#3

  In The Picture of Dorian Gray, Oscar Wilde exemplifies the ideal of hedonism in Dorian gray.  Hedonism is the belief in living life according to pleasure.  Hedonists seek pleasure despite its costs.  Dorian Gray evolves into a hedonist.  Under the influence of Lord Henry, Dorian learns that his beauty can be used as a tool to procure any pleasure he desires.  This idea is appealing to Dorian.  He becomes a capricious man buying jewels, instruments, and pieces of art as they suite his interests.  Hedonism also has negative effects on Dorian.  Since Dorian only lives for pleasure he chooses to ignore the pieces of life that may cause him pain.  A clear example of this is after the death of Sibyl Vane.  Basil Hallward comes to visit Dorian expecting the young man to be in mourning after the death of his former love.  Instead Dorian is happily going about life and indulging in pleasures.  Basil is shocked, in response to Basil's reaction Dorian says, "What is done is done.  What is past is past...IT is only shallow people who require years to get rid of an emotion.  A man who is a master of himself can end a sorrow easily as he can invent a pleasure.  I don't want to be at the mercy of my emotions.  I want to use them, too enjoy them, and to dominate them" (Wilde 79).  Here Dorian chooses not to face the consequences of  his actions.  He caused the death of a young girl, instead of taking responsibility and mourning over her death and his guilt, he chooses to indulge in diversions.  This is an inappropriate reaction to death.  Hedonism makes Dorian inconsiderate.  He does not care about the pain others feel at his hands.  He caused a mother to lose her only daughter, he ended the life of one girl because he rejected her, he took an only sister from a brother.  Yet, he chooses to feel no remorse.  In his hedonistic state he decides that emotions will not rule him, rather he will rule his emotions.  From the hedonistic point of view this means that all emotions that cause displeasure must be ignored.  Emotions that bring euphoria are the only sentiments to be taken into consideration.  This makes Dorian an egotistical person.  This path of hedonism can only lead him to hurt others.  Because Dorian only cares about that which brings him joy, he  does not have the appropriate response to situations.  At the hands of Lord Henry Dorian has become an inconsiderate hedonist.  This can only lead to danger.  As Dorian pursues passions and pleasure, the natural obstacle that caution and consideration would put in the way will be ignored.  In the end Dorian will harm himself and bring others down with him.

#2

      Dorian Gray undergoes serious changes throughout the novel The Picture of Dorian Gray.  Dorian began the story as an innocent youth full of boyhood naivete.  Under the influence of  Lord Henry, Dorian Gray transforms into a cruel man.  Dorian seems to have found the love of his life in Sibyl Vane.  The love is drastically terminated after a poor performance by Sibyl in the play Romeo and Juliet.  Dorian decides he is no longer enamored with Sibyl and proceeds to callously end his engagement.  Despite Sibyl's pleading and crying,  Dorian chooses to leave her.  After this terrible event, Dorian reflects and thinks, "Cruelty!  Had he been cruel?  It was the girl's fault... She had been shallow and unworthy.  And, yet, a feeling of infinite regret came over him as he thought of her lying at his feet sobbing like a little child.  He remembered with what callousness he had watched her" (Wilde 67).  Here Dorian acknowledges that he is a cruel person.  Yet, he regrets his cruel actions.    He looked upon his former love as she wept, and was able to walk away from her.  Dorian knows this is wrong.  This leads to a change of heart, he resolves to go back to Sibyl.  This resolution is disrupted by the revelation of Sibyl's suicide due to Dorian's rejection.  After this news Dorian full fledgedly acknowledges his cruelty saying, "'So I have murdered Sibyl Vane" said Dorian Gray half to himself-"murdered  her as surely as if I had cut her little throat with a knife"(Wilde 72).  Dorian knows that he is on a path to immorality.  Instead of engaging in whole-hearted remorse and mourning, he instead decides that his change in character is inevitable and that he will enjoy watching the dark change within his soul.  His change is reflected in the portrait painted for him by Basil.  At first he fears the strange transformation of the portrait, after his resolution to continue in his dark path he decides that, "If the picture was to alter, it was to alter.  That was all.  Why inquire too closely into it.  For there would be a real pleasure in watching it" (Wilde 77-78).  Gray is essentially resigned to a life of iniquity.  He does not feel remorseful.  He does not try to stop the metamorphosis, instead he agrees to run with this current.  He will be evil and he will observe his soul's journey into darkness.
         In creating this transformation in Dorian Gray, Wilde parallels normal human behavior.  The norm for human beings is to engage in ethical conduct due to conscience.  Normal humans know that a life of iniquity does not leave the body beautiful.  In the Dorian Gray's world no matter how sinful he is there is no corporal consequence.  He can go about his business with the same youthful beauty and admiration from others.  Wilde makes a statement in the character Dorian Gray, he essentially says that if there were no consequence to a person's appearance to the outside world, humanity might engage in all sorts of debauchery.  Dorian Gray proves this theory pointedly in his conscious decision to defy morality a rogue human being.

