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THE BATTLE BETWEEN THE PLEASURE AND REALITY PRINCIPLES IN OSCAR WILDE’S THE PICTURE OF DORIAN GRAY

AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By PATRICIA DIAN VIRNANDI Student Number: 024214111

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THE BATTLE BETWEEN THE PLEASURE AND REALITY PRINCIPLES IN OSCAR WILDE’S THE PICTURE OF DORIAN GRAY

AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By PATRICIA DIAN VIRNANDI Student Number: 024214111

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008

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“Mother to Son”

Well, son, I’ll tell you: Life for me ain’t been no crystal stair, It’s had tacks in it, And splinters. And boards torn up, And places with no carpet on the floorBareBut all the time I’se been climbin’on And reachin’ landin’s And turnin’ corners, And sometimes goin’in the dark Where ain’t no light So boy, don’t you turn back Don’t you fall now, For I’se still goin’ honey, I’se still climbin And life for me ain’t been no crystal stair Langston Hughes, 1922

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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertandatangan di bawah ini, saya mahasiswa Universitas Sanata Dharma : Nama : Patricia Dian Virnandi Nomor Mahasiswa : 024214111 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul :

The Battle Between The Pleasure And Reality Principles In Oscar Wilde’s The Picture Of Dorian Gray beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempubliksikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pernyataan ini saya buat dengan sebenarnya. Dibuat di Yogyakarta Pada tanggal: 18 Oktober, 2008 Yang menyatakan,

(Patricia Dian Virnandi)

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ACKNOWLEDGEMENTS

My greatest gratitude first and foremost goes to Jesus Christ. I thank Him for guiding me and keeping my faith. I thank my mom and dad for giving me everything. I dedicated this thesis for them. I thank my dearly annoying brothers and lovely sisters for always walking me through the ‘rain’ and for their unconditional love. Next my huge gratitude goes to my Advisor and Co-Advisor, Dewi Widyastuti, S.Pd., M.Hum. and Ni Luh Putu Rosiandani, S.S., M.Hum. whose guidance and support have made this thesis possible to be finished. I can never thank them enough for the wisdom, knowledge and especially patience that they have shown me. Thirdly, my deepest gratitude goes to those who never give up on me. To friends I called best friends, The Prue Family: Ardi, Hendy, Ferdi, Nana, Kartika, Debby, Jeff, Niko, Fitra, Alfa, and Rudi. I thank them for showing me what happiness means. To my second home, the Language Institute of Sanata Dharma University, to Tante Di, Miss Hippo, Mas Andri, Ucy, Tika, Mas Sandi and to all the CEIC and ILCIC staffs. I thank them for loving me and never giving up on me. I would also like to say my gratitude to friends that I called sisters, Iig, mbak Inten, mbak Ari, mbak Anis and mbak Irien. I thank them for sharing their lives. Last but not least, my gratitude goes to my best friend, my love, Gregorius Yose Ade Candra. I thank him for always by my side, for lending me his computer and for his unconditional love and patience.

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TABLE OF CONTENTS

TITLE PAGE ……………………………………………………………………. APPROVAL PAGE …………………………………………….……………….. ACCEPTANCE PAGE ………………………………………….………………. MOTTO PAGE ………………………………………………….………………. ACKNOWLEDGEMENTS ……………………………………….……………. TABLE OF CONTENTS …………………………………………….…………. ABSTRACT ………………………………………………………….………….. ABSTRAK …………………………………………………………….………….

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CHAPTER I: INTRODUCTION …………………………………….………… A. Background of the study ……………………………………….……… B. Problem Formulation ………………………………………….………. C. Objectives of the Study ………………………………………….…….. D. Definition of Terms ………………………………………....................

1 1 4 5 5

CHAPTER II: THEORETICAL REVIEW ……………………………………. A. Review of Related Studies ……………………………………..………. B. Review of Related Theories …………………………………….……… 1. Theories on Literature ……………………………………………… a. Theory on Character and Characterization ……………………… b. Theory on Conflict ………………………………………………. c. Theory on the Relation between Literary Work and Its Author .... d. Theory on the Relation between Psychology and Literature ….… 2. Theories on Psychology ……..……………………………………… a. Theory on Psychoanalysis and Pleasure and Reality Principles .... 3. Biography of Oscar Wilde …….….………………………………… C. Theoretical Framework ………….………………………………….…..

7 7 9 9 9 12 15 17 18 18 22 26

CHAPTER III: METHODOLOGY………….………………………………….. A. Object of the Study ………………………………………….…………. B. Approach to the Study ………………………………………………….. C. Method of the Study …………………………………………..………...

28 28 29 31

CHAPTER IV: ANALYSIS …………………………………………………..…. A. The Characterization of the Main Characters in the Novel …………… 1. Characteristics of Basil Hallward …………………………………... 2. Characteristics of Lord Henry Wotton ……………………………… 3. Characteristics of Dorian Gray ……………………………………... B. The Battle between the Pleasure and Reality Principles ……………….. C. The Author’s Inner Conflict ……………………………..……………...

34 34 34 38 42 45 56

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CHAPTER V: CONCLUSION …………………..……………………………… 67 BIBLIOGRAPHY ……………………………..…………………………………. 71 APPENDIX …………………………………………………………………….....

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ABSTRACT

PATRICIA DIAN V. The Battle Between the Pleasure and Reality Principles in Oscar Wilde’s The Picture of Dorian Gray. Yogyakarta: Departement of English Letters, Faculty of Letters, Sanata Dharma University (2008). Literary works are means of expressing what people think or feel about their surrounding. This undergraduate thesis focuses on Oscar Wilde’s only novel The Picture of Dorian Gray. This novel has gained a notorious popularity not only because of its content but also its later function as evidence of the author’s misdeed. Therefore, this novel is worth studying in order to see that the novel truly reflects the author’s misdeed. This undergraduate thesis analyzes three main problems. The first one is the characteristics of the main characters in the novel. The characteristics then will be analyzed together with the conflicts to see the battle between the pleasure and reality principle in the story. Finally, the battle between the pleasure and reality principle which is seen through the characteristics of the main characters and the conflicts in the story are used to see the reflection of the internal conflicts of the author. The study of the novel was conducted through library research using related books, and internet resources. In conducting the study, first the characteristics of the main characters were analyzed using theories on characters and characterization. Next, the conflicts in the story were also analyzed using the theories on conflict to see the battle between the pleasure and reality principle. The final step was answering the third problem which is the author’s internal conflicts using the biography of the author. In the novel, the three main characters, Dorian Gray, Lord Henry Wotton and Basil Hallward are characterized as having completely different characteristics. The differences of characteristics among the three arouse conflicts among them. The conflicts among the characters are seen as the battle between the pleasure and reality principles. The conflicts of the characters or the battle between the pleasure and reality principles in the story are the reflection of the author’s internal conflicts.

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ABSTRAK

PATRICIA DIAN V. The Battle Between The Pleasure and Reality Principle in Oscar Wilde’s The Picture of Dorian Gray. Yogyakarta: Departement of English Letters, Faculty of Letters, Sanata Dharma University (2008). Karya-karya sastra merupakan sarana seseorang untuk mengekspresikan apa yang dirasakan maupun dilihatnya tentang hal-hal disekitarnya. Skripsi ini menitikberatkan pada satu-satunya novel karya Oscar Wilde yang berjudul The Picture of Dorian Gray. Karya sastra ini memperoleh reputasi yang tidak baik bukan hanya karena ceritanya tetapi juga karena novel ini juga digunakan sebagai bukti perilaku menyimpang sang penulis. Karya seperti ini layak untuk diteliti untuk membuktikan apakah benar novel ini sungguh mencerminkan perilaku menyimpang sang penulis. Skripsi ini menganalisis tiga masalah utama. Yang pertama adalah karakteristik tiga tokoh utama. Karakteristik-karakteristik tiga tokoh utama tersebut kemudian akan dianalisis bersamaan dengan konflik-konflik yang terjadi dalam cerita untuk melihat perang antara pleasure principle dan reality principle. Pada akhirnya perang antara pleasure principle dan reality principle yang dilihat dari karakteristik tiga tokoh utama dan konflik-konflik yang terjadi di cerita digunakan untuk melihat konflik internal yang terjadi pada sang pengarang. Analisis novel ini dilaksanakan dengan cara studi pustaka menggunakan buku, artikel serta sumber-sumber online yang berkaitan. Dalam proses analisis, mula-mula karakteristik dari tiga tokoh utama yang akan dipelajari dianalisis menggunakan teori karakter dan karakterisasi. Kemudian konflik-konflik dalam cerita juga dianalisis mengggunakan teori konflik untuk melihat perang antara pleasure principle dan reality principle. Langkah terakhir adalah menganalisis konflik internal sang pengarang dengan melihat biografi sang pengarang. Dalam novel ini, tiga tokoh utama yang dianalisis, Lord Henry Wotton, Basil Hallward dan Dorian Gray memiliki karakteristik yang sangat berbeda antara satu dan yang lainnya. Perbedaan karakteriristik tersebut memicu timbulnya konflik diantara tokoh-tokoh ini. Konflik-konflik yang terjadi diantara mereka dilihat sebagai bentuk perang antara pleasure principle dan reality principle. Perang antara pleasure principle dan reality principle dalam cerita dilihat sebagai gambaran konflik internal yang dialami oleh sang pengarang.

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CHAPTER I INTRODUCTION

A. Background of the Study

People could learn many fascinating things in literature. Literature often reflects aspects of human life, such as moral, history, psychology, society, and many more. Reading literary works enables human to enrich their soul, gives new perspectives in seeing things, and sees deeper than what is seen. Moreover, literature is both beautiful and useful. Literary works, such as a novel is said to be beautiful in ways that it gives pleasure to the reader. It is said to be useful since it gives contemplation to its readers. People could learn about the complexity of life and problem solving through the characters of certain literary works. Even though those characters are unreal figures, they are able to touch their readers’ heart through the similarities of life experiences. Some of the life experiences in the novel might be rather different than ours; still it could give us a new perspective, a media to have selfawareness. Hudson points out in An Introduction to Study of Literature (1958: 10) that literature is a vital record of what men have seen in life, what they have experienced of it, what they have thought and felt which have the most immediate and enduring interest for all of us, it is thus fundamentally an expression of life through the medium of language.

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The great playwright, Oscar Wilde, had written his only and most popular novel The Picture of Dorian Gray in 1890. He opened an opportunity to researchers to study many things from his novel. Desire or sexual drive is the major theme in this novel. Sexual drive is considered as the most powerful instinct within human mind. It is located in the unconscious that mostly tied to the biological desires and obey what Freud called the pleasure principle. On the other hand, within human mind there is also what is called as the consciousness. According to Freud, the conscious mind is a survival system that has logic and reason that is forced by the external environment. Freud said that this rational process of the mind obeys the reality principle. “For all his lawlessness there is one venue where the subject of desire featured in The Picture of Dorian Gray has proven himself as the most exemplary citizen” (Butler, 2000: 240) The Picture of Dorian Gray is the only novel published as the lead story in Lippincott’s Monthly Magazine on 20 June 1890. Wilde later revised this edition, made several alterations, and added new chapters, and Ward, Lock, and Company published the new edition in April 1891 (http://findarticles.com/p/articles/mi qa3708/is 200310/ai n9329138/pg 2) The Victorian age or Wilde’s time believed that art could be used as a tool for social education and moral enlightenments illustrated in literary works by writers such as Charles Dickens and George Gissing. This view is contradictory to Wilde’s perspective in which art does not need to posses any other purpose than being beautiful (http://oascentral.sparknotes.com/RealMedia/ads/click_1x.ads/ww

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w.sparrknotes.com/lit/doriangray) This thesis tries to reveal the complexities of human psyche. It is believed that in human’s psyche there is an inner-psychological conflict, which according to Freud’s term called as the battle between the pleasure and the reality principles. These two principles, the reality and the pleasure principles, represent two opposite natures of human. According to Freud, it is the battle between the pleasure principle (immediate gratification) and the reality principle (delayed gratification) that causes consciousness to emerge in a child. The novel by Oscar Wilde tells about a man who adores himself too much. To gain eternal beauty and youth he sells his soul to the devil. This novel is a perfect reflection of the battle between the body and soul within a human, the characters and the conflicts in the novel portray the battle between two principles of Freud, the pleasure principle and the reality principle. According to Freud, the pleasure principle represents human’s wildest desires, such as sexual desires. On the other hand, the reality principle is the filter of the pleasure principle or part of the psyche that recognizes the boundaries or the norms made by the society or the societal standards. The novel tells Dorian Gray’s developing desire describes a trajectory of de-essentialism, in which his erotic passions appear less and less an expression of inherent attribute, and more and more a function of external influence, less and less like natural hunger that arises from within the subject and more and more like infection” (Butler, 2000: 240) Therefore, this paper tries to discuss Freud’s theory on the pleasure and reality principles seen in Wilde’s The Picture of Dorian Gray, about the battle between two principles within the characters, and that are represented by the

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characters and the conflicts within the story. In other words, the writer tries to relate literature and psychology. Wellek and Waren (1956: 81) in their book Theory of Literature state that analyzing literary works relating to psychology means studying theory of psychology that may exist within works of literature. In reproduction of literary works, the author gave the biggest influence. The story plays a role as the author’s media to share and express his or her messages, minds, feelings, and also imagination. According to Van De Laar and Schoonder Woerd novels or other literary works are, whether directly or indirectly, the portrayal of the author’s experience of life. Consequently, besides revealing the battle between the two principles brought by Freud, the writer also wants to discuss about the author’s inner conflicts related to Wilde’s novel. Directly or indirectly, conscious or unconscious, every novelist necessarily presents in his novel a certain way of life and some of the problems of life. He represents incidents, characters, motives and etc. in such a way to reveal more or less directly and clearly the way in which he looks upon the problems of life (1969: 174).

