Maket 2013:Layout 1.qxd


Paradoxes in O. Wilde’s “The Picture of Dorian Gray”

Manana Dalalyan, Hasmik Mkrtchyan
Yerevan State University

A
ny piece of literary art is a piece of aesthetics. This is obviously one of the essen-

tial missions that a literary text may carry out, which may be viewed from dif-

ferent angles of linguistics for different aims. 

Our interest in imaginative literature is focused on the stylistic use of paradoxes. A

literary text, irrespective of its genre, is a result of author’s imagination, which aims at

leaving an aesthetic impact on the reader by different stylistic means which serves to

identify emotiveness of the literary work.

Our special interest is focused on paradoxes often discussed in the sphere of aesthetics.

The aim of paradox is to point out the truth through statements which contradict each other.

Paradox is a self-contradictory statement as it often contains two statements - both

true and untrue at the same time. The appeal of paradoxes lies in the fact that, however,

contradictory it seems to be, it contains a certain grain of truth which makes it an excel-

lent vehicle for expressing irony.

Paradoxical expressions are communicative units represented by a wide range of

tropes and figures of speech. The main characteristic features of paradoxical expression

are characterized by the following three phenomena:

• Contradiction
• Grammatical correctness
• Unity of the object to be characterized.

Paradoxicality is an inherent feature in a statement defined by the term “paradox” as

far as is formulated differently by different authors. 

Another important character of paradox is its grammatical correctness, since not all

contradictions can be viewed as paradoxes. The third criterion of creating the picture of

paradox is a unity of characterized objects. Paradoxes can be objective and subjective
while paradoxical expressions can be subdivided into five empiric classes: actual, logi-
cal, semantic, which refers to objective ones, rhetorical and poetic, subjective and prag-
matic, which occupy intermediate place between the two main groups.

W.V. Quine (Quine 1962:36) distinguished between three classes of paradoxes:

• A veridical paradox produces a result that appears absurd but is demonstrated to be
true nevertheless. 

• A false paradox establishes a result that not only appears false but actually is false,
due to a fallacy in the demonstration. A paradox that is in neither class may be

an antinomy, which reaches a self-contradictory result by properly applying accepted
ways of reasoning.

• A paradox that is both true and false at the same time and in the same sense despite
the fact that the statement is to be exclusively proven or disproved.

Our interest of paradox focused on the literary work of one of the most prominent

Irish writers of XIX century O. Wilde whose technique of writing varies in diversity of

Armenian Folia AnglistikaLiterature

161



tropes and figures of speech with the help of which statements acquire certain paradoxi-

cal overtones.

Wilde was a follower of Aestheticism, Philosophy which touted that art should be

appreciated only for its beauty: “Art for art’s sake”. The notion that art should have

any moral or didactic value was rejected. Wilde’s work, his own art, defies simple

classification as purely aesthetic. Wilde showed a very clear purpose beyond simply

to entertain or to create beauty, he was rebelling against the restrictive and often hypo-

critical Victorian society in which he found himself. For Wilde, Aestheticism was a

convenience.

Much of Wilde’s impact comes from his ability to turn a common saying. His capaci-

ty to come up consistently with the unexpected statements leads his audience first to

laughter, then - to a great deal of thought.

Wilde may be viewed to be “the prince of paradoxes”. His mission was to avoid the

banal sights of life, trying to illuminate every idea of his own by quoting a phrase which

would become a proverb turning inside out as a glove.

People say “Marriages are made in heavens”, Wilde would say “Divorces are made

in heavens”. People say “Time is money”, Wilde would say “Time is loss of time”.

The author often touches upon the main peculiarities of triangle of art where “lie is

the truth of other people” and “the debt is the thing which we demand from others, but

don’t do it ourselves”.

Echoing strongly to the opposition of the surrounding reality, Wilde himself declares

a range of oppositions. He often depicts a sensitive cynic or an immoral moralist, or a

dreamy skeptic. He challenges everyone to figure out something comic in tragic and feel

tragic in comic. The state of acting neutrally is not common to him. He is sure that idle-

ness is the hardest work in the world, the mask is more interesting than face, theatre is

more real than life. Oscar Wilde’s The Picture of Dorian Gray is itself a critique of the
ideals put forth by Aestheticism. “Dorian Gray” is in its heart a story of a man who tries

to lead a totally aesthetic life. One of the aesthetic movement’s basic tenets is that only

art, not life, can be perfect. As such, life should seek to imitate art. In Dorian Gray’s

image Wilde constructs the embodiment of this principle. Dorian is enticed by Lord

Henry Wotton to fall into the aesthetic lifestyle, which Lord Henry describes as a new

Hedonism. “Let nothing be lost upon you. Be always searching for new sensations. “Be

afraid of nothing”- this is a new Hedonism - that what our century seeks (Wilde 1891:34).