#1

Basil Hallward:
  Basil Hallward is a man of his work.  Basil puts himself wholly into his art: "'I know you will laugh at me," he replied, "but I really can't exhibit it.  I have put too much of myself into it"' (Wilde 2).  Basil Hallward is an artist. Throughout the beginning of the story Basil is seen throwing himself wholeheartedly into his work.  He works so hard on a portrait of Dorian Gray that he becomes so attached to it, he cannot bear to exhibit it.  His art holds pieces of him within it.  His attachment to his artwork is founded on the premise that he puts so much of himself into it.  During a scene in which Lord Henry and Dorian are conversing as Basil paints, Lord Henry pulls back the veil of innocence from Dorian completely.  Basil does not notice how distressed Dorian is until he requests to go to the garden to which Basil remarks, "When I am painting, I can't think of anything else.  But you never sat better.  You were perfectly still.  And I have caught the effect I wanted-the half-parted lips, and the bright look in the eyes.  I don't know what Harry has been saying to you, but he has certainly made you have the most wonderful expression" (Wilde 15).  This is a classic example of Basil's passion for his work.  He forgets his surroundings only focusing on his work and its subject.  Basil is so passionate about his work that he does not impede the immoral influence of Lord Henry upon Dorian Gray.  This trait of passion about work pushes Dorian out from under Basil's influence and in turn makes Basil regret that he loses the young man to immorality.
      Basil is also a caring man.  In regard to his friendship with Dorian Gray, Basil truly cares for the youth's welfare.  Upon hearing the news of Dorian's engagement, Basil is spurred to concern, "I hope this girl is good, Harry, I don't want to see Dorian tied to some vile creature who might degrade his nature and ruin his intellect" (Wilde 53).  Basil does not wish to see any harm come to Dorian.  He almost cares too much for his friend.  At this point in the novel Basil's excessive care for Dorian is posed as a foil to Lord Henry's immoral influence upon Dorian's life.  Basil's caring personality is a contrast to Lord Henry which Dorian recognizes.  He is further pushed into the arms of the manipulative Lord Henry.  Basil is over caring because he has lost Dorian.  Dorian, whom he once held all to himself, has left Basil and his artwork.  Basil has lost the innocent light that drove his art.  He wishes to save the once innocent muse and bring him back under his wing.  This is of course a lost cause.  Basil does not recognize that he wishes to fight a losing battle.
      Hallward is also an optimist. No matter the evil that stares him in the face, Basil wishes to see the good in the characters of others.  A clear example of this is in  Basil's relationship with Lord Henry.  Lord Henry makes known to Basil that in truth he wishes to see Dorian Gray engage in folly and possibly ruin his life.  To this Basil responds, "You don't mean a single word of all that, Harry; you know you don't.  If Dorian Gray's life were spoiled, no one would be sorrier than yourself.  You are much better than you pretend to me" (WIlde 54).  In truth, Lord Henry is not better than you pretends to be, he is sly and calculating.  Basil, in his optimism, willfully refuses to see the authentic Lord Henry.  In so doing, Basil further loses his friend to Lord Henry's manipulation.  His optimism leads him to inaction.  He ignores the evil that comes out of a relationship between Lord Henry and Dorian.  He cannot see that he has the potential to help Dorian out from under debauched hand of Lord Henry.  This is also a change from the beginning of the novel when Basil specifically requested that Lord Henry not spoil him, influence him, or even or take away from the pone person who gives his art a purpose (Wilde 10).  Now Basil willfully turns a blind eye to wrong path that Lord Henry leads Dorian Gray into.
       Basil Hallward is a man of inaction.  At the end of his dinner with Dorian and Lord Henry, Basil finally realizes that Dorian is changed and not for the better, the muse for his art is gone: "He felt that Dorian Gray would never again be to him all that he had been in the past.  Life had come between them...When the cab drew up at the theatre, it seemed to him that he had grown years older" (Wilde 58).  Hallward recognizes the change in Dorian, yet he does nothing.   In light of this revelation Hallward should be provoked to action.  He should try to help Dorian.  He should be motivated to bring Dorian out from darkness.  Instead he watches helplessly as Dorian is led astray.  It was he who was cognizant of the potential for this to happen at the beginning of Dorian and Lord Henry's relationship.  In the end he does nothing with his revelation except to partake as a bystander in the corruption of Dorian Gray.