B. Problem Formulation Regarding the explanation above, the problems can be formulated as follows. 1.

How are the main characters characterized in the novel?

2.

How is the battle between the pleasure and reality principle depicted in Wilde’s The Picture of Dorian Gray?

3.

How does this battle reflect the author’s internal conflicts?

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C. Objectives of the Study In the objectives of the study, the writer tries to find out the answers of the formulated problems in the previous part. The first objective is to see how the main characters are characterized in the story. The second objective is to find out how the battle between the pleasure and reality principles is depicted in Wilde’s The Picture of Dorian Gray, seen through the intrinsic elements. Therefore, the third objective is to find out how this battle between the two principles depicted in the novel reflects the author’s inner conflicts.

D. Definition of Terms To avoid misunderstanding that may occur in this thesis the writer provides the definition of terms. 1.

Pleasure principle. According to Freud in Bressler’s book, pleasure principle craves only pleasure, and it desires instaneous satisfaction of instinctual drives, ignoring moral and sexual boundaries established by society. This principle governs the id in which it contains our secret desires, our darkest wishes, and our most intense fears (Bressler, 1999: 150).

2.

Reality principle. According to Freud in Bressler’s book, the reality principle is part of the psyche that recognizes the need for societal standards and regulations on pleasure. This principle governs the ego, the rational, logical waking part of the mind. Its job is to regulate the

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instinctual desires of the id, and to allow these desires to be released in nondestructive way (Bressler, 1999: 150). 3.

Psychoanalysis. It is a type of psychotherapy developed by Freud, in which the chief tools are free association, study of dreams, slips of the tongue, and transference. Psychoanalysis attempts to give patients insight into his unconscious conflicts, which he can then control as they come into their awareness (Kagan, 1972: 595).

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CHAPTER II THEORETICAL REVIEW

A. Review of Related Studies The Picture of Dorian Gray is Wilde’s only novel that made a sensational appearance in 1890. This novel is one of Wilde’s most popular works. The novel was said to be a successful scandal. Early readers were shocked by its hints at unspeakable sins and the book later was used as evidence against Wilde at the Old Bailey in 1895 (http://www.powells.com/biblio?isbn=0141439572). Mighall Robert from Powell.com considers this book as one of the last works of classic gothic horror fiction with a strong Faustian theme. It deals with artistic movements and homosexuality, both of which caused some controversy when the book was first published. However, in modern times, the book has been referred to as “one of the modern classic of Western literature.” Enthralled by his own exquisite portrait, Dorian Gray makes a Faustian bargain to sell his soul in exchage for eternal youth and beauty. Under the influence of Lord Henry Wotton, he is drawn into a corrupt double life, where he is able to induldge his desires while remaining gentleman in the eyes of the polite society. Only Dorian’s picture bears the traces of his decadence (http://www.powells.com/biblio?isbn=0141439572).

Terrence Dawson, a senior lecturer in National University of Singapore in his literary review “Basil, Lord Henry, and Wilde: A Jungian Approach to The Picture of Dorian Gray “ states that Basil and Lord Henry represent the actual life of Wilde in which his adoration for Lord Alfred Douglas is the same as Basil’s fascination for Dorian (http://www.victorianweb.org/books/06g.html).

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Ackroyd’s preface in the original Penguin Classic said that this novel leads us to know about the secret life and an analysis of the darker side of late Victorian society. The Picture of Dorian Gray offers a disturbing portrait of an individual coming face to face with the reality of his soul. This novel talks about spiritual corruption in which a young man exchanges his soul for eternal youth to indulge in his desires (Edinburgh, 2003: ix ). Meanwhile, Camille Cauti, Ph.D. points out that The Picture of Dorian Gray is a fantasy story about a young man who sells his soul for eternal youth and beauty. According to her, this novel is not only about immortality but also about the life of the upper class people at that time since the main characters are upper class society that shows hypocrisy (http://www.awerty.com/The Picture of Dorian Gray.htm). There have been many studies related to Wilde’s work The Picture of Dorian Gray from many different points of view. Most of the previous studies discussed The Picture of Dorian Gray from psychological point of view, in which this thesis will also discuss the novel from the same point of view. Diiferent from the others, this thesis is focusing on two opposing principles brought by Freud that is said to be the battle between the flesh and spirit seen from the characters and the conflicts within the story. This thesis also tries to see whether or not the battle between the two principles within the novels reflects the author’s inner conflicts.

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B. Review of Related Theories 1.

Theories on Literature The first group of theories being used in this thesis is theories on literature.

Since the thesis starts analyzing the intrinsic elements of the literary work, therefore it is appropriate to put literary theories at the beginning.

a. Theory on Character and Characterization Character, according to Abrams (1993: 23) in his book A Glossary of Literary Terms, is the person “presented in a dramatic or narrative work … interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say-the dialogue-and by what they do-the action”. While according to Holman and Harmon (1986: 81) in A Handbook to Literature, a character is a complicated term including the idea of moral constitution of human personality, the moral uprightness, and the presence of creatures in works of art which seem to be human in one way or the other. From these sources it can be concluded that character is a complicated term presented in literary work which has the idea of moral constitution in human’s personality and having moral uprightness which the readers interpret as having the qualities of human in one way or the other. A character may be flat or having only a single idea or quality without much detail or round, that is having more complex characteristics as real life person. A character may also be static, experiencing only slight changes in the

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plot, or dynamic, influenced by actions and experiences and used to reveal the consequences of his or her actions (Holman and Harmon, 1986: 24). Characterization is the way in which the author reveals or creates the characters in his/her work, making them ‘alive’ for the reader (Holman and Harmon, 1986: 81). In his book Holman and Harmon (1986:81) state that there are three fundamental methods of characterization in fiction. First, the explicit presentation by the author, second, the character’s own presentation in action without any comment from the author, and the last one is the representation from within a character of the impact of certain events towards the character’s inner self, also without any interference from the author. Meanwhile M.J. Murphy (1972: 161-173) in Understanding Unseens An Introduction to English Poetry and the English Novel for Overseas Students explained that there are nine ways of how an author makes his character understandable for the reader. Sometimes the steps are not all used by authors to show their characters’ characteristics, however some of them must exist. a. Personal Description The author can describe a person’s appearance and clothes in details so that the readers will be able to figure the personality of the character based on his or her appearance. b. Character as seen by another Instead of describing a character directly the author can describe him through the eyes and opinions of another character in the novel.

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c. Speech The author can give us an insight into the character of one of the characters in the book through what that person says. d. Past Life By allowing the reader learn something about a person’s past life the author can give us a clue to events that have helped to shape a person’s character. This can be done by direct comment by the author, through the person’s thoughts, through his conversation or through the medium of another person. e. Conversation of others The author can also give us clues to a person’s character through the conversations of other people and the things they say about him. f. Reactions The author can give us a clue in a person’s character by allowing us to know how that person reacts to various situation and events. g. Direct comment The author can describe or comment on a person’s character directly through the narration (especially in third-person narrator). h. Thoughts The author can give us direct knowledge of what we cannot do in real life. He can tell us what different people are thinking from the omniscient narrator. i. Mannerisms The author can describe a person’s mannerisms, habits of idiosyncrasies that may also tell us something about his character.

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b. Theories on Conflict Beaty and Hunter (1986: 998) in their book New World of Literature, says that most people try hard to avoid conflict. People choose to live in peace. Nevertheless, no one can escape conflicts for long, even without wars or a largescale disagreement. Dealing with their statement, we know then that conflicts exist in our lives. In literary work, characters sometimes develop with the interference of some conflicts that appear in the story. Conflict in literature means a struggle between opposing forces. The protagonist engages in the conflict with the antagonist, which may take the form of a character, society, nature, or an aspect of the

protagonist’s

personality

(http://www.bedfordstmartins.com/literature

/bedlit/glossary_ a.htm#top). While according to Dowling, there are two main kinds of conflict, external and internal conflicts. External conflict is a struggle between a character and an outside force. Characters may face several types of outside forces. The outside force may be another character (man against man). It may be the character and the community. The outside force may also be force of nature (man against nature) (http://www.dowlingcentral.com/MrsD/area/literature/Term/conflict .html). In comparison, a struggle that takes place in the character’s mind is called internal conflict. For example, a character may have to decide between right and wrong or between two solutions to a problem. Sometimes, a character must deal with

his

or

her

mixed

feelings

or

emotions

(man

against

(http://www.dowlingcentral.com/MrsD/area/literature/Terms/conflict.html).

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Henceforth Perrine (1974: 44) states that conflict itself is a clash of action, ideas, desires, or will between two individuals, or among people in the story. Similarly, Stanton (1965: 16) explains that internal conflict is conflict between two desires within a character or between a character and his or her environment. External conflict means conflict coming from outside the characters such as people or other characters and society. Redman (1964: 363) asserts that a conflict is the struggle between two opposing forces, ideas, or belief. According to him, there are two kinds of conflict. They are inner or internal conflict meaning a struggle within the heart and mind of the protagonist, while the other is external conflict meaning a struggle between the protagonist and an outside force. Since this research is going to use psychoanalysis study in its approach, the writer includes the definition of conflict seen from psychology. According to Kagan and Havemann in their book Psychology: An Introduction (1972: 373), a conflict is the simultaneous arousal of two or more incompatible motives, resulting in unpleasant emotions. The person in conflict experiences uncertainty, hesitation, and the feeling of being “tron” and distressed –elements that are an integral parts of conflict that make conflicts such an unpleasant part of life and a potential threat to normal behaviour. In this book, Kagan and Havemann divide conflicts into two general classes. One class includes conflicts between motives and standards, or conflict with internal standard; the other includes conflicts over incompatible goals or called conflicts over external goals.

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Conflicts with internal standards is when a motive urges us toward behaviour that is incompatible with our standards, we have a conflict that often results in intense anxiety. On the other hand, conflicts over external goals occur when two motives for different and incompatible external goals are aroused at the same time. Life is full of conflicts over pairs of goals that cannot both be attained. Almost similar to Kagan and Havemann, Atkinson, et al. stated that a major source of frustration is conflict between two opposing motives. When two motives are conflicting, the satisfaction of one leads to the frustration of the other. Even when only one motive is involved, conflict may arise if the goal can be approached in several different ways (1981:10). Sometimes conflict arises between a motive and a person’s internal standards rather than between two external goals. An individual’s sexual desires may conflict with his or her standards of acceptable social behavior. Achievement motives may conflict with individual standards of helpful and cooperative behavior. Conflicts between motives and internal standards often can be more difficult to resolve than conflicts between external goals. Most conflicts involve goals that are simultaneously desirable and undesirable-both positive and negative (Kagan, 1981:10). There are two kinds of conflicts, approach avoidance conflict which indicates that the two motives operate somewhat differently and avoidanceavoidance conflict which means having to choose two negatives alternatives (Kagan, 1981:10).

