friendly becomes rude, from calm becomes emotional, from responsive becomes stubborn, from dedicated lover becomes heartless, from innocent becomes evil, from good boy becomes villain are depicted too through the life journey of the main character. Moral is the clue or direction of how to act rightly, to differ from what is good and what is bad or evil as well as what is right and what is wrong.
Moreover, From the beginning of the story, there are many good things that are described by the main character, Dorian Gray, but then his character changes and develops under the influence of Lord Henry. His good attitudes changes into the bad ones. It is because Dorian makes a relationship with a bad friend. Lord Henry sets out to dominate him and his influence on Dorian turns out to be a negative one. Dorian never realizes that his friendship with Lord Henry leads him into his downfall and destruction. It can be stated that we have to be careful in choosing friend because humans can influence each others whether that 69
is a good influence or the bad one. If we have a good friend, we will be a good person and vice versa.
3. What We Did in the Past Will Affect Our Future
Most of people do not realize that what they did in the past will affect their future. It becomes an important basic lesson for all people to lead their own life wisely. If humans fulfill their life with the good things in the past, they will obtain the good result in their future. On the contrary, if humans fulfill their life with the bad things in the past, they will obtain the bad ones, or even worse in their future.
There is always a cause and effect relation in human life.
Based on the previous explanation, in this story, the writer finds that the tragic love story between Dorian and Sibyl actually becomes the root of the serious problem for Dorian in the future. Sibyl actually has a brother named James
Vane. James fully disagrees with the relationship between his sister and Dorian because he thinks that Dorian is an inappropriate man who can make his sister happy. James hates Dorian very much and he thinks Dorian will hurt Sibyl. In contrast, Sibyl considers that James’s worries do not make any sense. She feels happy to be Dorian’s girlfriend and she also loves Dorian so much. James then can do nothing because he believes and loves his sister, but he promises to kill
Dorian if that man hurts the heart of his sister. Finally, they should live apart because James goes to Australia to create his own life.
JAMES. He wants to enslave you. SIBYL. I shudder at the thought of being free. JAMES. I want you to protect yourself from him. SIBYL. I see him and I worship him. JAMES. Sibyl, you are mad about him. SIBYL. Loves makes people good. 70
JAMES. You believe that? I’m going now. But I tell you: if he ever does you any wrong—I shall kill him. (p. 45)
The next thing that happens is that Dorian leaves Sibyl alone and he causes Sibyl to commit suicide by drinking a poison to prove her love. When
Dorian continues his life with his bad behavior and finally thinks the Sibyl’s death is just only an accident, James, who is in Australia, hears about the death of his sister. James is very sad and what he fears of finally happens.
James then plans to take a revenge for the Sibyl’s death. He thoroughly looks for Dorian to kill him. He eventually can find Dorian in his residence after the pursuit for eighteen years. He catches Dorian from behind, chokes him, and forces him to confess his sin when Dorian is inattentive the presence of him in the
Dorian’s private room. Unfortunately when James is ready to kill Dorian, Dorian, who is very frightened, asks James to drag him under the lamp. James suddenly looks at something different in Dorian’s face. James is shocked and finally releases his hold. He does not believe that he almost kills the wrong person. James then leaves the house and never goes back. Meanwhile, Dorian has been survived from the death because of his youth and beauty. Dorian’s youth and beauty never change and it has deceived James. The threat which almost takes the life of Dorian is the effect of the crime that Dorian has ever been done to Sibyl Vane eighteen years ago. He is lucky he can survive from the death because of his eternal youth and beauty. The heartless behavior that he did eighteen years ago actually is unfinished. It causes revenge in the heart of James and he thinks that Dorian must be responsible for the death of his sister. 71
In short, this occasion has proved that it requires a risk for anything we do in our life in the past, but it also truly depends on the way that we choose is the good or the bad one to create our future. What Dorian has done to Sibyl gives an illustration to us whether Dorian heartily loves Sibyl or not. The life of Dorian is different. He seems to have many enemies. It also contrasts with C.S Lewis theory on morality that morality functions “to ensure fair play and harmony between individuals and to help make us good people in order to have a good society”.
