A Theory of Personality: Analyzing the Characters of Oscar Wilde’s Picture of Dorian Gray using Freud’s Perspective

A Theory of Personality: Analyzing the Characters of Oscar Wilde’s Picture of Dorian Gray using Freud’s Perspective

 

Oscar Wilde’s literary masterpiece the Picture of Dorian Gray is not only a good read but holds many different interpretations which allow you to learn from it. Once given the chance to study the theories of Sigmund Freud, I had come to realize a connection between his personality theory and the three main characters of the novel: Basil, Henry, and Dorian. Looking at the characters through this perspective has helped me understand their motives in the story and it makes it easier to understand how and why their characters developed as they did.

 In order to understand this theory, it is first important to know the three characters analyzed. Dorian Gray is a young handsome man who seems in the beginning of the book to be pleasant, beautiful, and follows Henry's aunt's lead on taking part in her charitable endeavors. It is clear when Dorian is so upset by Henry Wotton's remark of how he will have nothing once his beauty has been taken by age shows that Dorian knows nothing about his own self. Living under the rules and moralities of his aristocratic society has not allowed him to find or express who he wants to be in life, which has diminished the opportunity for him to create his own moral code to live from. Dorian in a sense is a blank canvas, waiting to be molded into anything desired. Just as his portrait first appears, Dorian seems innocent and pure. Looking at Dorian’s childhood history proves that he has lived through strife and has experienced the darker sides of life. It’s impossible to believe that none of his past experiences put any psychological damage on him. Dorian keeps all of his terrors inside, not confiding in anyone. On the outside he seems to be a pure and beautiful being, which could be nothing but perfect. On the inside he fights to find an identity for himself while needing to cope with everything he has been through, this takes a toll on his mind, making him even more vulnerable to be manipulated by others. 

In Freud’s theory of personality, Dorian’s character identifies deeply with the ID. The ID is a component of personality that is completely unconscious. It is driven by pleasure, and wishes to satisfy any need that we want. This could range from basic needs like eating, sleeping, and drinking. The range also goes as far as unrealistic pleasures, or pleasures that are defined as immoral by society. The ID has no mortality, if every person was controlled merely by the ID; we’d all live lives like Dorian. The ID has no personal identity just like Dorian. It is manipulated by the pleasures that we desire, not caring weather these pleasures are good or bad for us. Dorian’s character is the ID of the three main characters; he lives a life of pleasure and becomes obsessed with living his life without moralities or worries.

Henry Wotton a witty intellect that preaches unconventional theories and the right ways of living, in which he doesn’t necessarily follow himself. Henry believes everyone should live a life of pleasure, as well as be themselves. We should not be ruled by what other people think is right. Eventually Henry’s words sink into Dorian and change him completely. Henry is the influence of change in Dorian. In a sense Henry becomes Dorian’s Superego. Although the superego is usually defined as a good thing, in this story, it is not so good. The superego deals with our own moral codes and what we believe is right and wrong. It allows is to make judgments based on what we feel is right in connection with our conscious and what he know is right by society. In Henry’s case, he doesn’t believe what society preaches is right, and a life of pleasure is the only real way to live. As the ID Dorian originally has no morals so Henry’s theories of living life by being yourself and indulging in your own pleasures becomes his moral. What Henry did not know is that he gave Dorian free reign to live by his ID. With no help to define what is right or wrong by his superego, Dorian felt he could do anything, including murder.

Basil Hallward is the talented painter who fell in love with Dorian’s beauty. Throughout the book, he attempts to keep Dorian as pure as he is in his painting. Basil urges Dorian to not believe anything Henry says, hoping to protect his soul from being tainted. Although Basil’s attempts are futile, his character resembles the ego. The ego’s job is to mediate the superego and ID to shape the pleasure or idea met into a realistic manner. The ego shapes our actions so that they are appropriate in means of societal rules. On countless occasions Basil tries to keep Dorian in check and to diminish Henry’s theories as something Dorian shouldn’t take wholeheartedly. Even when Basil realizes that their friendship has completely dissolved he still tries to save him.