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c. Theories on the Relation between Literary Work and Its Author Wordsworth believes that people’s psychological structure is paralleled in the workings of the universe as a whole. He believes that literary works, such as poems could tell the truth. Similar to what Pope said that “in every work regards the writer’s end, since none can compass more than they intend” (Daiches 1981: 261) Northrop Frye as cited in Reichert (1977: x) said that forms of literature are the forms of life. People make sense of character, a dialogue, a plot, as they make sense of each other and their life, and experiences take the shape of literature and make it meaningful. To read or interpret or assess a work of literature is to read or interpret or assess it as something as an expression of thought or feeling, as a complicated statement about life, as a subtly persuasive of rhetoric (Reichert, 1977: 134) Longinus in Daiches (1981:47) says that the true nature of literature is defined by a discussion of its greatness and the definition in moral and intellectual qualities of the author. In other words, to produce the greatness effect to readers the author must possess certain qualities as a man as well as certain skills as a writer. As a man he must have impressiveness of thought and emotion. Junus (1983: ix) in his book Dari Peristiwa ke Imajinasi: Wajah Sastra dan Budaya Indonesia states that literature is the product of a hard and intense experience toward reality. In the high level of consciousness a work of art is a result of a dialogue between the artist and its surrounding reality. While in the lower level of consciousness, a work of art is the reflection of the reality itself. He

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also believed that literature is an effort to show the meaning of life, while literary review is the effort to make the literary work understood. Schooles in his book Structural Fabulation as cited in Dari Peristiwa ke Imajinasi: Wajah Sastra dan Budaya (1983: 3) states that it is impossible to see reality without individual interpretation which may connect with imagination. Similarly it is impossible to have an imagination without any knowledge about reality. Therefore, imagination is always attached to reality and reality cannot be separated from imagination. It is undisputable that in producing a work, the author gives a big portion of influence. The story plays a role as the author’s media to share and express his or her messages, minds, feelings, and also imagination. According to Van De Laar and Woerd novels or other literary works, whether directly or indirectly, are the portrayal of the author’s experience of life. Directly or indirectly, conscious or unconscious, every novelist necessarily presents in his novel a certain way of life and some of the problems of life. He represents incidents, characters, motives and etc. in such a way to reveal more or less directly and clearly the way in which he looks upon the problems of life (1969: 174). According to Wellek and Warren (1956: 75-78), the author is definitely important since he is the creator of literary works. There is a close relation between the author and his or her works that cannot be separated. There is a close relationship between the work of art and the life of the author, but the work of art is not mere copy of life. A work of art may be only a place to hide his or her weakness and so that in writing a literary work the author depends on his or her mood. Rohrberger and Woods in their book Reading and Writing about Literature, also say that there is an indirect relationship and similarity between the

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work and the author. An author’s work, including characters, perhaps is “a kind of mask which is surely based on the author’s experience of life” (1971: 8).

d. Theory on the Relation between Psychology and Literature Literature and Psychology are two subjects that can be a media to explore human’s life. Bornstein (1984:144) in the book Psychology and its Allied Disciplines Humanities volume I states that literature is best at describing the human condition in dramatic form, while psychology has the strength to investigate human’s character or behavior in systematic ways. The statement means that literature depicts human condition in dramatic way while psychology studies human characteristics systematically. Both subjects have one common purpose that is to depict human condition. According to Jung psychology as a study of process of the mind, can be brought to bear the study of literature in which the human mind is the center of all arts and sciences. Therefore, the study of the mind should be able to explain the psychological structure of work of art and to reveal the factors that make a person artistically creative (Jung, 1966: 86). On the other hand, Kalish (1973: 8) in his book The Psychology of Human Behaviour states that literature “holds the mirror up to the man.” A good writer or novelist can communicate the feelings of their character and make them seem more life-like than the real people whose behavior are tried to be described by the psychologist. The writers can use the understanding provided by psychologist to

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enrich the stories, and psychologist can gain their understanding of human behaviour by drawing the deep sensitivity of good authors. Moreover, Freud said as in Bressler (1999: 153) that any unresolved conflicts given rise to any neurosis are the stuff of literature. A work of literature, he believes, is the external expression of the author’s unconscious mind. Accordingly, the literary work must be treated like a dream, applying psychoanalytic techniques to the text to uncover the author’s hidden motivations or repressed desires. Wellek and Warren (1956: 91) also discuss that characters in plays and novels are judged to be “psychologically” true. Sometimes, a psychological theory, held either consciously or dimly by an author, seems to fit a figure or situation. Psychological truth is naturalistic standard without universal validity. In some cases, psychological insight seems to enhance artistic values.

2. Theories on Psychology a. Theory on Psychoanalysis, Pleasure Principle, and Reality Principle Psychoanalysis is a type of psychotherapy developed by Freud, in which the chief tools are free association, study of dreams and slips of the tongue, and transference. Psychoanalysis attempts to give the patient insight into his unconscious conflicts, which he can then control as they come into their awareness as taken from Kagan’s book Psychology: An Introduction (1972: 595) Psychoanalysis is based on the theories of Sigmund Freud. According to Freud as taken from Understanding Psychology (Kasschau, 1995: 397-398),

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psychological disturbances are due to anxiety about hidden conflicts between the unconscious components of one’s personality. These theories suggest that psychoanalyst should be aware of the unconscious impulses, desires, and fears that are causing anxiety. Psychoanalysts believe that if the patients can understand their unconscious motives, they have taken the first step toward gaining control over their behavior and freeing themselves of their problems. According to Freud, unconscious impulses find expression in dreams, slips of speech, mannerism, and symptoms of mental illness as well as through such socially approved behavior as artistic literary activity. Freud believed that all of our actions have a cause but that the cause are some unconscious motives rather than the rational reason we may give for our behavior. We are driven by the same basic instincts as animals (primarily sex and aggression) and are continually struggling against society that stresses the control of these impulses. Because Freud believed that aggression was a basic instinct, he was pessimistic about the possibility of people ever living together peacefully (Kasschau, 1995: 397-398). Psychoanalytic theories explore the private personality-the unconscious motives that direct behavior. Psychoanalytic theory is also concerned with the way in which personality develops. Freud compared the human mind to an iceberg. The small part that shows above the surface of the water represents conscious experience; the much larger mass below water level represents the unconscious-a storehouse of impulses, passions, and inaccessible memories that affect our thoughts and behavior. Using the technique of free association, which requires the patient to talk about everything that comes into his or her

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consciousness, including the recall of dreams and early childhood memories, psychoanalysis tries to help the patient to become aware of much that had been unconscious to discover the basic determinants of personality (Atkinson, 1981: 395). In Freud’s second model, the economic model, he introduces two new concepts that govern the human psyche: the pleasure and reality principles. According to Freud, individual exists in two different dimensions, characterized by different mental processes and principles, the unconscious and the conscious. The conscious and the unconscious are at battle for control of a person’s actions. The unconscious or a dynamic system that not only contains our biographical memories but also stores our suppressed and unresolved conflicts is ruled by the pleasure principle. The pleasure principle strives nothing but for “gaining pleasure, such as immediate satisfaction, or joy”. Instant relief from all pain and suffering is its goal. The pleasure principle ignores the sexual boundaries and moral to achieve its goal, as cited from Bressler (1999: 150). On the contrary, the unrestrained pleasure principle comes into conflict with the natural and human environment. The individual comes to traumatic realization that a full and painless gratification of his needs is impossible. After this experience of disappointment, a new principle arises. The new principle is called the reality principle that supersedes the pleasure principle: man learns to give up momentary, uncertain, and destructive pleasure for delayed, restrained, but “assured” pleasure (as retrieved from (http://evans-experiantialism.freeweb space.com/marcuse02.htm).

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The reality principle formed in a system of institutions. The individual, growing up within such system, learns the requirements of the reality principle as those of law and order, and transmits them to the next generation. Parents and educators

enforce

the

reality

principle

(http://evans-experimentialism.

freewebspace.com/marcuse02.htm). The reality principle helps part of the psyche that recognizes the need for societal standards and regulations on pleasure. It regulates the instinctual desires of the unconscious and allows these desires to be released in some non destructive way. It acts as a filter or censor of the mind. It also encourages us to make moral judgment upon societal standards and suppresses the desires and instincts forbidden by society. The reality principle disguises in the form of punishment. It allows us to feel guilty or afraid or ashamed (Bressler, 1999: 150). In conclusion, as cited in Guerrin (1999: 129-130), the pleasure principle governs the id, which is the reservoir of libido, the primary source of all our aggressions and desires. It is lawless, asocial, and amoral. Its function is to gratify our instincts for pleasure without regard for social conventions, legal ethics, or moral restraints. The id as defined by Freud is identical in many aspects to the Devil as defined by theologians. The id is solely governed by the pleasure principle; on the other hand the ego is governed by the reality principle. The ego is the rational governing agent in the mind. Freud as cited in Literary Theory (Eagleton, 1983: 151-154) also gives examples of acts based on the pleasure or reality principles. Human has been

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dominated by the need to labor; and for Freud that harsh necessity means that we must repress some of our tendencies for pleasure and gratification. If people do not work in order to survive, they might simply lie around all day doing nothing. According to Freud, every human has to undergo this repression that is repression of the pleasure principle by the reality principle. The other act that is based on the pleasure principle is narcissism. Freud said that narcissism is a state in which one’s body or ego as a whole is ‘cathected’, or taken as an object of desire that is forced by libidinal drives. In conclusion, pleasure principle is Freud’s notion that we are all driven to satisfy our needs. The reduction of drive gives us pleasure. It is anarchic, sadistic, aggressive, self-involved, and remorselessly pleasure-seeking. While reality principle is the awareness that the world has reality of its own, separated from what we wish it to be.

3. Biography of Oscar Wilde To understand Oscar Wilde fully, the biography of the author is completed with the author’s autobiography De Profundis, to see the psychological condition and the conflicts within the author’s mind. Oscar Wilde was considered as a controversial figure. As retrieved from http://www.kirjasto.sci.fi/owilde.htm Oscar Wilde was born on October 16, 1854 in Dublin with a name of Oscar Fingal O'Flahertie Wills Wilde to unconventional parents. His mother Lady Jane Francesca Wilde (1820-1896), was a poet and

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journalist. His father was Sir William Wilde, an Irish antiquarian, gifted writer, and specialist in diseases of the eye and ear. Oscar Wilde inherited all his grace and intelligence from his parents, especially his mother. His gifts and grace distinguish him among his contemporaries (Sherard, 1911: 26). ‘Oscar Wilde is known for his amiable personality, glitering wit and audacious showmanship’ (Laver, 1954: 1). Oscar Fingal O'Flahertie Wills Wilde was born at No. I, Merrion Square , in the city of Dublin, on the 16 October 1854. Oscar Wilde adored youth. He stated that he was not born in 1856, but two years earlier. This inaccuracy arouse from his misstatement. He used the term “the usual age” commented on his birth date that made him appears two years younger (Sherard, 1911: 3-4). At the age of 13, Wilde's tastes in clothes were already dandy's. "The flannel shirts you sent in the hamper are both Willie's mine are one quite scarlet and the other lilac but it is too hot to wear them yet," he wrote in a letter to his mother. Willie, whom he mentioned, was his elder brother (as retrieved from http://www.online-literature.com/wilde). Wilde statement in De Profundis shows this. The Gods had given me almost everything. But I let myself be lured into long spells of senseless and sensual ease. I amused myself with being a flaneur, a dandy, a man of fashion. I surrounded myself with the smaller natures and the meaner minds. I became the spendthrift of my own genius, and to waste an eternal youth gave me a curious joy (Wilde, 1905: 25). Lady Wilde's third and last child was a daughter, named Isola Francesca, who died young. It has been said that Lady Wilde insisted on dressing Oscar in girl's clothes because she had longed for a girl. As cited from The Life of Oscar

