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  • Essay / Morality and Immorality in A Streetcar Named Desire and The Picture of Dorian Gray

    The measure of a man's character is what he would do if he knew he would never be found out. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Thomas Babington Morality is the very foundation of goodness and the pillar of righteousness. Immorality, however, is the threshold to overt evil. These two extremes are often just a step between which we are baffled and perplexed. Morality undeniably establishes the limits of individual behavior in a given society. If these principles collapsed, ethical boundaries would give way to anarchic freedom. The two works explored in this analysis illustrate succumbing to immoral conduct for selfish ends. In Oscar Wilde's The Picture of Dorian Gray, we are intrigued by a charming Englishman who renounces his innocence and embraces a loathsome hedonism. Tennessee Williams A Streetcar Named Desire confronts us with a robust and virile character who does not submit to any authority opposed to his own. Two unscrupulous characters emerge from different worlds with the equivalent rejection of the moral values ​​common to humanity. Although one is characterized by beauty and the other by power, they share the same vivid animation of unbridled cruelty. It is in their sinister actions that their factual embodiment is exposed. Wilde and Williams reveal, through these depraved beings, the basis of humanity's intrinsic flaw: the loss of inhibitions. I will discuss in more detail, using relevant characters, the aspiration to moral ideals as well as the attachment to immoral philosophies. The Picture of Dorian Gray by Oscar Wilde is set in late 19th century England, a period marked by the overemphasis on social issues. stature and personal image. The protagonist, Dorian Gray, appears as the archetype of masculine beauty and youth. Its aristocracy and breathtaking beauty fascinate its surroundings. He often poses for Basil Hallward, a very talented artist whose art is inspired by Dorian's charisma. As Basil's most prodigious painting is being completed, Dorian is introduced to Lord Henry Wotton, a cynical philosopher and skilled orator. Dorian is easily seduced by his manipulative language and contemptuous theories. Wotton plans to transform and corrupt the vulnerable boy into a relentless hedonist. Through him, Dorian faces the harsh realization that his physical attributes continue to fade. Faced with this sudden revelation, he fears the physical burden of aging. He envies the perpetual appeal of Basil's masterpiece. ...If only it were the other way around! If it was me who had to be forever young, and the painting which had to age! For that – for that – I would give everything! Yes, there is nothing in the world that I wouldn't give! I would give my soul for that! (Wilde p. 31). The materialization of this wish and the resulting metamorphosis will lead to its disappearance. Dorian's silhouette remains immaculate while the painting bears his odious transformation. This is first confirmed following his romantic affair with Sibyl Vane, an actress he meets in an infamous theater. Like him, she is characterized by bewitching beauty and youthful naivety. Hypnotized by each other, they quickly exchange vows of fidelity. Dorian invites Henry and Basil to the theater, if only to be terribly embarrassed by Sibyl's artificial performance. In a fit of anger still unknown to him, Dorian reluctantly reprimands his fiancée. You are superficial and stupid. My God! How crazy I was to love you! What an idiot I was! You are no longernothing for me now (Wilde p. 98). This vindictive refusal leads her to suicide. Returning home, he is stunned by a hideous discovery: his portrait has changed slightly, hinting at the sinful transfiguration that would occur throughout his debauched existence. Dorian expresses strong feelings of contrition upon learning of Sibyl's unnecessary death. He is aware of his wrongdoing and feels deeply guilty. However, Lord Henry encourages him to put the incident aside and rejoice in his current freedom. Dorian is torn as his selfishness weighs heavily on his conscience. By ignoring the death he has caused and indulging in pleasure, Dorian embodies Lord Henry's philosophy. Aware of his physical impermeability to the consequences of any consequence, he adopts hedonistic values. The total denial of any responsibility for Sibyl's death is only the beginning of her moral degradation. He takes pleasure in observing the mutilation of the painting, and therefore of his soul. Her subsequent encounters with Henry only amplify this descent into debauchery. ...You were the most intact creature in the entire world. Now I don't know what came over you. You speak as if you have no heart or pity. It's all Harry's influence. I see that (Wilde p. 120) From then on, Dorian gradually becomes involved in sin; causing scandals, visiting opium dens and consorting with prostitutes. Dorian often looks at the painting in horror, but cannot turn away from this lifestyle, brought about by his wickedness. He is undoubtedly aware of his ethical dissipation and, despite the beautiful objects with which he surrounds himself, is dismayed by the ugliness of his soul. He knew that he had tarnished himself, filled his mind with corruption, and given horror to his imagination; that he had been a bad influence on others and that he had experienced terrible joy in being one (Wilde p. 241). Dorian's fear that his predicament will