Archetypes In Portrait Of Dorian Gray
Analysis of the archetype in O. Wilde's novel "Portrait of Dorian Gray"
The scale of the realization of ideas through the archetype of an animated portrait allows one to compare "Portrait of Dorian Gray" and Gogol's "Portrait" as manifestoes of related epochs. In the first chapter, an analysis of the archetype in Gogol's story was conducted, we will try to discover the archetype in Wilde's novel by the same characteristics:
• the inclusion of the archetype in ontological issues;
• reflection of aesthetic problems in it;
• ekphrasis and the subsequent influence of the portrait on art.
Regarding the first point, in both works, it is a question of irreversible change of personality, its transformation from the noble into the vicious on the example …show more content…
of the hero-portrait. But if in Gogol's "Portrait" the eyes of the usurer acted as a symbol of change, in the novel of Wilde the portrait itself acquires the meaning of a symbol. The main problem in the novel - the ratio of the beauty of the inner and outer. Comparing the external beauty of Dorian with the inner (reflected in the portrait), Wilde seeks to bring out the aesthetic basis of morality. The portrait defines the fate of Dorian, reflecting the moral fall of the hero and motivating him to further degradation. At the same time, the ugly features of the portrait emphasize the aesthetic-symbolistic character of the conflict, opposing it generally accepted moral and psychological and stressing aesthetic basis of problems.
From here it is possible to take out the main problem of the generation - the dominance of utilitarian values and sober pragmatism, the desire to benefit from everything. For Wilde, art is the highest good, which can not be a tool for satisfying the whims and practical needs of man.
Comparing ethical and aesthetic ideas in the works of Gogol and Wilde, it is worth noting that in the archetype of portraits these concepts resonate. In accordance with the inner world of heroes are their external features. However, Wilde gives an archetypal motive in development, that is, at first the reader still sees an unusually beautiful young man.
At the same time, if the relationship of the portrait-model of Wilde symbolizes the relationship between art and life, then Gogol in the form of a usurer reflected the problems of the individual in general. But in both works, the portrait becomes the materialized face of man. As noted by U.M. Lotman, "the portrait genre is at the intersection of various the possibilities of disclosing the essence of a person by means of interpreting his face. "
If we evaluate the ecphrasis reflected in the work, we can mention The Picture of Dorian Grey, created by Ivan Albright for the filming of the same film.
The original of the painting is now in the Art Institute of Chicago, USA.
Conclusion
The archetype of the animated picture is closely connected with the period of N.V. Gogol and O. Wilde, he used writers in front-line situations and absorbed a whole complex of philosophical problems reflecting the ethical-aesthetic quest of different times. Thanks to the inclusion of archetypes in the works, the latter was recognized as aesthetic manifestos of the epochs.
Despite the differences in the vision of the artist's tasks in the world, Gogol's and Wilde's Portraits unites a number of moral positions, in particular, the recognition that it is impossible to transgress moral laws for the sake of enjoyment. Similar phenomena create a kind of dialogue between epochs and literary trends.
It is interesting that in these works the vice of one hero was caused by the phenomenon, for another hero ordinary. For example, the destructive concept for Dorian was beauty, Chartkov co-existed with her in harmony. And vice versa: Charkov's attraction to money led to the death of the artist, on the rise of Dorian wealth was more likely to have a positive
effect.
The archetype reflects the artistic search of authors of the XIX century for new trends in art and literature. Through the implementation of the archetype, Gogol and Wilde were able to discover new principles in depicting a person and his personal qualities, thereby predetermining the further development of interest in the human person. The very appeal to the archetype, as we could see, is caused by the change of epochs and the revision of the artist's role in the world. So, in the paradigm of romantic creativity, the artist, as opposed to the people, strives for unattainable ideals. Gogol calls attention to more utilitarian problems, in particular, to the commercialization of creativity. From the story we can conclude that the person, the artist, is primarily responsible for the quality of the created works - he himself must draw a line between good and evil.
Wild, on the contrary, returns to pure art, the form comes to the fore. With the help of the archetype of the waiting picture, Wilde proves that art is higher than reality, higher than life: it is no coincidence that the original beauty returns with the death of Dorian.