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Wilde it is said that for months before Wilde was born his mother had earnestly desired that the child should be a girl. She often expressed her conviction that a daughter was going to be born to her. She used to tell friends of the things she was going to do “after my little girl is born”. When Oscar was born, her disappointment was great. She refused to admit that her new child was a boy. She used to treat him, to speak to him as if he was a girl and as long as it was possible to do so, she dressed him like a girl (Sherard, 1911: 5). In De Profundis Wilde stated his regret to his mother Three months go over and my mother dies. No one knew how deeply I loved and honoured her. Her death was terrible to me; but I, once a lord of language, have no words in which to express my anguish and shame. She and father had bequeathed a name they had made noble and honoured not merely in literature, art, archaeology, and science, but in the public history of my own country, in its evolution as a nation. I had disgraced that name eternally (Wilde, 1905: 18). Few years afterward, at Oxford Wilde shocked the pious dons with his irreverent attitude towards religion and was jeered at his eccentric clothes. He collected blue china and peacock’s feathers and later his velvet knee-breeches drew much attention. His lifestyle and humorous wit made him soon spokesman for Aestheticism. He worked as art reviewer (1881), lectured in the United States and

Canada

(1882),

and

lived

in

Paris

(1883)

(as

retrieved

from

http://www.online-literature.com/wilde). In 1884 Wilde married Constance Lloyd who died in 1898 and to support his family Wilde edited Woman’s World Magazine in1887-1889. In 1888 he published The Happy Prince and Other Tales, fairy-stories written for his two sons. Although married and the father of two children, Wilde's personal life was

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open to rumors. At Oxford he became a close friend of Frank Miles, a painter, and the homosexual aesthete Lord Ronald Gower. Wilde’s marriage ended in 1893. Wilde had met a few years earlier Lord Alfred Douglas, an athlete and a poet, who became both the love of the author's life and his downfall. In 1891 Wilde began his affair with Lord Alfred Douglas who has a nickname Bosie. His years of triumph ended dramatically, when his intimate association with Alfred Douglas led to his trial on charges of homosexuality (then illegal in Britain)."The only way to get rid of a temptation is to yield to it," Wilde once said. Bosie's uncle, Lord Jim, caused a scandal when he filled in the 1891 census describing his wife as a "lunatic" and his stepson as a "shoeblack born in darkest Africa" (Laver, 1954: 21). I deliberately went to the depths in the search for new sensation. What the paradox was to me in the sphere of thought, perversity became to me in the sphere of passion. Desire, at the end, was a malady, or a madness, or both. I grew careless of the lives of others. I took pleasure where it pleased me, and passed on. That something hidden away in my nature, like a treasure in a field is Humility (Wilde, 1905: 25-27). It has been denied that Wilde was born as a complete homosexual. His marriage and the birth of two sons is sufficient evidence that he is not a complete homosexual. He is more appropriate to be considered as bi-sexual. He himself is not aware of this state, not until he was in Oxford (Laver, 1954: 21). Wilde was sentenced to two years hard labor for the crime of sodomy. Wilde was first in Wandsworth prison, London, and then in Reading Gaol. During this time he wrote De Profundis (1905), a dramatic monologue and autobiography, which was addressed to Alfred Douglas. During his first trial Wilde defended himself, that "the 'Love that dare not speak its name' in this

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century is such a great affection of an elder for a younger man as there was between David and Jonathan”. During the trial and while he served his sentence, Bosie stood by Wilde, although the author felt himself betrayed. Later they met in Naples. Wilde’s wife took their children to Switzerland and adopted the name ‘Holland’. Wilde died of cerebral meningitis on November 30, 1900, penniless, in a cheap Paris hotel at the age of 46 (http://www.online-literature.com/wilde). Wilde’s conflict was best stated in his autobiography. I must say to myself that I ruined myself, and that nobody great or small can be ruined except by his own hand. I am quite ready to say so. Morality does not help me. I am one of those who are made for exceptions, not for laws. I see that there is nothing wrong in what one does, I see that there is something wrong in what one becomes. Religion does not help me. The faith that others give to what is unseen, I give to what one can touch, and look at (Wilde, 1905: 23, 33).

C. Theoretical Framework In analyzing this thesis, first of all, the three main characters in the novel are studied by using the theories of characters and characterization. Once this is done the answer of the first problem formulation is obtained. Second, the characters and the conflicts in the novel are examined thoroughly using the theories of pleasure and reality principles, and theories of conflict. Consequently, the battle between the pleasure and reality principles in the novel can be seen in which it is the answer to the second problem formulation. Theories on the relation between literary work and its author, theories on the relation of psychology and literature, and the biography of the author are combined to study the author’s internal conflict. To see the author’s internal

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conflict it is necessary to see the theories of conflict as well. Finally, the answer of the third problem formulation will be achieved by using the psychoanalysis theories.

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CHAPTER III METHODOLOGY

A.

Object of the Study The object of this study is Oscar Wilde’s only novel The Picture of Dorian

Gray. The version being used in this thesis is the popular illustrated classics version published by Rohan Book in 2003. The story was first published by J.M. Stoddart on Lippincott’s Monthly Magazine on July 1890. The story is considered notorious on its first appearance. The next year Wilde greatly revised and expanded the text, adding melodramatic subplot and preface that defended his aesthetic philosophy. The novel itself is about a young man who is captivated by his own beauty. Dorian Gray, the beautiful young man is a friend of Basil Hallward, the painter who painted his picture. At first, Dorian is depicted as a naïve young man with astonishing handsome face that amazes everyone who sees it. Then he meets Lord Henry Wotton. Influenced by Lord Henry Wotton’s ideology and philosophy of life, Dorian Gray wishes to stay young forever. Along the journey of his life Dorian Gray conducts a lot of crimes; breaks Sibyl Vane’s heart then she finally commits suicide by drinking poison, kills Sibyl’s brother James Vane who tries to have a revenge for his sister and finally Dorian also kills his own best friend, Basil Hallward. Magically, along this period of his life, he stays young while his portrait changes. The portrait of Dorian grows older as an exchange for what he does, revealing the hideous corruption of his moral decay. The story itself is set in

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1890 in beautiful places in London, such as Basil Hallward’s studio and the opium dens of East End.

B.

Approach of the Study To answer the problem formulation in this study, the writer applies

psychological approach. This thesis deals with characters, author and his state of mind, therefore psychological approach is appropriate since character is one of the subjects of Psychology. It involves patterns of behavior, thoughts, and feelings. Therefore, this criticism is the most suitable to be used in this thesis since the analysis concerns about the pleasure and reality principles seen in the characters and the story of the novel. The basis of psychological approach is the idea of the existence of human unconscious impulses, desires, and feelings about which a person is unaware but influencing emotions and behavior. Critics use this approach to explore the motivations of characters and the symbolic meanings of events in literary works. It is also used to describe and analyze the reader’s personal responses to a text (http://www.bedfordmartins.com/literature/glossary_htm#top). According to Rohrberger and Woods (1971: 13), psychological approach is an approach to literature which “involves the effort to locate and demonstrate certain recurrent patterns” and which refers to different body of knowledge that is Psychology. In applying this approach, psychological theories are generally used as interpretive tools, similar to what Lewis Leary (1976: 57) said in his book American Literature: A Study and Research Guide that:

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A psychological approach is an approach that applies principles of modern psychology to characters or situations within literary work or to the person who wrote the work. Sigmund Freud’s psychoanalytic theories as cited in Kennedy (1999: 1947) have changed our understanding about human behavior by exploring human’s thoughts such as wish fulfillment, sexuality, the unconscious and repression. According to him language in literature is able to reflect unconscious fears and desires. He admitted himself had learned psychology mostly from studying literature. He believed that author of literary work “had such profound insight into human nature that his characters display the depth and complexity of real people. Unresolved conflicts that give rise to any neurosis are the stuff literature. A work of literature, he believes, is the external expression of the author’s unconscious mind. According to Freud, literary work must be treated like a dream, applying psychoanalytic techniques to the text to uncover the author’s hidden motivations and repressed desires (Bressler, 1999: 153). According to Freud, as taken from Bressler (1999: 159), an author’s chief motivation for writing any story is to gratify some secret desire, some forbidden wish that probably developed during the author’s infancy and was immediately suppressed and dumped in the unconscious. The outward manifestation of the suppressed wish becomes the literary work itself. Freud declares that the literary work is therefore the author’s dream or fantasy. Psychoanalytic criticism focused mainly on the author. Known as psychobiography, this method of analysis begins by amassing biographical data of an author through biographies, personal letters, lectures, and any other document deemed related in some way to the author. Psychoanalytic critics believed they could theoretically construct the author’s

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personality with all its idiosyncrasies, internal and external conflicts, and most importantly, neuroses. In turn, such devised theory, they believed, could illuminate an author’s individual works, giving rise to latent content in the author’s texts. By gaining an in-depth understanding of the author, these critics assumed they would be better able to interpret an author’s cannon. In later studies, the psychoanalytic critics focused on character analysis, studying the various aspects of characters’ mind found in author’s cannon. Individual characters within a text now became the focus, believing that the author had in mind a particular personality for his or her characters. A character’s motivations and actions, then, became more complex than simply the author’s ideas. According to Freud, playwright had such profound insight into human nature that his characters display the depth and complexity of real people. Freud and disciples believed that great literature truthfully reflects life. Psychological criticism employs three approaches. First, it investigates the creative process of the artist. Second is the psychological study of particular artist. Most modern literary biographies employ psychology to understand their subject’s motivation and behavior. The third is the analysis of fictional characters. Freud’s study shows psychological approach tries to bring modern insights about human behavior into the study of fictional people is act (Kennedy, 1999: 1947).

C.

Method of the Study In doing the research of the study, the library research method was used.

There are two kinds of data used in the study. First, the novel written by the great

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playwright, Oscar Wilde The Picture of Dorian Gray which was published on 2003 was used as the primary data. Second, the secondary data were books that were used to provide theories, such as Bressler’s Literary Criticism, Abrams’ A Glossary of Literary Terms, Murphy’s Understanding Unseen, etc. Some critical reviews and theories obtained from some Internet sites were also used. Firstly, the novel The Picture of Dorian Gray written by Oscar Wilde was read focusing on the content. Afterward, the novel was re-read to understand it more and to analyze it. The story is very important because the form of this literary work is a novel and therefore it holds the biggest role in conveying the author’s idea or state of mind. Next the writer formulated three questions. These three questions represented the problems that needed to be solved. The first question dealt with the characters in the novel. The second question dealt with the depiction of the battle between the pleasure and reality principles within the novel. The third had to do with the question of how this battle of two principles reflects the author’s inner conflict. Thirdly, relating parts into whole. This step tried to make the information from step one and two become one. Therefore, in this step the information that can answer the problem was gathered to analyze the novel. In this step this novel was analyzed based on the theories and references that were able to help in answering the problems. The fourth step was making conclusion toward the analysis. This step was the conclusion of the analysis of the novel. In this step the important points in the

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analysis were chosen and were made one or two paragraphs. Finally, the important points in the analysis were gathered and were put in one chapter called conclusion.

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CHAPTER IV ANALYSIS

The pleasure and reality principles are two principles that govern human’s behavior. These principles are opposite one and another. In Wilde’s novel, the depiction of the pleasure and reality principles is seen through two ways. First through the characterization of the three major characters, they are Lord Henry Wotton, Basil Hallward and Dorian Gray. The second is seen through the conflicts happen in the story, conflicts between one character and other characters, or one character with the society in the novel. Conclusively, the battle between the pleasure and reality principles which is shown through the characterization and the conflicts in the story reflects the author’s internal conflicts.

A. The Characterization of the Main Characters in the Novel There are three main characters in the novel that are being analyzed. They are Dorian Gray, Lord Henry Wotton and Basil Hallward.

1. Characteristics of Basil Hallward Basil Hallward is a hardworker, a famous painter and a friend of Lord Henry Wotton and Dorian Gray. Basil is considered as a hardworker because Basil loves his job as a painter and he is proud of what he has done. He tries to achieve the most perfect result.