Dorian does become not only a symbol, but also a living avatar of Aestheticism itself.

Dorian Gray, like the aesthetic conception of art, needs no morals and remains ever beau-

tiful. Dorian, guided by Lord Henry, falls rather fantastically into sin. His first brush with

love turns sour as Dorian finds himself incapable of loving Sybil Vane for more than her

stage art, “He had dreamed of her as a great stage artist, had given his love to her because

he had thought her great, Then she had disappointed him” (Wilde 1891:88). The expres-

sion of love causes Sybil to be incapable of acting. And Dorian becomes responsible for

the destruction both of great art and life. 

Dorian is killed at the end of the novel, undone by his own conscience, while the

painting survives. The natural order is restored. The painting becomes “a splendid por-

Armenian Folia Anglistika Literature

162



trait of Dorian as they had last seen him, in all the wonder of his exquisite youth and

beauty,” in spite of Dorian’s attack on it (Wilde 1891:210). And Dorian becomes the pic-

ture of his picture, “withered, wrinkled, and loathsome of visage”.

In the novel “The Picture of Dorian Gray”, Oscar Wilde uses symbolism and the

depiction of character’s inner thoughts to enhance the meaning of the relationship

between beauty and sins.  The beautiful hanging represents the appearance of the beauty

and youth; however, the painting itself represents his sins and old age. Oscar Wilde uses

the individual’s inner thoughts to put emphasis on the conflict between beauty and sins.

In Dorian’s thoughts, he is at first fighting against crimes and sins but afterwards, he

totally succumbs to all the “infinite passion, pleasures subtle and secret, wild joys and

wilder sins” (Wilde 1891:77).  The author uses a lot of depiction of the transformation in

one’s character to portray his inner conflict and also to explore the idea around beauty

and sins.

The conclusion suggests that art is perfectly capable of existing without morals but

human life is not. Wilde kills Dorian Gray, aestheticism itself, on the altar of his own fal-

lacy, believing he could live as art. Although art needs no morality affixed to it, ultimate-

ly humans are corruptible. 

The novel touches upon different linked categories – principles of mankind, love,

friendship, devotion, betrayal. Each of these categories are illustrated picturesquely

which need to be elucidated through the light of paradoxes. Paradox is a central tactic

used in the novel. Lord Henry’s speeches are paradox-based. Paradox is one of the most

significant elements in the novel, found Lord Henry’s speech is expressed by different

tropes and figures of speech. Wilde’s style of writing is full of charm and wit. In the

famous novel Lord Henry comments on friendship which is a realization of a paradox

through anaphora: 

I choose my friends for their good looks, my acquaintances for their
good characters and my enemies for their good intellects.  A man cannot
be too careful in the choice of his enemies.                        (Wilde 1958:28)

Another realization of a paradox through antithesis in Lord Henry’s comment on

friendship may evoke different feelings and motivations with different ranks of people:

Laughter is not at all a bad beginning for a friendship and it is far the
best ending for one. (Wilde 1958:21)

In the following example he vividly depicts his attitude to the whole mankind and

implicitly shows his negligence towards the people living in the same society. This exam-

ple is realized through anaphora:

I like persons better than principles and I like persons with no princi-
ples better than anything else in the world.                      (Wilde 1958:17)

Armenian Folia AnglistikaLiterature

163



The following example shows a strategy of a universal truth which many people fol-

low without realizing it. The idea of paradox is realized through antithesis: 

We do not realize that we live in an age when unnecessary things are
our only necessity.                                                             (Wilde 1958:30)

In the following example Lord Henry assures that in order to reach his full capabili-

ties, Dorian should not have to adjust to the lives of others (by marrying Sybil Vane) and

suggests the idea that selfishness is beneficial for growth. This idea is realized through

antithesis which may be viewed as chiasmus as well. 

When we are happy we are always good, but when we are good we are
not always happy.                                                            (Wilde 1958:57)

Dorian accepts the idea that will and attraction of love will be lost, and love will

become bothersome and dull. This is later proved when Sybil Vane is the adorer of

Dorian Gray and yet Dorian feels no attraction to her anymore. This thought of women

hindering men to do great things indirectly persuades Dorian that marriage is not benefi-

cial in life. The following statement is realized through antithesis:

Women…inspire us with the desire to do masterpieces, and always pre-
vent us from carrying them out.”                                     (Wilde 1958:58)

The following witticism seems true but it actually puts people down and degrades

them. This paradox is realized by means of anticlimax.