Because of one little mistake, Dorian, who fully ever worships Sibyl and makes her understand what love really is, can easily abandon that woman without guilty conscience. His relationship with Sibyl becomes worse. He acts as if he throws
Sibyl just like that until Sibyl decides to kill herself for the sake of her love to
Dorian. Then, eighteen years later Dorian almost faces the death as the consequence for his heartless behavior towards Sibyl because James Vane, the brother of Sibyl, wants to take revenge over his sister death though he finally fails to kill Dorian. Here, if the past itself is emphasized when Dorian irresponsibly leaves Sibyl until she is eventually dead, the arrival of James to take a revenge of eighteen years after Sibyl’s death can be considered as the bad thing that eventually happens to Dorian in his future. It reflects a lesson that our past, present and future has cause and effect relation. Therefore, we should wisely manage our life as much as possible. CHAPTER V
CONCLUSION
In this chapter, the writer will conclude the result of the analysis that is the answers to the problems in the previous chapter. John Osborne’s The Picture of
Dorian Gray gives the description of moral lesson seen in the development of human character. This play wants to show the readers how friends can cause the change of the main character. The changes can be good or bad depending on what the major character does, thinks, and says in the story. Those developments will become good lessons if human can perceive them properly. This conclusion then will be divided into three parts.
Firstly, the writer serves the part that explains the characterization of Dorian
Gray in the story. Dorian Gray in the beginning of story is presented as the grandson of Lord Kelso, a famous aristocrat. He comes from a wealthy family, the upper class.
He is an orphan since he was child. He lives without the love of his parents. He then grows up into an innocent beautiful young man who can attract everyone around him.
He also exists as the archetype of male youth and beauty. His adorable appearance makes many people admire his looks. In contrast, Dorian never realizes that his beauty is a part of the great art for another people. He is also friendly and always interested in making friends. As a result, Dorian has a good friend named Basil
Hallward who creates a picture of him. He spends his leisure with Basil to share anything that happens in his life. Dorian is fond of music and likes playing piano. He
72 73
is also a kind and helpful person. For instance, he ever helps Lady Agatha in the East
End. All good things that he does in the society cause people to give a deeper respect to him. He also stands for a faithful, respectful, and dedicated lover when he falls in love with Sibyl Vane, a great female actress of theatre in the East End of London. He loves Sibyl so much because of her ability to bring great art to his life. He cares about
Sibyl’s life and eventually is engaged to be married with her. Other characteristics of
Dorian that the writer finds are reckless and emotional. Those are unique because they are not dominant and only displayed in several scenes of the play. Because
Dorian is still young, his way of thinking can be easily influenced by people around him, especially his friend. It becomes an important factor that later will cause a change of his character in the journey of his life.
Secondly, the writer is then revealing his character development based on his characteristics. The character development can be drawn from the changes of the character from the beginning until the end of the story. Dorian’s character development actually is mostly influenced by his friend, Lord Henry, but some events are also drawn to serve a description about Dorian’s change. Dorian at first meets
Lord Henry in Basil’s studio and he finally drawn to the Dorian's physical beauty and innocence. The influence of Lord Henry towards Dorian starts when he gives a great appreciation to Dorian’s beauty. He makes Dorian realizes that youth and beauty are the most valuable things in life. As a result, Dorian then has desire retain his youth and beauty. He becomes afraid of aging because aging will cause his beauty to be lost.
He then whispers his fateful wish that he should forever remain young and beautiful 74
in front of his remarkable picture. The development of Dorian is also seen when he changes into ignorant and heartless. He leaves Sibyl alone is only because her dreadful performance at one night and he supposes that the death of Sibyl is because her own foolishness. He also stands for someone who is stubborn and sentimental. He remains to forget the Sibyl’s sacrifice although Basil tries to clarify the news and say his condolence. Next, Dorian shows himself as a temperamental person. It is depicted when Basil finds something mysterious in the picture that contains a secret. Basil also tries to take the picture and plans to exhibit it in Paris. As a reaction, Dorian roughly prohibits Basil to touch the picture or Dorian will break their friendship. Moreover, when Basil wants to straighten the bad rumor and scandal that involves Dorian in the society, Dorian feels that Basil has interfered with his business too far. Dorian finally murders Basil because his hatred strongly intimidates him. Dorian even becomes a villain that can murder his former best friend. Furthermore, Lord Henry gives Dorian a yellow book at one time. This book inspires Dorian to start to be a hedonist with no regard for conventional morality. His hedonistic lifestyle describes that he only gives priority to pursue his happiness and pleasure. In his pursuit of pleasure, Dorian also commits numerous unnamed sins, and many of his friends turn against him or are ruined by their contact with him. To keep his good name and existence in the society,
Dorian acts as a hypocrite. He carefully maintains his good relation with others so that he can still be respected by society while remaining to continue his sinful life behind the society. Dorian also changes into a tricky and hurting person. He can force a scientist, Alan Campbell, to conceal his crime. Dorian summons Alan to dispose the 75
corpse of Basil. Dorian finally becomes someone who can use every way to achieve his purpose without considering whether it is good or bad. His development shows us that his changes into the negative ones are the effect of the bad influences given by his friend.