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As the painter looked at the gracious and comely form he had so skillfully mirrored in his heart, a smile of pleasure passed across his face and seemed about to linger there (p. 5). As a painter Basil has a great adoration for Dorian for he is a very interesting object of art. To him, Dorian’s picture is the greatest achievement in his life, his masterpiece, and his best work of art. As said by Murphy, character’s characteristics can be seen from the character’s speech. There is nothing that Art cannot express, and I know that work I have done, since I met Dorian Gray, is a good work, is the best work of my life (p.14). Lord Henry Wotton who considers Dorian’s picture as the best achievement for Basil supports this statement. “It is your best work, Basil, the best thing you have ever done, “said Lord Henry, languidly. You must certainly send it next year to the Grosvenor “(p.7). This is also shown in what he said to Lord Henry about Dorian, “Don’t take away from me the one person who gives to my art whatever charms it may possesses; my life as an artist depends on him.”(p. 18) This statement shows how deeply connected Basil is to his work. To him his work is his world and then finally his object transfers into part of his world also. Basil used to think of himself as someone independent. He is someone who is indifferent to others. His main interest is art. This belief has changed since he met Dorian. He adores Dorian too much. Dorian is one of his most precious object of art and his good friend. Harry, how independent I am by nature. I have always been my own master, had at least always been so, till I met Dorian Gray (p. 11).

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He is also a coward. Basil Hallward is a mix personality of someone with a pure heart and a coward. Something told me that I was on the verge of a terrible crisis in my life I had feeling that Fate had in store for me exquisite joys and exquisite sorrows. I grew afraid, and turned to quit the room. It was not conscience that made me do so it was sort of cowardice. I take no credit for myself for trying to escape (p. 11).

He is also a hard worker. This is shown through his mannerism when he puts all his work in his art, “but I really can’t exhibit it I have put too much of myself in it” (p. 7). Basil is someone who upholds highly the moral standard therefore he is quite the opposite of Lord Henry Wotton. His views of life are almost completely contradictory to Lord Henry Wotton. He thinks Lord Henry Wotton will give bad influences to Dorian, “Don’t spoil him. Don’t try to influence him. Your influence would be bad” (p.18). Basil’s characterization can be seen from his way of thinking. He is a very open minded person. According to him the less blessing one’s receives is the better. Having something more than others will alter one’s personality. He delivers these words for Dorian, Lord Henry Wotton and himself.

There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of the kings. It is better not to be different from one’s fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They live as well all should live, undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from aliens’ hands. Your rank and wealth, Harry; my brains, such as they are –my art, whatever it may be worth; Dorian Gray’s good looks-we shall suffer for what gods have given us, suffer terribly (p. 8).

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Basil believes that having a greater blessing physically or intellectually is not always positively beneficial for someone. Having a greater fortune means having a greater challenge to overcome temptations. Not being able to defeat the world’s temptations will change one’s personality. Dorian’s good looks will deliver him directly to the temptation. These temptations are things such as desire, immediate satisfaction, and pleasure. From this point of view the conclusion that can be drawn is that Basil is someone who thinks carefully, and always tries to see things from different perspectives. Basil is very sensitive; he is shocked when Dorian forbids him to see his own masterpiece. His reaction to Dorian’s refusal is blown over proportion, Hallward is thunderstruck. He looks at Dorian Gray in absolute amazement. He is trembling all over (p. 125). His sensitivity and his emotional feeling toward Dorian Gray are caused by his great adoration and love for him. He is so afraid of losing their friendship. He is a loyal friend, he is willing to hide his best piece of art from public as Dorian asked him, ‘Your friendship is dearer to me than any fame of reputation’ (p.126). Basil’s great adoration for Dorian is told in 3 pages long in the novel, from page 126-128. Here, Basil confesses his true feeling to Dorian, ‘…As I told Harry, once, you are made to be worshipped” (p. 128). Similar to what Holman and Harmon (1986: 81) said in A Handbook of Literature that a character is a flat character when having only a single idea or quality and he is also a static character when he experiences only slight changes.

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Therefore, Basil is a flat character because his idea of life, his point of view is static throughout the story. He lives according to society’s laws and obeys them without further question. He adheres the social tradition, he always tries to be a good man and that what he is, lives the life without trespasses the border of restrictions made by the society. Basil is someone who upholds the moral standard, very patient, a loyal friend, and kind. Basil is someone who obeys law and all the restrictions or rules in society and as seen from the theory that the reality principle formed itself in a system of institution, such as those of law and order as retrieved from http://evans-experimentialism.freewebspace. com/ marcuse02.htm, it can be concluded that Basil Hallward is the representation of the reality principle.

2. Characteristics of Lord Henry Wotton The character of Lord Henry Wotton in the story is defined as a static character because according to Holman and Harmon, a static character is a character that experiences only slight changes in the plot without any complexities. Despite the complexity of his characteristics, Lord Henry Wotton does not undergo many changes in the plot of the story. He is known as a lazy person. In the novel the statements saying that he is someone who always comes late is repeated over and over to emphasize his characteristics in the story. Late as usual, Harry, cried his aunt, shaking her head at him. Lord Henry had not yet come in. He was always late on principle, his principle being that punctuality is the thief of time. You always come dreadfully late (pp. 42-60).

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Lord Henry Wotton is a person who gives too much attention to what he is wearing. A person who is rich by inheritance and does not need to work to earn a living “I thought you dandies never got up till two, and were not visible till five”(p. 36), he does not need to wake up early in the morning to work, and does anything that he wants to spend his time He does not believe that people should live by moral standard, according to society’s rule. He does not believe in God. He always breaks the social convention in viewing things. He wants to live according to his own rule. He does not believe in love. To him being in love is equal to deceiving yourself. “When one is in love, one always begins by deceiving oneself, and always ends by deceiving others” (p.58). Lord Henry’s cynical words to Dorian stating his point of view about the society shows this. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion. These are two things that govern us. And yet(p.22).

He is a very insensitive and mean person. He shows no consideration to Dorian’s grief on the death of his love, Sibyl Vane, who commits suicide. Lord Henry’s terrible deed is shown through his words to Dorian after Sibyl’s death, ‘But, don’t waste your tears over Sibyl Vane. She was less real than they are’ (p. 15). Lord Henry is someone who does not have love in his heart. Although he has a wife, it is just a mere decoration to him, and the fact that he has a wife does not erase his true attitude in underestimating women as persons, “Never marry at

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all, Dorian. Men marry because they are tired and women, because they are curious; both are disappointed” (p.53). He is considered as unfaithful; seen from his reactions and speech, according to him “faithfulness is to the emotional life what consistency is to the life of intellect-simply a confession of failure” (p. 55). He never regards loyalty as something important. To him it is a disgrace, a failure. Due to his words and mannerism toward women, it is concluded that he regards women as secondary creature. It can be seen from the way of how he always degrades women. No wonder his wife finally leaves him. My dear boy, no woman is a genius. Women are decorative sex. They never have anything to say, but they say it charmingly. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals (p. 53). Lord Henry Wotton is a manipulative person. He influences people with his ideology. He sees the world differently from others. He is a rebellious man. He is self-involved, seen from the way he tries to influence Dorian in which he finally succeeds. He puts everything he has in his head into Dorian’s mind. He considers Dorian as a living work of art. Being different from Basil who paints on canvas, Lord Henry paints his picture in Dorian’s soul, “Because to influence a person is to give him one’s own soul (p.22). It is also shown through Dorian Gray’s response toward Lord Henry’s words. Dorian is so easily trapped in Lord Henry’s ideology of life. Lord Henry knows exactly what to say to influence people, especially Dorian. With a subtle smile Lord Henry watched him (Dorian Gray). He knew the precise psychological moment to say nothing. He was amazed at the sudden impression that his word had produced (p. 24).

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Not only that Lord Henry is manipulative, he also influences Dorian with his terrible words. He says many bad things to others. His words describing things in the world seem so awful and horrible. “Yes Harry [Lord Henry Wotton], I know what you are going to say. Something dreadful about marriage. Don’t say it. Don’t ever say things of that kind to me again” (p. 108) Lord Henry thinks people nowadays do not have any courage, the courage to face the world, to face themselves. He thinks that people are afraid of themselves because they try to deny their real passions and desires in life. He considers that people suffer because they refuse what they really want that is to do sins, to fulfill their desires. For Lord Henry gaining pleasure is the main goal to achieve in life. The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing for things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful (p. 23). Lord Henry Wotton is not only a person who seeks purely pleasure but he is also asocial. His point of view of sharing trifles with others in life shows how deeply ignorant he is about others. He is somewhat indifferent by nature. To him life should only be abundance of joy and satisfaction. One should sympathize with the color, the beauty, the joy of life. The less said about life’s sores the better (p. 45). For Lord Henry, being above all men in England and making the old men jealous is important, one of his goals of life. He does not regard sentimental feeling such as Basil who thinks that his piece of art is far more important than being famous because he has put too much of himself into it. It is shown through

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his reaction to Basil’s refusal in exhibiting his portrait, “It is silly of you [Basil] for there is only one thing in the world worse than being talked about, and that is not being talked about”(p.7) Though Lord Henry is a perfect example of the living pleasure principle, there is indeed a struggle in his mind between the two contradictory principles. He says that he does not believe either in social convention or in God. He says amoral, asocial and lawless things, but in fact he is married to a woman which means he follows the social construction despite his unfaithfulness.

3.

Characteristics of Dorian Gray At the beginning of the story Dorian Gray is told as a marvelous creature

beyond normal beauty and adored by everyone, almost in mystical or superstitious form. In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty (p. 5). Talking about Dorian’s physical appearance is full of exaggerations. The characters in the novel admire this outstanding appearance which probably almost unlikely in real world. The way people talk about Dorian’s appearance is almost likely referring to a human who possesses the semi-god beauty. Lord Henry looked at him. Yes, 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 (p. 19). Dorian Gray is known for his extraordinary personal beauty among people who know him. His personality fascinates lots of people, and one of them is the painter, Basil Hallward.

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When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with someone whose mere personality was so fascinating that, if I allowed to do so, it would absorb my whole nature, my whole soul, my very art itself (p. 11). Dorian Gray inherits his physical beauty from his mother, Lady Margareth Devereux. Lady Margareth Devereux is the daughter of Lord Kelso. Lady Margareth is known for her beauty. ‘She was an extraordinary beautiful young girl, and made all the men frantic by running away with penniless young fellow’ (p. 38). Dorian inherits not only physical beauty but also inherits a big amount of money too. ‘He should have a pot of money waiting for him if Kelso did the right thing by him. His mother had money too. All the Selby property came to her, through her grandfather’ (p. 39). This is also evidence that Dorian Gray does not need to earn a living by laboring. He has extraordinary beauty and lives with his pocket full of money. Previously, at the very beginning of the story Dorian is told as a purehearted creature with his naivety, a charming innocent and spoiled boy. In Dorian’s early conversation with Basil, it is shown how Basil talks to him like talking to a child. When Dorian is wining to Basil in order to get what he wants, Basil replies “That entirely depends on how you sit today, Dorian” (p. 19). Consequently, Dorian keeps on wining and complaining to Basil. Oh, I’m tired of sitting, and I don’t want a life-sized portrait of myself,’ answered the lad, swinging round on the music-stool, in a willful, petulant manner (p. 19). After saying this, he is so ashamed of letting someone else know how spoiled he is because unexpectedly Lord Henry listens to their conversations as shown from a faint blush that colors Dorian’s cheeks.

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Dorian is not only charming and spoiled but he is also somewhat naïve. Lord Henry thinks Dorian is some brainless creature with beauty. Dorian’s youth keeps him away from all the bad influence in the world. Lord Henry’s aunt, Lady Agatha, gives the same opinion about Dorian. She says that he is very earnest and has a beautiful nature (p. 17). Dorian is so full of curiosity. It is shown through his own words to Basil, No, Basil, you must tell me,’ insisted Dorian Gray. ‘I think I have a right to know. ‘His feeling of terror had passed away, and curiosity had taken its place. He was determined to find out Basil Hallward’s mystery (p.126). Dorian loves music. He loves to play piano. As they entered they saw Dorian Gray. He was seated at the piano, with his back to them, turning over the pages of a volume of Schumann’s Forest Scenes. “You must lend me these Basil,” he cried. “I want to learn them. They are perfectly charming (p. 19). Dorian’s extraordinary beauty makes him adore himself too much. He becomes a narcissist who thinks beauty is the most important thing in the world. “He stood gazing at the shadow of his own loveliness, the full reality of description flashed across him” (p. 29). He is so afraid of getting old. Being old becomes his biggest fear. How sad it is! I shall grow old and horrible and dreadful. But this picture will remain always young- I know, now, that when one loses one’s good looks, whatever he may be, one loses everything (p.30). The characteristic of Dorian Gray is the most complex one among the three. His character is a dynamic character because he undergoes lots of changes, influenced by actions and experiences and used to reveal the consequences of his actions (Holman-Harmon, 1986: 24).