Lord Henry Wotton:
    Lord Henry Wotton is an unorthodox man.  In his beliefs and statements Lord Henry constantly veers against views sanctioned by society.  For example in speaking of how he chooses the company he keeps, Lord Henry says, "I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellects...I don't care for brothers" (Wilde 6).  Lord Henry's required traits for the different parts of his life largely go against the grain of society.  His requirement for friendship is seemingly superficial by society's standards.  His requirement for his enemies and acquaintances are  what society would require of a true friend.  In addition Lord Henry is unconventional in his dislike for familial ties.  Society would say that a person should care for his brother above all other companions.  Lord Henry ignores this concept completely and dislikes his own brothers.  In Lord Henry's desired traits in a friend there is an explanation for his friendship with Dorian Gray.  Dorian possesses the looks of an exceptionally handsome young man.   There is something to be said for this characteristic as it may be the reason for which Lord Henry is more easily able to play upon his psyche.
      Lord Henry is very calculating.  He is cognizant of the fact that his words have a strong effect upon Dorian: "He knew the precise psychological moment to say nothing.  He felt intensely interested.  He was amazed at the sudden impression that his words had produced" (Wilde 14).  Here Lord Henry sees that he is able to affect Dorian in profound ways.  This recognition helps to emphasize the calculating trait within Lord Henry.  He sees the potential to change Dorian in large ways.  The revelation at this moment changes the entire course of Lord Henry's existence.  He finds a purpose in manipulating and studying the life of Dorian Gray under his influence.
       Lord Henry is the ultimate manipulator.  Upon reflecting on his relationship with Dorian he finds that,
    "To a large extent the lad was his own creation.  He had made him premature...Yes the lad was premature.                He was gathering his harvest while it was yet spring...It was delightful watching him...he was a thing to wonder     at. It was no matter how it all ended, or was destined to end.  He was like one of those gracious figures in a pageant or a play" (Wilde 42).
Lord Henry knows that he is the author of the new Dorian Gray.  He sees that he is molding him into a new being.  He does not do it for the good of those involved, rather he sees Dorian as an actor on a stage, one whom Lord Henry himself has written the script for.  The end of the play does not matter, it is all for the enjoyment of its playwright, Lord Henry Wotton.  This is one of the characteristics of a manipulator, he controls a person for his own enjoyment and not for the good of the object of his manipulation.
      Lord Henry's character is scientific and uncaring.  When speaking of Dorian Gray's engagement he says, "I hope that Dorian Gray will make this girl his wife , passionately adore her for six months, and then suddenly become fascinated by some one else.  He would be a wonderful study" (Wilde 54).  Wotton in effect says that he wants to see Dorian Gray engage in infidelity, which could potentially damage Dorian and his future wife Sybil Vane.  He tries to cover up his callous attitude by saying that he views it as a scientific study.  His words are heartless and reflect on his character.  He does not care for the welfare of Dorian Gray.  To him Dorian Gray is an experiment.  Whatever happens to Dorian Gray in the process of experimentation does not matter.  What matters is that Dorian Gray remains an interesting guinea pig.

