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Tojikomerareta shozoga ga umidashita mono : Oscar Wilde The picture of Dorian Gray no Gothic teki kozo

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慶應義塾大学日吉紀要刊行委員会
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Abstract

The Picture of Dorian Gray is a story of the protagonist's secrets, and all the secrets come from, or are enabled by, the preternatural power of his portrait. It grows old and hideous, taking on Dorian's aging and his numerous misdeeds, and guaran-tees him an eternally youthful and innocent appearance. Thus the portrait objectifies Dorian's secrets in its image and wipes out their traces from his living self instead. Dorian then hides the portrait in an abandoned room. This structure gives the novel a paradoxically Gothic characteristic. It enables Dorian to physically lock up his secrets in the room, while the Gothic premise of the story is also hidden there. Consequently, the world outside the room accepts Dorian's preternatural youth and innocent looks without any suspi-cion, and such a world is that of the fairy tale in which wonders are received without any mistrust. In this fairy-tale-like world, Wilde repeats what he wrote in some of his fairy tales: thus it is a story of self-discovery and self-realisation. However, in The Picture of Dorian Gray, what works as the index for self-discovery is hidden from the world, and this allows the protagonist's self -realisation tobecome both uncontrollable and limitless. The long listgorgeous collection and his evil deeds hinted at throughout thestory are examples of this, reinforcing the Gothic characteristics ofthe story. The Picture of Dorian Gray is a Gothic novel thatrealises its`Gothicism' by hiding its premise.

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