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B. The Battle between the Pleasure and Reality Principles The battle between the pleasure and reality principle in this thesis is analyzed through the characters and the conflicts in the story. Rather than seeing the battle between the two principles with the characteristics of all the characters, this thesis selects characteristics that truly show the battle between the pleasure and reality principles. The characters that represent the pleasure and reality principle are analyzed to see the battle between the two principles. The battle is also seen through the conflicts that happen in the story. The conflicts between one character and the others or between the characters with themselves help to see how these principles influence the actions of each character. Conflict in literature means a struggle between opposing forces. Two opposing forces in the novel are the pleasure and reality principles as retrieved in http://www.bedfordmartins.com/literature/bedlit/glossary_a.htm#top. Since the pleasure and reality principles work oppositely, they will always at war in controlling the characters’ behavior. In the story the pleasure principle manifests itself in the character of Lord Henry Wotton. His flaw characteristic shows how deeply he indulges the pleasure principle and applies it in his every action. It is shown through Lord Henry’s words to Dorian after Sibyl’s death, “But, don’t waste your tears over Sibyl Vane. She was less real than they are” (p. 15). Lord Henry is someone who does not have love in his heart. His goal is similar with the pleasure principle that is to get immediate relief from all pain or suffering.

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Lord Henry thinks that conscience equals to cowardice ‘Conscience and cowardice are really the same things’ (p. 11). Conscience equals to reality principle because they have the same function that is to control our mind to differentiate between good and bad. This shows how Lord Henry’s action and mind are mostly controlled by pleasure principle. His thought is against the reality principle. The battle between the pleasure and reality principle is won by the pleasure principle in case of Lord Henry Wotton. The pleasure principle strives nothing but for “gaining pleasure, such as immediate satisfaction, or joy”. But the unrestrained pleasure principle comes into conflict with the natural and human environment as said by Freud in Bressler (1999: 153). The awareness of the natural and human environment comes from the reality principle, its functions are opposite to pleasure principle. Oppositely, the character of Basil is the representation of the reality principle. Basil Hallward is a hard worker, a famous painter and a friend of Lord Henry Wotton and Dorian Gray. Basil Hallward who always obeys the reality principles which is shown through all his good advice to Dorian shows that he is the portrait of reality principle. Freud as cited in Literary Theory (Eagleton, 1983: 151-153) said that the need to labor is an example of an act based on the reality principle. Basil Hallward works to earn money, he works as a painter. This characteristic differentiates him from Dorian Gray and Lord Henry Wotton and it also shows that most of Basil’s characteristics are influenced by reality principle. The evidence that Dorian Gray does not need to earn a living by laboring shows that he does not experience the repression of the pleasure principle by the

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reality principle. Dorian inherits not only physical beauty but also inherits a big amount of money too. “He should have a pot of money waiting for him if Kelso did the right thing by him. His mother had money too. All the Selby property came to her, through her grandfather” (p. 39). According to Freud as cited in Literary Theory (Eagleton, 1983: 151-153), the need to labor is an example of an act based on the reality principle, therefore in this case Lord Henry experiences the same situation where he is unable to repress his tendencies and gratification. Since he does not need to work to survive, he ends up doing nothing all day and does whatever he wants. Lord Henry cannot or does not undergo the repression of the pleasure principle by the reality principle similar with Dorian Gray. As stated by Freud, that the pleasure principle strives nothing but for gaining pleasure, such as immediate satisfaction or joy, therefore, Dorian’s view of life is an example of the pleasure principle. His love to his own beauty has altered him into a hideous person. He becomes more and more evil every day. His goals of life have also altered his main purpose to seek for pleasure. “He grew more and more enamored of his own beauty, more and more interested in the corruption of his own soul” (p. 142). Dorian is facing an internal conflict, in which a struggle takes place in his mind because his extraordinary beauty makes him adore himself too much. He becomes a narcissist who thinks beauty is the most important thing in the world. “He stood gazing at the shadow of his own loveliness, the full reality of description flashed across him” (p. 29). Meanwhile, he is so afraid of getting old.

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How sad it is! I shall grow old and horrible and dreadful. But this picture will remain always young- I know, now, that when one loses one’s good looks, whatever he may be, one loses everything (p.30). Dorian Gray is not only extremely handsome but he is also extremely rich, consequently he becomes a narcissist who thinks that preserving beauty is the most important thing in the world. People’s adoration toward him also leads him to be a narcissist. “He stood gazing at the shadow of his own loveliness, the full reality of description flashed across him” (p. 29). Narcism is an act based on the pleasure principle as quoted from Eagleton (1983: 151-154) ‘it is a state in which one’s body or ego as a whole is ‘cathected’, or taken as an object of desire that is forced by libidinal drives’. This internal conflict within himself lead him to a new chapter of his life, a darker chapter where he starts doing his sins. This part of Dorian’s life is considered as Dorian’s agreement to the Devil. The Evil grants these words. Knowing that he has the timeless beauty, he leads himself to be a charming creature with hideous soul. Upon the walls of the lonely locked room where he had spent his so much of his boyhood, he had hung with his own hands the terrible portrait, whose changing features showed him the real degradation of his life-(p. 154). As cited from Guerrin (1999: 129-130) that the id, which is governed by the pleasure principle, as defined by Freud is identical in many aspects to the Devil as defined by theologians. Therefore, Dorian’s belief on the importance of preserving good looks which partly comes from Lord Henry and the other half from his own narcissist point of view, makes him worship the Devil which also means worshipping the pleasure principle.

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Dorian’s close relation to Lord Henry inflicts Basil’s jealousy. This jealousy is a form of conflict between Dorian and Basil. Dorian seems to dear Lord Henry more than Basil. He follows everything that Lord Henry Wotton says, ‘You have got Harry [Lord Henry Wotton], said the painter, sadly’ (p. 129). This unnatural jealousy refers to unnatural relation between Basil and Dorian. It is said unnatural because it is uncommon to have such adoration to someone who has the same sex. It is against the society’s custom. Basil’s behavior shows that he also has internal conflict within himself. His pleasure principle urges him to follow his instinct, to give all his attention and affection to Dorian but the reality principle says the otherwise. Basil’s internal conflict is also seen through the story that since Basil met Dorian, it seems that he is his only source of joy and happiness. Basil meets Dorian almost every day. Basil’s attitude in which he is addicted to Dorian shows Basil’s inner conflict. The adoration of Basil to Dorian is often stated in the story. “I couldn’t be happy if I didn’t see him every day. He is absolutely necessary to me” (p. 14). On the other hand, the pleasure principle in Dorian grows stronger. Dorian’s action shows that his actions are mostly controlled by the pleasure principle. This is caused by Lord Henry Wotton’s influences to Dorian. Lord Henry Wotton lives according the impulses of pleasure principle. Lord Henry Wotton does everything that he wants without considering the moral restraints. Lord Henry Wotton influences Dorian to live the same way. Unfortunately Dorian responds to these influences. He follows the pleasure principle and ignores the

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reality principle. Though he realizes that what he has done is amoral or improbable, but that is his life-goal. ‘Harry spends his days in saying what is incredible, and his evenings doing what is improbable. Just the sort of life I [Dorian] would like to lead’ (p. 129). Yes there was to be, as Lord Henry had prophiesed, a new Hedonism that was to recreate life, and to save it from that harsh, uncomely Puritanism that is having, in our own day, its curious revival (p. 145). Lord Henry Wotton’s influences come through the Yellow book which is given to Dorian. This book has tremendous effects to Dorian. ‘For years Dorian Gray could not free himself from the influence of this book. Or perhaps it would be more accurate to say that he never sought to free himself from it’ (p. 141). This book arouses his narcisstic point of view, changes his character completely. He sees the character in the book as himself. ‘The hero, the wonderful young Parisian, became to him a kind of prefiguring type of himself. And, indeed, the whole book seemed to him to contain the story of his own life, written before he had lived it’ (p. 141). The character or the hero in the yellow book teaches Dorian to live and to answer the pleasure principle’s impulses. Hedonism can be said as similar to pleasure principle. The fact that Basil’s ideas and views of life are contradictory to Lord Henry’s also causes the conflict between Dorian and Basil. Basil believes that someone cannot have two ideologies at the same time. One would be contradictory to the other. On the other hand, Dorian tries to accept them both all together. Basil says, ‘No man came across two ideal things. Few come across one’ (p. 129). In Dorian’s mind there is a war between the two principles, the pleasure

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and reality principle. The pleasure principle in Dorian’s mind is aroused by Lord Henry’s ideology while the reality principle is aroused by Basil Hallward. These principles are always at war to control Dorian’s action. Lord Henry’s way of thinking is contradictory to Basil’s. Lord Henry thinks that fame is important. He asks Basil to exhibit Dorian’s picture and Basil refuses it. It shows that their thoughts are influenced by the two principles differently. Basil disagrees because he thinks that he has put too much of himself into it (p.7). Basil’s highly appreciation to his work shows this. It is quite obvious that the characteristics of Lord Henry and Basil Hallward are completely different. They have different point of views. It is shown through Basil’s words to Dorian. Basil assumes that Dorian should feel grief or be sad for his lost over Sibyl Vane, Dorian’s lover. Instead of giving encouragement for Dorian’s grieve, Lord Henry says that a person should not be controled by his or her emotion. Lord Henry suggests that Dorian should get “immediate relief from pain” which refers to pleasure principle. These differences make the conflicts between them both emerge. These differences also cause the conflict between Dorian and Basil appears. Since Dorian’s thought is influenced by Lord Henry, his way of thinking is almost similar to Lord Henry. It can be seen when Sibyl Vane is dead. When Basil asks him questions about the case, Dorian responds angrily. It is only shallow people who require years to get rid of an emotion. A man who is master of himself can end a sorrow as easily as he can invent a pleasure. I don’t want to be at the mercy of my emotions. I want to use them, to enjoy them and to dominate them (p. 121).

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The conflict between Dorian and Basil is also seen when Dorian’s response shocks Basil. Basil disagrees with Dorian’s point of view. He thinks what Dorian says is horrible. He has changed into a different person and Basil thinks he does not know Dorian anymore. Basil urges Dorian to let himself being controlled by his emotion. Feeling sad and not trying to gain immediate relief from pain is an act based on reality principle. Basil considers that this action is the proper action for Dorian to do. Dorian, this is horrible! Something has changed you completely. You look exactly the same wonderful boy who, day after day, used to come down to my studio to sit for his picture. But you were simple, natural and affectionate then. You were the most unspoiled creature in the whole world. Now, I don’t know what has come over you. You talk as if you had no heart, no pity in you. It is all Harry’s influence. I see that (p. 121). The biggest influence that causes the dominantly pleasure principle in Dorian comes from the Yellow book which is given by Lord Henry. Dorian Gray has been poisoned by this book. Dorian is first characterized as a good, sensitive person who has compassion in his heart. ‘I am perfectly happy now. I know what conscience is, to begin with. I want to be good. I can’t bear the idea of my soul being hideous’ (p. 107). These words are Dorian’s regret when he leaves Sibyl because she acts terribly. He feels sorry for treating Sibyl awfully and he plans to apologize. This feeling of guilty shows that Dorian experience internal conflict, that the reality in Dorian still tries to gain control over his actions. As said by Bressler that the reality principle disguises in the form of punishment. It allows us to feel guilty or afraid or ashamed (1999: 150). Nevertheless, he has been influenced by the Yellow book. Then he is known as notorious among the people. These changes inflict a quarrel between Dorian and Basil.