Thirdly, after considering all the character development, the writer finally settles on the three moral lessons observed in the story. Those three moral lessons obtained from the story are beauty and wealth does not guarantee someone to reach happiness, we have to be wise in choosing friends, and what we did in the past will affect our future. BIBLIOGRAPHY
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http://www.allaboutphilosophy.org/morality.htm (17 March 2010) http://www.biblio.com/The Picture of Dorian Gray-byOscar_Wilde_John_Osborne _-_11950738.html (7 June 2009) APPENDICES
Appendix 1: Summary of the John Osborne’s The Picture of Dorian Gray: A
Moral Entertainment.
The play is a story about a young man named Dorian Gray. Dorian Gray is presented as the last Lord Kelso’s grandson and the son of Lady Margaret Devereux.
He grows up without the love of his parents. Dorian comes from the wealthy family, or the member of aristocracy. Dorian has a friend named Basil Hallward. Basil is a famous painter in London, and also an artist. He always makes a great masterpiece for his painting. One day, Basil Hallward paints Dorian’s picture in his studio. After finishing the painting, Basil supposes that the picture is the best work he has ever done. Lord Henry, Basil’s old friend, is really curious to know the man in the picture when he comes to Basil’s studio and sees the remarkable painting.
While Dorian comes to the studio to see the picture, Basil introduces him to
Lord Henry. They are making a friendship. Then, Lord Henry is interested in seeing
Dorian’s beauty. Lord Henry starts to influence Dorian with his ideologies and principles. He convinced Dorian to enjoy his beauty and wealth, be ignorant and selfish, and live in hedonistic life. Dorian’s life suddenly changes after he has the close friendship with Lord Henry. Dorian makes a wish to stay young and beautiful forever, and remain perfectly wonderful like his picture. Dorian’s wish magically comes true. Somehow his picture changes whenever he does something bad.
80 81
One day, Dorian falls in love with the actress who is playing Juliet in the theater, Sibyl Vane. Sibyl Vane also really loves Dorian so much even she calls
Dorian prince charming. They plan to marry. At one night, Sibyl performs dreadful performance acting in the theatre. It makes Dorian extremely angry. Dorian is very unhappy and disappointed facing that condition and he finally leaves Sibyl alone.
Sibyl is really sad and finally decides to commit suicide by drinking a poison.
After doing so, Dorian returns home and finds that his face in Basil’s portrait has changed. It now sneers. He is frightened to know his wish for his likeness in the painting to bear the ill effects of his behavior has come true and that his sins will be recorded on the canvas. Furthermore, Dorian starts his corrupt life. He indulges the hedonistic life, which is explained in the yellow book from Lord Henry. Dorian realizes all things from Lord Henry make him survived. He is very proud of Lord
Henry that always helps him.
After that occasion, Dorian suddenly changes to be a different person. He makes friends with lots of men but they always leave him in the end. He becomes arrogant, selfish, and bad-tempered. It appears bad rumor about him in the society.
Basil Hallward does not believe the rumor. He supposes that there is something wrong with Dorian and tries to save his best friend. When he comes to Dorian’s house, he advises Dorian to lead a better life. Meanwhile, his visit also wants to see the portrait that he has ever painted to Dorian. He plans to take and exhibit the picture.
It apparently appears a quarrel between them. 82
Unfortunately, Dorian refuses the willingness of Basil. The influence of Lord
Henry has strongly changed Dorian forever. Dorian Gray transforms into a villain, a sadist killer. He invites Basil to go upstairs and enter to the schoolroom where the portrait is placed. In that room, Dorian kills Basil in a fit of rage by using knife. He thinks that Basil must be responsible for the changing of his life, turning him into a villain.