The scale of the realization of ideas through the archetype of an animated portrait allows one to compare "Portrait of Dorian Gray" and Gogol's "Portrait" as manifestoes of related epochs. In the first chapter, an analysis of the archetype in Gogol's story was conducted, we will try to discover the archetype in Wilde's novel by the same characteristics:
• the inclusion of the archetype in ontological issues;
• reflection of aesthetic problems in it;
• ekphrasis and the subsequent influence of the portrait on art.
Regarding the first point, in both works, it is a question of irreversible change of personality, its transformation from the noble into the vicious on the example …show more content…
of the hero-portrait. But if in Gogol's "Portrait" the eyes of the usurer acted as a symbol of change, in the novel of Wilde the portrait itself acquires the meaning of a symbol. The main problem in the novel - the ratio of the beauty of the inner and outer. Comparing the external beauty of Dorian with the inner (reflected in the portrait), Wilde seeks to bring out the aesthetic basis of morality. The portrait defines the fate of Dorian, reflecting the moral fall of the hero and motivating him to further degradation. At the same time, the ugly features of the portrait emphasize the aesthetic-symbolistic character of the conflict, opposing it generally accepted moral and psychological and stressing aesthetic basis of problems.
From here it is possible to take out the main problem of the generation - the dominance of utilitarian values and sober pragmatism, the desire to benefit from everything. For Wilde, art is the highest good, which can not be a tool for satisfying the whims and practical needs of man.
Comparing ethical and aesthetic ideas in the works of Gogol and Wilde, it is worth noting that in the archetype of portraits these concepts resonate. In accordance with the inner world of heroes are their external features. However, Wilde gives an archetypal motive in development, that is, at first the reader still sees an unusually beautiful young man.
At the same time, if the relationship of the portrait-model of Wilde symbolizes the relationship between art and life, then Gogol in the form of a usurer reflected the problems of the individual in general. But in both works, the portrait becomes the materialized face of man. As noted by U.M. Lotman, "the portrait genre is at the intersection of various the possibilities of disclosing the essence of a person by means of interpreting his face. "
If we evaluate the ecphrasis reflected in the work, we can mention The Picture of Dorian Grey, created by Ivan Albright for the filming of the same film.
The original of the painting is now in the Art Institute of Chicago, USA.
Conclusion
The archetype of the animated picture is closely connected with the period of N.V. Gogol and O. Wilde, he used writers in front-line situations and absorbed a whole complex of philosophical problems reflecting the ethical-aesthetic quest of different times. Thanks to the inclusion of archetypes in the works, the latter was recognized as aesthetic manifestos of the epochs.
Despite the differences in the vision of the artist's tasks in the world, Gogol's and Wilde's Portraits unites a number of moral positions, in particular, the recognition that it is impossible to transgress moral laws for the sake of enjoyment. Similar phenomena create a kind of dialogue between epochs and literary trends.
It is interesting that in these works the vice of one hero was caused by the phenomenon, for another hero ordinary. For example, the destructive concept for Dorian was beauty, Chartkov co-existed with her in harmony. And vice versa: Charkov's attraction to money led to the death of the artist, on the rise of Dorian wealth was more likely to have a positive
effect.
The archetype reflects the artistic search of authors of the XIX century for new trends in art and literature. Through the implementation of the archetype, Gogol and Wilde were able to discover new principles in depicting a person and his personal qualities, thereby predetermining the further development of interest in the human person. The very appeal to the archetype, as we could see, is caused by the change of epochs and the revision of the artist's role in the world. So, in the paradigm of romantic creativity, the artist, as opposed to the people, strives for unattainable ideals. Gogol calls attention to more utilitarian problems, in particular, to the commercialization of creativity. From the story we can conclude that the person, the artist, is primarily responsible for the quality of the created works - he himself must draw a line between good and evil.
Wild, on the contrary, returns to pure art, the form comes to the fore. With the help of the archetype of the waiting picture, Wilde proves that art is higher than reality, higher than life: it is no coincidence that the original beauty returns with the death of Dorian.