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Why is your friendship so fatal to young men. There was that wretched boy in the Guards who committed suicide. You were his great friend. There was Sir Henry Ashton, who had to leave England, with a tarnished name. You and he were inseparable. What about Adrian Singleton, and his dreadful end? What about Lord Kent’s son, and his career? I met his father yesterday in St. James’s Street. He seemed broken with shame and sorrow. What about that young Duke of Perth? What sort of life has he got now? What gentleman would associate with him (p. 165). Dorian’s change of personality proves that the battle between the pleasure and reality principle really exists in Dorian’s mind. Dorian has completely changed from the man that is characterized as a pure and naïve young man at the beginning of the story into a villain who lives a corrupt life. On the other hand, Basil always tries to urge Dorian to listen to the reality principle, Dorian is always against it. According to Basil, a man should leave a good memory in the society throughout his life. A man should pursue a good and respectful name. ‘Every gentleman is interested in his good name’ (p. 164). Nevertheless, as usual Dorian disagrees with Basil’s thoughts. “I love scandals about other people, but scandals about myself don’t interest me” (p. 164). Dorian’s action which ignores the society’s standard proves that Dorian truly ignores the reality principles. Something is said as a scandal when it is against the moral or society’s standard or restrictions. In fact, the reality principle formed itself in these restrictions or standard made by the society. Dorian Gray is so good at keeping his secrets, he tries to deceit the society by presenting good manner. ‘Society, civilized society at least, is never very ready to believe anything to the detriment of those who are both rich and fascinating. It feels instinctively that manners are of more importance than morals” (p. 156).

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Basil Hallward’s character that is naïve and pure leads him into a man without prejudices. It is shown through his total belief toward Dorian’s good character. Basil insists that the rumors about Dorian are false. He always gives good advice to Dorian. Basil’s pure and good heart functions as Dorian’s reality principle because Basil always tries to lead Dorian to the right path. Basil’s good nature is contradictory to Dorian’s characteristics. These differences inflict the conflict between them. Basil believes that the sins being done will be carved in one’s face. “Sin is a thing that writes itself across a man’s face. It cannot be concealed. If a wretched man has a vice, it shows itself in the lines of his mouth, the droop of his eyelids, the molding of his hands even.” (p. 16). Though Basil does not believe the bad rumors about Dorian, for some reasons Dorian finally confesses his real sin to Basil by revealing his horrible picture to the painter. Basil Hallward acts as the reality principle in the form of human. Dorian Gray glanced at the picture, and suddenly an uncontrollable feeling of hatred for Basil Hallward came over him, as thought it had been suggested to him by the image on the canvas, whispered into his ear by those grinning lips. The mad passions of a haunted animal stirred within him, and he loathed the man who was seated at the table, more than in his whole life he had ever loathed anything (p. 175). The pleasure principle is aggressive, anarchic and sadistic. Dorian urges to follow his animal instinct when he confesses to Basil about the picture. Dorian’s confession raises Dorian’s hatred to the man who created the piece of art. Dorian is blaming the mistakes to Basil though actually it is all because of all the sins that he had done. And this is where the pleasure principle takes place, as said by Freud in Bressler (1999: 150) that one of the pleasure principle’s goal is to have immediate relief from all pain or suffering. Dorian finally kills Basil instantly.

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He rushed at him, and dug the knife into the great vein that is behind the ear, crushing the man’s head down on the table, and stabbing again and again. There was a stifed groan, and the horrible sound of someone choking with blood (p. 175). By killing Basil, Dorian believes that he can release his burden and sin which is shown through his horrible picture. Nevertheless, the pleasure and reality principle will always struggle to have its place in gaining the power to control one’s action. Just as Dorian is ready to embrace his conscience and to follow the reality principle, his fear conquers him. Culture and corruption, ‘echoed Dorian. I have known both. It seems terrible to me now that they should ever be found together. For I have a new ideal, Harry, I am going to alter. I think I have altered (p. 233). However, the reality principle also takes an action in influencing Dorian’s behavior. At the end of the story, Dorian finally realizes that he needs to change his course of life. This is where the function of the reality principle takes place, manifests itself in the form of punishment which gives the sense of guilt and fear. He is so afraid of the changes happening to him. “I have done too many dreadful things in my life. I am not going to do anymore. I began my good actions yesterday” (p. 233). Hearing Dorian’s plan, Lord Henry disagrees. “There is no use of telling me that you are going to be good. You are quite perfect, pray don’t change” (p. 233). The triumph of the pleasure principle over the reality principle is proven when Dorian kills Basil at his house. He blames Basil for giving him the picture that changed him into villain. Uncontrollable feeling of hatred for Basil Hallward came over him. The mad passions of haunted animal stirred within him, and he loathed at the

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man who was seated at the table. There was a stifled groan, and a horrible sound of someone choking with blood (p. 175). Seen through Basil’s death, it is concluded that the battle between the two principles is won by the pleasure principle, though it is not always but mostly that is what happened. In conclusion, the battle between the pleasure and reality principle in the story is first depicted through the characteristics of the three main characters. There are many differences between these characters. Consequently, there are conflicts between and in the characters, internal and external conflicts. Therefore, the battle between the pleasure and reality principle is also depicted through the internal and external conflicts in the story.

C. The Author’s Inner Conflicts As seen from the previous discussion it can be concluded that the conflicts happened in the story mainly happens to Dorian Gray. Dorian Gray experiences external conflicts and internal conflicts. Dorian’s external conflicts are his conflicts with Basil Hallward and Lord Henry Wotton. On the other hand, the other conflicts that occur in the story which happens between Lord Henry Wotton and Basil Hallward are not many. These two characters do not really experience direct conflict. The conflicts between Lord Henry Wotton and Basil Hallward occur in the form of Dorian Gray. Both characters try to give their influences toward Dorian Gray. Differences in influences inflict conflicts between Lord Henry Wotton and Basil Hallward. Therefore the last analysis which tries to see the author’s inner conflicts is seen through the conflict which is experienced by

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Dorian Gray and due to the conflicts being experienced by Lord Henry Wotton and Basil Hallward is not really a direct conflict toward each other. Additionally, the internal conflict of Oscar Wilde is seen through characteristics of Lord Henry and Basil Hallward. The battle between the pleasure and reality principles which is depicted through the characters and the conflicts in the story helps to answer the third problem formulation. This battle between the two principles in the story reflects the battle between the two principles in the author’s mind. This battle between two opposing principles inflicts the author’s internal conflicts. As perceived from the theory of the relation of the author and its work, it is assumed that the work of an artist is his or her manifestation of what he or she sees, feels, and thinks in or about life. The novel by Oscar Wilde can be interpreted as his manifestation of what he thinks, sees or feels. To read or interpret or assess a work of literature is to read or interpret or assess it as something as an expression of thought or feeling, as a complicated statement about life, as a subtly persuasive of rhetoric (Reichert, 1977: 134) As seen from the previous discussion where the battle between the pleasure and reality principles is won by the pleasure principle, the battle between the two principles in the author’s mind was also won by the pleasure principle. Oscar Wilde also chose the triumph of pleasure principle over reality principle. His decision was similar to Lord Henry Wotton in which they both are ignorant to moral restraints in the society. As seen from the biography of Oscar Wilde, his life is almost similar to Dorian’s life. Both of them inherit beauty, grace and intelligence from their

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parents. Wilde as well as his character, Dorian, came from a distinguish family with lines of good name and privileges. His way of thinking and the society’s were on different page of the book. This contradictory or differences are seen during Wilde’s life especially after he enters Oxford. The author and his character have similar gifts which cause bigger temptation. Having more money and beauty leads someone to gain what he wants easily. To waste money to get what they want seems very possible. Dorian inherits his wealth from his grandfather, Lord Kelso( Wilde, 2003: 39), while Oscar Wilde also comes from a well known family “Oscar Fingal O’Flahertie Wills Wilde came from unconventional parents. His mother Lady Jane Francesca Wilde was a poet and journalist and his father Sir William Wilde, an Irish antiquarian, gifted writer, and a specialist in diseases of the eye and ear” . Therefore even from the early age both Dorian Gray and Oscar Wilde were tempted to satisfy their pleasure principle. To obey the reality principle and to try to repress the pleasure within them is difficult because they have the power or tool to attain what is necessary to satisfy the impulses of pleasure principle. This is also one proof that Dorian Gray and Oscar Wilde really experience internal conflict which is caused by the battle between the pleasure and the reality principle in their mind. Similar to the author’s real life, the repression of the pleasure principle over reality which happens in the story also happens in real life. Oscar Wilde experiences the same experience with Basil Hallward in which both of them are able to control the impulses of the pleasure principle. In the story the character

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Basil Hallward is depicted as the only working men, which means that he is the only character that able to repress his will to lie around all day doing nothing. Basil spends his day by working to earn money by painting. This experience is similar to Oscar Wilde’s experience. Though Wilde came from a wealthy family, he kept on working and produced many well known literary works. This fact proves that Wilde as well as Basil Hallward were influenced by the reality principles in their actions and recognized the need to labor. The life of Oscar Wilde was so complex.

His way of thinking

distinguished him from others, contradictory to the society at that time. He was someone rebellious. He said ‘Give a man a mask, and he will tell you the truth’ (Laver, 1954: 19). Similar to what Rohrberger and Woods say that there is an indirect relationship and similarity between the work and the author. An author’s work including characters perhaps is a kind of mask which is surely the author’s experience of life (1971: 8). Wilde manifested his mask in the form of literary works. The fact that Wilde should hide his secrets shows that he experiences a conflict. This conflict is an internal conflict which is caused by the external conflict. This is similar to what happened to Dorian as seen from the previous discussion. Dorian Gray should conceal his amoral attitude from the society. Both Dorian Gray and Oscar Wilde experience internal conflicts. It can be seen that both the author and his character try to conceal the truth about their misbehavior from the society. Instead of allowing people to know what they do, Oscar Wilde and Dorian Gray kept their secrets by themselves. This is one evidence that they experienced internal conflicts.

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Oscar Wilde, Dorian Gray and Lord Henry Wotton are narcissists. They adore beauty, perfection and youth. It can be seen from the fact that Oscar Wilde collected blue china and peacocks feathers. He put so much attention on every details of what he was wearing. Similar to the character of Lord Henry Wotton, Oscar Wilde was a dandy or someone who put too much attention about clothes. An action that is based on the pleasure principle is narcissism. Freud said that narcissism is a state in which one’s body or ego as a whole is ‘cathected’, or taken as an object of desire that is forced by libidinal drives. This definition is almost similar to the definition of ‘dandy’ which means someone who gives too much attention to what he is wearing. At Oxford Wilde shocked the pious dons with his irreverent attitude towards religion and was jeered at his eccentric clothes. He collected blue china and peacock’s feathers and later his velvet knee-breeches drew much attention” (http://www.online-literature.com/wilde). Wilde and Lord Henry Wotton’s attitudes which hold the importance of dressing perfectly shows that they are narcissists. This is also evidence that their actions are mostly controlled by the pleasure principle. They are against the reality principle that works with social standards. Instead of behaving generally like others they choose to be eyecatching, to be different from others. On the other hand, the society or the academics can not accept this attitude. It is different from the general customs of dressing or behavior of the people. The different ideas between Wilde and the academics at Oxford cause conflict. Wilde’s attitude toward clothes is influenced by his experiences at the

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early age. This attitude is probably caused by his mother Lady Wilde who longed for a baby girl. Lady Wilde experience deep and long disappointment for not getting a baby girl. She even refuses to admit that her baby is a boy. She treats him as if he is a girl. She even dressed him like one. Lady Wilde’s early treatment to Oscar Wilde influences his attitude toward clothes. He becomes very careful about choosing the appropriate clothes for certain occasion. Wilde’s attitude toward clothes is lady-like since it was uncommon to have male giving too much attention to clothes. She often expressed her conviction that a daughter was going to be born to her. She used to tell friends of the things she was going to do “after my little girl is born”. When Oscar was born, her disappointment was great. She refused to admit that her new child was a boy. She used to treat him, to speak to him as if he is a girl and as long as it was possible to do so, she dressed him like a girl (Sherard, 1911: 5). Wilde’s over attention toward clothes which can be said as a form of narcissism is the form of his internal conflict. Though his family showered him with love, his mother’s disappointment for having a baby boy disoriented Wilde. He believed that his attitude was perfectly fine because he has been raised with that attitude by his mother. The fact that it did not suit with the general custom confused Wilde. Wilde’s narcissism also led him to deception. As seen from this case it can be said that Wilde experienced the same internal conflict such as Dorian in which Dorian sold his soul to gain eternal youth, Wilde also upheld the importance of young look. His remarks about his age which he called “the usual age” proves this. He said that he was born in 1856. In fact, he was born two years earlier that is

