Narcissistic Theme in Oscar Wilde's The Picture of Dorian Gray

Zack Lindahl

Beauty at Any Cost: The Narcissistic Theme in The Picture of Dorian Gray

There are multiple themes within Oscar Wilde’s The Picture of Dorian Gray. One of these is very central in the novel, and that is the trait of self-love, narcissism. The whole novel is built around Dorian Gray’s physical beauty, and his indulgence of it. There are numerous references and hints of narcissism, often comparing Dorian to Narcissus himself, or Dorian’s selfish behavior which at times are classical for the psychological condition of extreme narcissism. The Picture of Dorian Gray tells a story, that at times bears a resemblance to ancient tales of narcissistic behavior, and Oscar Wilde consciously portrays it different aspects throughout the novel.

There are several instances in the first part of the novel that illuminates the theme of narcissism. In the very first chapter, Dorian Gray utters his fervent wish for eternal youth. He does this as he sees the picture of himself that Basil Hallward has painted, and “[t]he sense of his own beauty came on him like a revelation” (28). This is very similar to when Narcissus himself looked down on his own reflection and fell in love. However, there is one main difference between these two narcissists. Why have not Dorian had this sensation before, as he most probably would have seen his own reflection in the mirror? That is because the painting portrays how other people see him, and it is that view which infatuates him. The picture helps him get past his personal bias against his own loveliness, and makes him fully appreciate his appearance, which eventually leads into an obsession of his own looks. Oscar Wilde accentuates Dorian’s developing narcissism by having Basil Hallward compare Dorian to several magnificent mythical men, like “Paris in dainty armor… Adonis with huntsman’s cloak” (129), as Basil continues he say that Dorian, in his paintings, had “leant over the still pool of some Greek woodland, and seen in the water’s silent silver the marvel of your own face” (129). This direct association between Dorian and Narcissus makes the theme of narcissism eminently clear. While these points are fairly superficial, the latter part of the novel, which starts at chapter XI, takes a turn towards the more sinister and psychological side of narcissism.

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We can see this continuing self-indulgence Dorian Gray’s character, when his dissipation is described in chapter XI. The defilement of his soul does not disturb him, as he “grew more and more enamored with his own beauty, more and more interested in the corruption of his soul” (144). He surrounds himself with beautiful things like gemstones, perfumes and clothes. He also takes interest in his own history, and feels that “the whole of history was merely the record of his own life . . . as it had been in his brain and passions” (162). In the entire splendor around him, he sees but his own reflected beauty. Oscar Wilde allows us to see that Dorian Gray sees himself as the main star in the whole universe and has, over the years, developed a deep egocentric trait. The tale of Dorian Gray’s narcissism continues to an end, which parallels almost all other stories of narcissistic behavior. His self-centered behavior is a direct result to his own undoing. Dorian looks at his loathsome picture, and he yet again experiences a moment of insight. “For it was an unjust mirror, this mirror of his soul that he was looking at. Vanity? Curiosity? Hypocrisy? . . . the knife that had stabbed Basil Hallward . . . would kill this monstrous soul-life . . . without its hideous warnings, he would be at peace” (243), he thinks, but his act to make amend is still self-centered. The portrait lays the soul equally visible to him as his own visage is visible to others, and he longs for it to be beautiful, so he can be complete and perfect. It is still an egoistic though and his wish to change the painting is therefore just another exercise in vanity. He succumbs, just as Narcissus withers away in front of his reflection and Troy lie in ruin after a divine beauty pageant.

The main plot is built around the narcissistic theme, and the theme has two aspects which Oscar Wilde explicitly deals with. These are the superficial, casual narcissism and deep psychological narcissism. He uses these traits to fully explore Dorian Grey’s being, and show it to us in different stages of moral decay. With this, Wilde weaves together the plot that fits the mold of the ancient stories that tells of excessive fixation of beauty, or extreme self-love.

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