The Color of Innocence Essay Example for Free

The Color of Innocence EssayIn the context of The Picture of Dorian Gray, one of the most noticeable and important musical themes is that of the twine ashen and its variants, including, but not limited to, queasy and dispirited. The meaning of this color evolves as the novel progresses, changing in relation to Dorians character. While the idea may never physi accosty alter in appearance, it succeeds in reversing meaning completely, signifying the great contrast in Dorians nous between the beginning of the novel and the end. In the very beginning of the novel, as sweet basil speaks of his first figure with Mr. Gray, he notes that when their eyes met, I Basil felt that I was growing pale (9). The musical theme comes to signify a sort of timid transp arncy as if Dorians purity softens everything rough he comes into contact with. Similarly, professional hydrogen employs the motif when describing Dorians youth, labeling it as his rose-white boyhood (21). Shortly after, Do rian is described as possessing the white purity of boyhood (37). In both(prenominal) of these passages, the motif represents its most basic connotation, that of innocence, particularly, the innocence of youth. White gives Dorians appearance a sense of vivacity. Lord atomic number 1 describes Dorians soul as having turned to this white girl Sibyl weathervane and bowed in worship ahead her (57).The motif denotes a youthful purity or vitality in Sibyl Vanes soul, most likely one that is dual-lane by Dorian Gray. Her innocence soon grows to incorporate candid love for Dorian, as after fondling him, She trembled any over, and shook like a white narcissus (74). The motif has not reversed its meaning at this point rather, it incorporates a virtue similar to youth and innocence, that of love. Furthermore, as Sibyl Vane performs onstage, Dorian tells how Her hair agglomerative round her face like dark leaves around a pale rose (74).The complexion in Sibyls face suggests a pure exq uisiteness that embodies everything desirable to Dorian. He has employed the motif in describing Sibyls youth, innocence, passion, and beauty, all of which seems to reverberate Dorians face and soul, as is evident in Basils description of him. The motifs meaning has reached the climax of goodness here, signifying qualities Oscar Wilde holds in highest esteem. However, it does not occupy this position for long, as the ensuing eventsbegin an extensive bastardization of the colors significance.As Sibyl Vane performs as Juliet in front of Basil and Lord Henry, The curves of her throat were the curves of a white lilyyet she was curiously listless (81). In this performance Sibyl retains her physical beauty, yet her vitality has escaped her. In a single condemn the motif revolves to a negative connotation, coming to suggest a vapid emptiness where there had previously been such fervent biography. Sibyl, whose apparent perfection and talent once embodied the motif, has hold up to Doria n A third-rate actress with a pretty face (85). Her disappointing showing, an obvious contrast to previous performances, succeeds in late affecting Dorians definition of the motif as well, as Dorian Gray grew pale as he watched her (81). Later, as he rescinds his love for Sibyl, He watched proud, pale, and indifferent (83).A word used only pages before to describe the beauty of a rose has changed in such magnitude to be grouped on base such words as proud and indifferent. The motif utilized in the il dispositionration of Sibyls unhindered affection is now used to depict Dorians lack of love altogether. Deeply wounded by Dorians tirade and exclaiming of nothing but distaste for her, The girl Sibyl Vane grew white, and trembled (85). Whereas Sibyl had previously taken on such a color and shuddered after sharing her first kiss with Dorian, she does it here in response to losing Dorians love. The motif changes from signifying passionate excitation to passionate sadness and attentio n. A color that gave Sibyl a reason to live her life to the fullest quickly steals her will and pushes her to take her own life. It is represented in a literal sense as well, as Lord Henry describes the instrument of her death as having either prussic acid or white lead in it (96).Distressed by Sibyls untimely death, Dorian muses, Can they feel, I wonder, those white silent people we call the dead? (96). As opposed to describing liveliness, or beauty, the motif is associated with that of a corpse. Basil refers to Sibyl Vanes body similarly, proclaiming, Why, man, there are horrors in store for that little white body of hers (105). However, as opposed to Dorian, Basils use of the motif maintain the purity of Sibyl Vane, recognizing her innocence as a person. Only Dorians perceptions have changed on the meaning of the color it has become something sinister anddeathly to him, as if the colors meaning and significance died along with Sibyl Vane.Lord Henry purports that a long term rela tionship with Sibyl Vane would have been futile, and Dorian agrees, saying, I supposed it would, as he was walking up and down the room, and looking horribly pale (97). As Dorians value for human life recedes, and his soul darkens, one would expect his face to dim as well, as it would have developed the lines and shadows attended by such nature. However, this motifs connotation, much akin to the portraits appearance, has been forced to change while Dorian stays the same. Later, when Basil insists upon seeing the horrible portrait, Dorian responds, Basil he said, looking very pale, you must not look at it. I dont wish you to (108). Basil turned pale upon first meeting Dorian, implying a shy(p) fear of the boys pure livelihood. Here, when Dorians secret is threatened, when his evil soul is in danger of being revealed and he exhibits a similar reaction, it becomes clear that whatever fear Basil experienced earlier is much different than the fear Dorian is experiencing now.Basil grew a fraid out of reverence, while Dorian grew afraid out of shame. While the motif was previously synonymous with purity, it has adopted a sinister, calloused meaning with Dorian. Further on, Dorian would place his white hands beside the coarse bloated hands of the picture, and smile. He mocked the misshapen body and the failing limbs (124). In 19th carbon England, white hands were a sign of aristocracy, and beauty. However, when juxtaposed with the awful vileness of the portrait and Dorians soul, they seem wicked, and deathly. The motif changes meaning not only in Dorians eyes, but also in the readers eyes as well.A while after this, pressed against the window of the conservatory, like a white handkerchief, he Dorian Gray had seen the face of throng Vane watching him (190). Although Dorian was not aware of crowd together promise to kill him, he understands James purpose for being there. The motif, thoroughly transformed in meaning by now, is a brooding symbolisation of death that Do rian has come to fear. Dorian returns to the party after seeing James, and As the thought crept by means of his brain, he grew pale with terror, and the air seemed to him to have become suddenly colder (192). Dorians fear of death mirrors James lust for death. The passion Dorian first had for what this color signified hasturned into a loathsome fear of all it embodies.Dorian Grays static appearance can do nothing to stop the transformation of the world around him, or, more importantly, his soul. The color white becomes a motif in the novel that mirrors Dorian Gray its appearance remains the same, yet as the story progresses, it begins to convey a meaning much less innocent than early on. The juxtaposition between the whiteness of purity early on and the whiteness of death in the end gives the reader a clear idea of the evolution of Dorians soul, and in doing so, it provides a concise judgment of the plot as a whole