After Basil’s death, still in his fury, Dorian picks up the knife that he has used to stab Basil and attempts to destroy the painting. There is a crash, and his servants enter to find the portrait, unharmed, showing Dorian Gray as a beautiful young man.
The next happens is on the floor, there is the body of their master—an old man, horribly wrinkled and disfigured, with a knife plunged into his heart.
Appendix 2: The Biography of John Osborne
John James Osborne Born: Dec. 12, 1929, London, England. Died: Dec. 24, 1994, Shropshire.
British playwright and film producer whose Look Back in Anger (performed
1956) ushered in a new movement in British drama and made him known as the first of the “Angry Young Men”.
The son of a commercial artist and a barmaid, Osborne used insurance money from his father’s death in 1941 for a boarding-school education at Belmont College,
Devon. He hated it and left after striking the headmaster. He went home to his mother in London and briefly tried trade journalism until a job tutoring a touring company of 83
juvenile actors introduced him to the theatre. He was soon acting himself, later becoming an actor-manager for various repertory companies in provincial towns and also trying his hand at playwriting. His first play, The Devil Inside Him, was written in 1950 with his friend and mentor Stella Linden, an actress and one of Osborne’s first passions.
Osborne made his first appearance as a London actor in 1956, the same year that Look Back in Anger was produced by the English Stage Company. Although the form of the play was not revolutionary, its content was unexpected. On stage for the first time were the 20- to 30-year-olds of Great Britain who had not participated in
World War II and found its aftermath shabby and lacking in promise. The hero,
Jimmy Porter, although the son of a worker, has, through the state educational system, reached an uncomfortably marginal position on the border of the middle class from which he can see the traditional possessors of privilege holding the better jobs and threatening his upward climb. Jimmy Porter continues to work in a street-market and vents his rage on his middle-class wife and her middle-class friend. No solution is proposed for Porter’s frustrations, but Osborne makes the audience feel them acutely.
Osborne’s next play, The Entertainer (1957), projects a vision of a contemporary Britain diminished from its days of self-confidence. Its hero is a failing comedian, and Osborne uses the decline of the music-hall tradition as a metaphor for the decline of a nation’s vitality. In 1958 Osborne and director Tony Richardson founded Woodfall Film Productions, which produced motion pictures of Look Back 84
in Anger (1959), The Entertainer (1959), and, from a film script by Osborne that won an Academy Award, Tom Jones (1963), based on the novel by Henry Fielding.
Luther (1961), an epic play about the Reformation leader, again showed
Osborne’s ability to create an actably rebellious central figure. His two Plays for
England (1962) include The Blood of the Bambergs, a satire on royalty, and Under
Plain Cover, a study of an incestuous couple playing games of dominance and submission.
The tirade of Jimmy Porter is resumed in a different key by a frustrated solicitor in Osborne’s Inadmissible Evidence (1964). A Patriot for Me (1965) portrays a homosexual Austrian officer in the period before World War I, based on the story of
Alfred Redl, and shows Osborne’s interests in the decline of empire and the perils of the nonconformist. West of Suez (1971) revealed a measure of sympathy for a type of
British colonizer whose day has waned and antipathy for his ideological opponents, who are made to appear confused and neurotic. Osborne’s last play, Déjàvu (1992), a sequel to Look Back in Anger, revisits Jimmy Porter after a 35-year interval.
As revealed in the first installment of Osborne’s autobiography, A Better
Class of Person (1981), much of the fire in Look Back in Anger was drawn from
Osborne’s own early experience. In it he attacks the mediocrity of lower-middle-class
English life personified by his mother, whom he hated, and discusses his volatile temperament. The second part of his autobiography appeared in 1991 under the title
Almost a Gentleman. Osborne was married five times. 85
Having come to the stage initially as an actor, Osborne achieved note for his skill in providing actable roles. He is also significant for restoring the tirade—or passionately scathing speech—to a high place among dramatic elements. Most significantly, however, he reoriented British drama from well-made plays depicting upper-class life to vigorously realistic drama of contemporary life.
(John Osborne. (2010). In Encyclopædia Britannica. Retrieved March 18, 2010, from Encyclopædia Britannica Online: http://www.britannica.com/EBchecked/topic/433755/John-Osborne)