Faustus and Dorian

Just as in Faustus, the character of Dorian Gray is developed towards a tragic denouement following the Aristotelian structure of creation of a tragic hero/villain. Oscar Wilde ensures the depiction of Dorian Gray at the beginning chapters to be innocent, and in possession of “exquisite” beauty. It is the perfumed, rich setting in the opening that conforms an aura in the atmosphere that heightens the high starting point of Dorian as a character in his “golden” age as his name itself suggests. Basil´s studio is “filled with the rich odour of roses” applying such scents connotations with passion, beauty, lush and pleasure all relevant to the thematic of the novel. Flower imagery subtlety enhance and foreshadow Dorian´s corruptible, vulnerable and beautiful nature mentioning “Honey coloured blossoms” are caught in sight by Lord Henry, just as in future he will catch Dorian, and it´s “tremulous branches can´t bear the burden of beauty”. “Beauty” is admired by Basil, epitomising the artistic spirit, but Dorian is raised in a climax of being the object of admiration, with no formation of the mind in disinterest of the society surrounding him and triggered towards vanity by the “strange philosophies” imposed in his immature mind by cynical Lord Henry. The line between life, art and beauty is confused for Dorian and as a person can be seen as a victim of the belief that just like art itself, he is useless and can be manipulated; “real beauty ends where an intellectual expression begins”.  Lord Henry directly compares Dorian to a “Narcissus” being this a major tragic flaw that will bring his own downfall.

Lord Henry is a Mephistophelean character in such way for he represents the devilish temptation and equivocator. Both Dorian and Faustus have participated in the process towards their corruption of mind and soul not merely conducted towards it. Faustus however, is highly knowledgeable and conscientious of his voluntary invocations of the devil. For the late medieval God fearing society of Marlow´s, the theme of magic and the supernatural raised great intrigue and fascination whereas this play deals more straightforwardly with the devil itself through the use of necromancy. Faustus development of character shows a defied tragic hero / villain directory as well. The opening chorus presents his character in a peak point “graced with doctor’s name” but also compare him to Icarus from Greek mythology whom got too close to the sun under warning of his father that his “waxen wings” would melt. This strongly foreshadows Faustus’s ending in punishment for his disobeyal of God´s scriptures with blasphemy in an impulse of over ambition and hubris.

Both characters are portrayed as wanting eternal youth, enjoying the exquisite pleasures of life and fulfilling immediate desires. Faustus is completely warned of the expense of “pleasant fruits” and “delicates” but rashly, desperately feels worthy of the sublime for exceeding the human capacity and signs a contract with the devil for youth and powers. He seems to only listen to the Bad Angel´s attractive prospects, mitigating the Good Angel´s messages. These dual speeches can be shown to portray both sides of his psyche as well as the extrapolated forces of evil and good. The “Old man” figure epitomises wisdom, but such as old men are, he is weak and doesn´t impose himself, only gives hope.

 Dorian in contrast hasn´t a good influence, but is continually encouraged to take the wrong path by Lord Henry, a tutor of bad force whom achieves the gradual, unconscious transformation of his subject of manipulation towards insanity and damnation.