Dorian Gray:
     Dorian Gray is the picture of boyhood.  He is innocent and beautiful in his youth.  This part of Dorian cannot be ignored.  Lord Henry notices that, "he was certainly wonderfully handsome, with his finely-curved scarlet lips, his frank blue eyes, his crisp gold hair.  There was something in his face that made one trust him at once.  All the candour of youth was there, as well as all youth's passionate purity.  One felt he had kept himself unspotted from the world" (Wilde 11-12).  Dorian is young.  He has the look of innocence from not having experienced the world.  He does not look old because he has not been exposed to all the world holds, he has not had to whether the spots of the world.  He is unspotted.  This makes it easier for a character like Lord Henry to come in and play on his innocence and manipulate him.
      Dorian is not yet cognizant of who he is.  When Lord Henry Wotton steps into Dorian's life it is an eye opening experience.  Dorian had not recognized so many pieces of who he is .  He asks himself, "Why had it been left to a stranger to reveal him to himself" (Wilde 15).  He is altered.  He is founding out new revelations on what life really is.  The fact that Dorian does not yet know who he is adds to the potential for him to manipulated.  Lord Henry can easily play upon his character because it is still being molded.  Since Dorian does not yet know who he is, he is not autonomous.  He is not able to reject ideas impressed upon him, he is like a child.  Lord Henry can easily step into a place of influence and mold Dorian.
       Dorian Gray is impressionable.  After one encounter with Lord Henry he acquiesces his views.  He who at first did not agree with Lord Henry full affirms Lord Henry's views during an emotional outburst, "How long will you like me?  Till I have my first wrinkle, I suppose.  I know now, that when one loses one's good looks, whatever they may be, one loses everything.  Your picture has taught me that.  Lord Henry Wotton is perfectly right.  Youth is the only thing worth having" (Wilde 19).  Dorian is completely transformed.  It only takes one conversation to convert him to a follower of Lord Henry.  The impressionable nature of Dorian's youth leaves him an easy target for manipulation.
        Dorian Gray is an orphan.  As a young child Dorian was left parentless.  In light of these circumstances he was left to the care of relatives.  Dorian had no mother or father to mold him as a child.  Instead he was left without a real guide in the world.  This contributes to why he is so impressionable.  No one has taught him the ways of the world and led him into autonomy.  He is an easy victim for Lord Henry Wotton.  Wotton puts it best when he says, "Talking to him was like playing upon an exquisite violin.  He answered to every touch and thrill of the bow....There was something enthralling in the exercise of influence...He could be made into a Titan or a toy" (Wilde 26-27).  Wotton is correct.  Without guidance in his early life Dorian is largely susceptible to the influence of others.  He can be led in any direction.

#2

     Portia is a modern woman for her time.  The Merchant of Venice takes place in a time where women were not valued.  A female was like a piece of property transferred from her father's household to the household of her husband.  Often times the female was part of a business deal that would ameliorate the holdings of the two male parties involved.  A woman's value was found only within the domestic sphere, outside of it she was thought of as nothing.  This mindset is not found in Portia.  Portia is a woman who takes action outside of the household.  When she finds out that her husband's best friend, Antonio, is indebted to a merciless moneylender she immediately responds.  Portia uses wit and disguises herself as a doctor in order to save Antonio.  She completely debunks the stereotype of the time period, which stated that women were ignorant of all subjects outside that which pertains to nurturing.   She is able to debunk Shylock's bond and gives Antonio his life.  She also  tests her husband's loyalty and finds that he is willing to give up the token of their love.  In addition, Portia is bold.  Women of her day were taught to be humble and lowly, subservient to the authority and deeds of their husbands.  Portia is not willing to lie down under her husband's betrayal.    Bassanio answers her questioning with excuses as to why he gave up the ring.  Portia answers his excuses saying, "Let not that doctor e'er come near my house/ Since he hath got the jewel that I loved/ And that which you did swear to keep for me,/ I will become as liberal as you:/ I'll not deny him anything I have,/ No, not my body, nor my husband's bed" (V.i.239-244).  Here Portia makes bold declarations.  She lets her husband know that she will punish his betrayal by giving the benefits that would have been his to the one who bears her ring.  This is very uncharacteristic of women during the Elizabethan era.  Portia essentially stands up for herself and says that her love is not something to be taken for granted and traded freely without consequence.  Portia's boldness makes her a modern woman.