be discovered grows as the picture changes with each misdeed. Although she is hidden from prying eyes, the nakedness of her soul is always present in her mind. His angry murder of Basil signifies not only the culmination of his immoral behavior, but also the obliteration of moral barriers. His iniquitous act plunges him into a state of guilt-ridden paranoia. He is tired of the world and overwhelmed by the weight of this infamy. Wilde's protagonist was not a wicked or unprincipled man, merely pliable and somewhat narcissistic. Under the overwhelming influence of Lord Henry and the seductive protection of the portrait, he succumbs to a world free of restrictions, tempted by self-satisfaction. By moving away from the moral boundaries that establish order, Dorian finds himself immersed in chaotic freedom. Without the omnipresent prison that symbolizes morality, anarchy and evil reign, destroying the goodness of nature. When he presents himself to the diabolical picture, besieged by remorse and maddened by regret, he wishes to purge his soul and reacquire the values ​​that once governed his life. Therefore, destroying the impudence that spoiled his mind and the guilt that tormented his conscience, he commits suicide. Lord Henry is an extremely condescending and cynical character. His actions are not as overtly sinful as Dorian's, since he is not immune to their repercussions. Although he preaches hedonism, he never acts on his philosophies, staying within the boundaries of what society deems tolerable. He therefore knows little about the pragmatic effects induced by his philosophy. He is portrayed as a coward, using Dorian to give substance to his theories, but not venturing there himself for fear of ruining his social standing. He is a brilliant intellect, although he has a narrow understanding of human behavior. For example, when he states: All crime isvulgar, as all vulgarity is a crime. It is not your place, Dorian, to commit murder... (Wilde p. 234), he is totally unaware of Dorian's tragedy. While most of humanity is constrained by moral obstacles, there are those who stray from these ideals, and become a source of crime2E Although morality and ethics are constraining concepts, they harbor the individual and therefore humanity. Without them, there could only be degradation and self-destruction, as illustrated by Oscar Wilde in The Picture of Dorian Gray. As Mahatma Gandhia once said: The human voice can never reach the distance covered by the still small voice of consciousness. One can enjoy life and not be afraid of death if he obeys his scruples. Tennessee Williams A Streetcar Named Desire formulates a way to reflect on the morbid aspects of humanity and the result of these societal downfalls. Stanley Kowalski emerges from poor rural New Orleans as the epitome of blatant barbarism. His speech is grossly uneducated and his actions display instinctive rudeness. He adheres to humanity's most primitive rule and basic code: hunt or be hunted. His house symbolizes his territory and anyone who threatens this mandate must be eliminated. The metaphorical episode in which he casually throws a packet of bloody meat to Stella, his wife, underlines his ape-like qualities. He has little concept of courtesy, which is naturally repugnant to his pampered sister-in-law, Blanche. The image of a delicate flower among a pile of trash is comparable to the arrival of Blanche Dubois at the Kowalskis' house. His expression is shocked and disbelieving. His appearance is incongruous with this setting (Williams p. 15). She seems inherently refined and somewhat ostentatious, having apparently never witnessed indignity. However, his false decorum is a rather deliberate effort to save himself from misery. Blanche exists in a self-made universe in which she blinds herself from the sadness of reality. His haughty manner contrasts with Stanley's crude behavior and clashes from their first meeting. Stanley imposes his animal vigor on Blanche because he feels threatened by her presence. He despises her aristocratic mannerisms, her diminutive expressions regarding her origin, and her chatter with her friend Mitch. His hatred towards Blanche is intensified by his unflattering dialogue with Stella. He behaves like an animal, has animal habits! Eat like one, move like one, talk like one! There is even something – subhuman – something that has not yet reached the stage of humanity! (Williams p. 72). This culmination of anger manifests itself in his investigation into his promiscuous past and in his malicious birthday present. He relentlessly thwarts her relationship with Mitch, sabotaging her illusions of rescue. In his vile quest to bring about Blanche's ruin, he brutally exposes her to the harshness of her position. Stanley's latest effort to tarnish Blanche's image is driven by chauvinism. Although his past attempts have been strictly psychological blows, he now wishes to exert physical power over her. In Blanche's vulnerable state, he rapes her, devastating the rest of her sanity. His degenerate character, first insinuated after he struck his pregnant wife, comes into full view in the wake of this acrimonious sin. The final scene consists of Blanche's ostracism in an asylum and the portrayal of Stanley as the devoted husband, soothing his wife as she embraces their newborn baby. The fallacious nature of this image, given what we have learned throughout the play, paradoxically puts into perspective society's erroneous conception of good and evil. The sets of The Picture of Dorian Gray and A Streetcar.