“Men marry because they are tired, and women- because they are curi-
ous: both are disappointed.” (Wilde 1958:34)

In the following statement the author again uses anticlimax to create a paradox: 

There is only one thing in the world worse than being talked about, and
that is not being talked about.                                           (Wilde 1958:59)

Wilde’s paradoxes are full of aesthetics and charm and the following example of

paradox is expressed by antithesis:

The only way to get rid of temptation is to yield it. (Wilde 1958:67)

In the following example Lord Henry shows his attitude towards women through

chiasmus:

Women have no appreciation of good looks: at least good women have not.
(Wilde 1958:45)

Armenian Folia Anglistika Literature

164



According to Lord Henry the whole mankind is divided into two parts. The follow-

ing statement of paradox is realized by means of antithesis.

There are only two kind of people who are really fascinating: people
who know absolutely everything, and people who know absolutely nothing.

(Wilde 1958:36)

Thus we can conclude that our analysis shows that paradoxes used in O. Wilde’s “The

Picture of Dorian Gray” are full of charm and wit. They are expressed mainly by antithe-

sis, repetition (anaphora), chiasmus, anticlimax which serve a profound basis for making

the author’s  individual style distinguishable and recognizable.

References:

1. Wilde, O. (1958) The Picture of Dorian Gray. Vol. 3. Leiceste, UK: Prestwick House.
2. Scott, T. (1892) Oscar Wilde’s Comedy. / Ed. by Darga. / Literature Resource Center.

Vol. 17. Detroit: Gale 2002. 

3.  Gasparyan, S.; Matevosyan, A. (2008) English Style in Action. Yerevan: YSU Press.
4.  Arnold, I. (2006) Stylistics. London: British Publishing House.
5.  <http://en.wikipedia.org/wiki/Oscar_Wilde>

6. <http://en.wikipedia.org/W./V.Quine>

ä³ñ³¹áùëÝ»ñÁ úëϳñ àõ³ÛÉ¹Ç §¸áñÇ³Ý ¶ñ»ÛÇ ¹ÇÙ³ÝϳñÁ¦
ëï»Õͳ·áñÍáõÃÛ³Ý Ù»ç

¶ñ³Ï³Ý ëï»Õͳ·áñÍáõÃÛ³Ý ÑÇÙÝ³Ï³Ý ·áñͳéáõÛÃÝ»ñÇó ¿ ·»Õ³·Çï³Ï³Ý
Ý»ñ·áñÍáõÃÛáõÝÁ ÁÝûñóáÕÇ íñ³: ú. àõ³É¹Ç §¸áñÇ³Ý ¶ñ»ÛÇ ¸ÇÙ³ÝϳñÁ¦ ëï»Õ-
ͳ·áñÍáõÃÛáõÝÁ Çñ ·»Õ³·Çï³Ï³Ý Ý»ñ·áñÍáõÃÛ³Ý ³é³ù»ÉáõÃÛáõÝÁ ϳï³ñ»É³-
å»ë Çñ³·áñÍ»É ¿ ¹»é¨ë XIX-ñ¹ ¹³ ñÇó Ç í»ñ: ¶ñ³Ï³Ý »ñÏÇ ·³Õ³÷³ ñ³Ï³Ý
Ñ»ÝùÁ ϳ½ÙáõÙ »Ý å³ñ³¹áùëÝ»ñÁ, áñáÝù ¿’É ³ í»ÉÇ ïå³íáñÇã »Ý ¹³ñÓÝáõÙ Ñ»ÕÇ-
ݳÏÇ ËáëùÁ ¨ Ýñ³ í»ñ³μ»ñÙáõÝùÁ ³ñï³ùÇÝ ³ß˳ñÑÇÝ áõ Ýñ³ Ù»ç ïÇñáÕ μ³ñ-
ù»ñÇÝ: 

ä³ñ³¹áùëÁ ݳ¨ ·»Õ³·Çï³Ï³Ý ϳﻷáñdz ¿, áñÁ ïíÛ³É ëï»Õͳ·áñÍáõÃ-
Û³Ý Ù»ç ³ñï³Ñ³Ûí³Í ¿ ѳϳ¹ñáõÃÛ³Ý, ˳ã³Ó¨Ù³Ý, ÝáõÛݳëÏǽμ ÏñÏÝáõÃÛ³Ý,
ÇçÝáÕ ³ëïÇ׳ ݳíáñÙ³Ý ÙÇçáóÝ»ñáí: ºñμ»ÙÝ ÙǨÝáõÛÝ ³ëáõÛÃÁ ϳñ»ÉÇ ¿ ¹Ç-
ï³ñÏ»É` »ÉÝ»Éáí  ÙÇ ù³ÝÇ ³ñï³Ñ³Ûïã³ÙÇçáóÝ»ñÇ ¹Çï³ÝÏÛáõÝÇó:

Armenian Folia AnglistikaLiterature

165