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道林格雷的画像人物分析英文版

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2021-03-03 05:41
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2021年3月3日发(作者:address)


道林格雷的画像人物分析英文版



Dorian Gray


At the opening of the novel, Dorian Gray exists as something of an


ideal: he is the archetype of male youth and beauty. As such, he


captures the imagination of Basil Hallward, a painter, and Lord Henry


Wotton, a nobleman who imagines fashioning the impressionable Dorian


into an unremitting pleasure-seeker. Dorian is exceptionally vain and


becomes convinced, in the course of a brief conversation with Lord Henry,


that his most salient characteristics



his youth and physical


attractiveness



are ever waning. The thought of waking one day


without these attributes sends Dorian into a tailspin: he curses his


fate and pledges his soul if only he could live without bearing the


physical burdens of aging and sinning. He longs to be as youthful and


lovely as the masterpiece that Basil has painted of him, and he wishes


that the portrait could age in his stead. His vulnerability and


insecurity in these moments make him excellent clay for Lord Henry’s


willing hands.



Dorian soon leaves Basil’s studio for Lord Henry’s parlor, where


he adopts the tenets of “the new Hedonism” and resolves to live his


life as a pleasure-seeker with no regard for conventional morality. His


relationship with Sibyl Vane tests his commitment to this philosophy:


his love of the young actress nearly leads him to dispense with Lord


Henry’s teachings, but his love proves to be as shallow as he is. When


he breaks Sibyl’s heart and drives her to suicide, Dorian notices the


first change in his portrait



evidence


that his portrait is showing the effects of age and experience while


his body remains ever youthful. Dorian experiences a moment of crisis,


as he weighs his guilt about his treatment of Sibyl against the freedom


from worry that Lord Henry’s philosophy has promised. When


Dorian


decides to view Sibyl’s death as the achievement of an artistic ideal


rather than a needless tragedy for which he is responsible, he starts


down the steep and slippery slope of his own demise.


As Dorian’s sins grow worse over the years, his likene


ss in


Basil’s portrait grows more hideous. Dorian



seems to lack a conscience, but the desire to repent that he


eventually feels illustrates that he is indeed human. Despite the


beautiful things with which he surrounds himself, he is unable to


distract himself from the dissipation of his soul. His murder of Basil


marks the beginning of his end: although in the past he has been able to


sweep infamies from his mind, he cannot shake the thought that he has


killed his friend. Dorian’s guilt tortures him relentl


essly until he is


forced to do away with his portrait. In the end, Dorian


seems punished by his ability to be influenced: if the new social


order celebrates individualism, as Lord Henry claims, Dorian falters


because he fails to establish and live by his own moral code. Lord Henry


Wotton

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