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in 1854. While Wilde considered this act as merely misstatement people consider it as deception. Oscar Fingal O'Flahertie Wills Wilde was born at No. I, Merrion Square, in the city of Dublin, on the 16 October 1854. He was not born in 1856, but two years earlier. This inaccuracy arouse from his misstatement. He owns adoration for youth. He used the term “the usual age” commented on his birth date that made him appears two years younger ( Sherard, 1911: 34). This other example of narcissism is also one evidence that not only Dorian but also Wilde are afraid to be old and die. It proves that their internal conflicts exist. Unfortunately, the wish to stay young leads Oscar Wilde to deception. This deception is known in the trial where Oscar Wilde finally was sentenced two years for the crime of sodomy. ‘Wilde was sentenced to two years hard labor for the crime of sodomy. Wilde was first in Wandsworth prison, London’ (http://www.online-literature. com/wilde). This shows that there is a conflict between the author and the society. The external conflict between the author and the society inflicts the author’s internal conflict. As Freud said as in Bressler (1999: 153) that any unresolved conflicts given rise to any neurosis are the stuff of literature. A work of literature, he believes, is the external expression of the author’s unconscious mind. Accordingly, the literary work must be treated like a dream, applying psychoanalytic techniques to the text to uncover the author’s hidden motivations or repressed desires. The author’s repressed desire as seen from the story is his desire toward his male friends. In previous analysis, all the main characters are male, and women in the story are treated unfairly. Such as Lord Henry Wotton in which in the story he is characterized as someone who considers that marriage is

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not important and woman is merely decorative sex, Wilde in his real life unconsciously treats woman similarly. Oscar Wilde married Lady Constance Loyd at the age of 30 and they have two sons. After nine years of marriage they finally separated. This marriage ended because Wilde finally realized his other interest toward male. He was introduced to homosexuality at Oxford. This proves that Wilde treated women unfairly similar to his character in his novel that is Lord Henry Wotton. It is also a proof that Wilde experienced internal conflict. He was interested to men and yet he married a woman. Wilde tried to overcome his internal conflict by having a divorce. In 1884 Wilde married Constance Lloyd who died in 1898 and to support his family Wilde edited in1887-1889 Woman’s World Magazine. In 1888 he published The Happy Prince and Other Tales, fairy-stories written for his two sons. Although married and the father of two children, Wilde's personal life was open to rumors. At Oxford he became a close friend of Frank Miles, a painter, and the homosexual aesthete Lord Ronald Gower (http://www.kirjasto.sci.fi/owilde.htm). His wife was a mere decoration as he said in his novel The Picture of Dorian Gray. His marriage has also been his mask toward the society’s prejudices, as cited from his novel which says that women are decorative sex, men marry because they are tired, and women because they are curious. Both are disappointed (Wilde, 2003: 53). As Lord Henry Wotton says in the novel that a person should not be controlled by his emotion, Oscar Wilde also tried to overcome or vanishes his emotional feeling toward his divorce. Though he loved his sons dearly, he prefered to live a life as a gay. His love to his son is proven with the existence of The Happy Prince and other tales in which he dedicated this

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story for his sons, while his effort to get immediate relief was his decision to have a divorce. He yielded to the pleasure principle and abandoned his family. Wilde turned his attention to the young Lord Alfred Douglas. His relation to Lord Alfred Douglas was a big scandal. This part of Wilde’s life was a part which showed that he followed the pleasure principle rather than the reality principle. Oscar Wilde experienced the same internal conflict like Basil Hallward in which both of them adore someone of the same sex. Though in the story Basil is not clearly stated as a homosexual, it is clear that his adoration toward Dorian has become a form of addiction. The statement that says Basil needs to see Dorian everyday and Basil’s status that says he is not married also proves this statement. Wilde also experienced internal conflict in which he married because he followed the reality principle. The reality principle urged him to obey the social convention that a man should marry a woman and raised a family. Unfortunately, Wilde’s repressed desire of being a homosexual which is the impulse of the pleasure led him to live a double life though finally he chose to end his marriage. According to Freud we are driven by the same basic instincts similar to animals. These instincts are primarily sex and aggression and they are continually struggling against society that stresses the control of these impulses (Kagan, 1972: 595). Wilde’s sexual instinct has driven him to be a homosexual. Although he is not a purely or completely homosexual it is obvious that he has the impulses toward this behavior. If a conclusion can be drawn by seeing the character’s conflict, it can be concluded that Basil’s great adoration toward Dorian Gray represents the author’s tendency to homosexuality. The way the author described

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that Basil is addicted to Dorian is probably the author’s own desire toward his male lover. Similar to what Wellek and Warren (1956: 91) discuss that characters in plays and novels are judged to “psychologically” true that sometimes, a psychological theory held either consciously or dimly by an author, seems to fit a figure or situation. It is another example of Oscar Wilde’s inner conflict. It has been denied that Wilde was born as complete homosexual. His marriage and the birth of two sons is sufficient evidence that he is not a complete homosexual. He is more appropriate to be considered as bisexual. He himself does not aware this state, not until he was in Oxford (Laver, 1954: 21). Wilde’s inner conflict is caused by external conflicts that he faced with his surroundings or the society. At that time homosexuality was seen as a crime instead of misbehavior or mental illness that needed treatment. It is proven with the fact that Wilde was sentenced to jail in which it changed Wilde’s life instantly. Another similarity between Oscar Wilde and Dorian Gray is that both of them ignore the rumors of their scandal. As said before that the author and his character has similar internal conflict that is living a hedonistic life. Similar to Dorian, Wilde followed the pleasure principle in his actions. Because what he did was contradictory to the society’s standard or to reality principle, he tried to conceal his destructive lifestyle. As cited in Guerrin (1999: 129-130) that pleasure principle is lawless, asocial and amoral. Being a homosexual is considered as asocial, amoral and definitely against the law. The battle between the pleasure and reality principles in Wilde’s head was won by the pleasure principle. Wilde followed his biggest desire without regarded the social convention or moral restraints.

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Nevertheless, it can not be denied that the reality principle has its part in controlling one’s mind. The reality principle represents in the forms of law, order or norms that born in society, it is order that is being taught by parents to their children or educators to their pupils. The reality principle is the idea that something is good or right according to society standard. This is the reason why internal conflict exists in one’s mind, because there is a clash between two principles, the reality and pleasure principles. The internal conflict that happened in Wilde’s mind happened because the reality principle arouses his guilty feeling especially toward his parents. As cited from Bressler that the reality principle disguises in the form of punishment. It allows us to feel guilty or afraid or shame (1999: 150). In De Profundis he wrote his sorry for his parents. He asked for apology and showed how deeply he loved them. Wilde stated “I have disgraced that name eternally” referring to his parents (Sherard, 1911: 6). Wilde felt guilty and ashamed for what he had done because he realized that it ruins his parents honor. The reality principle takes its part in controlling Wilde’s thought to feel guilty. Oscar Wilde died at the age of 46. He filled his life with abundance of remarkable works of art and notorious rumors. It is such a pity that he died with no one beside him. ‘Wilde died of cerebral meningitis on November 30, 1900, penniless, in a cheap Paris hotel at the age of 46’ (http://www.online-literature. com/wilde).

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CHAPTER V CONCLUSION

The pleasure and reality principles are two principles that govern human’s behavior. The theories of the pleasure and reality principles are brought by Sigmund Freud, the famous psychoanalyst in the world. He believes that these principles are at battle in human’s mind. They are battling at controlling human’s thought in making decision for every act that is being done. These two principles are opposite one another. The pleasure principle encourages people to follow their desires of pleasure instantly without regarding the social standards or any moral restraints. Meanwhile, the reality principle encourages people to act based on social standards and obey the moral restrictions. This thesis is analyzing the pleasure and reality principles that are seen in Oscar Wilde’s only novel The Picture of Dorian Gray. The depiction of the battle between the two principles is seen through the characterization of the characters in the novel and the conflicts that happen in the story. The analysis starts with analyzing the characters of the story. There are three major characters that are being analyzed. They are Dorian Gray, Lord Henry Wotton and Basil Hallward. Basil Hallward is a famous painter. He is a well known artist, a hard worker, a loyal friend and a good man. Basil Hallward’s characteristics represent the reality principle. His sincerity, loyalty and good manner work according the reality principle. His characteristics are opposite of Lord Henry Wotton’s characteristics. Lord Henry Wotton is Basil’s friend. He is a rich man who inherits

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his parent’s wealth. Lord Henry’s actions are influenced greatly by the pleasure principle. He thinks and acts based on the pleasure principle. He teaches hedonism and narcissism to Dorian Gray. Lord Henry’s life is filled with actions that do not regard moral or social restraints. Dorian Gray is characterized as a young man that has an extraordinary beauty. He is the manifestation of the battle between the pleasure and reality principles. His character is first depicted as a naïve young man who turns into a villain because he follows the pleasure principle. He can not resist the temptation surrounds him. He is urged by Lord Henry Wotton to follow his desire, to yield to his impulses without considering the social convention. The depiction of the battle between the pleasure and reality principle is also seen in the conflicts in the story. These conflicts arouse from the character’s different point of view. Basil Hallward is depicted as a good man with good manner. On the other hand, Lord Henry Wotton is a man who lives freely according to his wish. He does whatever he wants. These differences between two Dorian’s close friends are causing Dorian’s internal conflict. Unfortunately, Dorian prefers to follow the pleasure principle and ignores the reality principle. Dorian lives his life according to the impulses of his desires without considering the moral or social restraints. He indulges the night life and follows the pleasure principle. Nevertheless, the reality principle also takes its part in influencing Dorian’s behavior. His internal conflicts finally emerge when he is tired of his evil. He is afraid to look at his own portrait because he knows that the picture portraits his evil deed. Dorian kills Basil Hallward and James Vane. He feels

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guilty and he is so angry of his own picture. The reality principle gives him the feeling of guilty in the form of punishment. Dorian punishes himself by stabbing his own picture which finally ends his life. The conflicts which happen among the characters in the story especially Dorian’s internal conflicts are seen as the reflection of the author’s internal conflicts. Therefore, the third problem formulation is discussing the author’s internal conflict. The third analysis is done by seeing the biography of the author, Oscar Wilde. As seen from the author’s biography, Oscar Wilde came from a respectful family. His parents were famous people. His mother, Lady Wilde, was a poetess. His father, Sir Wiliam Wilde was known as a brilliant doctor. Oscar Wilde inherits all his parents grace and intelligence. He was known for his brilliance among the academics. He entered the Oxford and achieved awards for his intelligence. He was well known among his colleagues for his brilliant ideas. He married Constance Loyd and had two sons. He seemed to have a perfect life. On the contrary, his marriage ended because Wilde lived a double life. Although he had two sons, Wilde was unexpectedly a homosexual. He had special relations with several men. The most well known relation was his relation with Lord Alfred Douglas because this relation delivered Oscar Wilde to jail. Wilde started this intriguing relationship when he entered Oxford. His friends at Oxford introduced him to the homosexuality. At Wilde’s era, the 19th century, homosexuality was seen as a crime instead of a choice of way of life or a mental disease. The Marques of Queensberry, Lord Alfred Douglas’ father, was the one who reported Oscar Wilde to the authority. Wilde was sentenced two

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years for the crime of sodomy. Wilde’s life ruined instantly. His family leaved him and he was also betrayed by his lover Bosie or known as Lord Alfred Douglas. Wilde feels extremely ashamed because he has disgraced his family’s name. Oscar Wilde’s internal conflicts occured because there is external conflict between him and the society. The battle between the pleasure and reality principle in Wilde’s life was shown through his decision of being a homosexual. The reality principle told him to marry Constance Loyd and had to sons. Wilde did what the reality principle asked him to, and this action is right according to the social convention or moral standard. Unfortunately, his great gifts gave him greater temptation. When someone introduced him to the world of homosexuality, Wilde could not resist it. The pleasure principle plays its role to influence Wilde to reject what the reality principle asked him to do. Although Wilde realized the consequences of his action, he yielded to the pleasure principle and started his intimate relation with Lord Alfred Douglas. Finally when Wilde was at prison the reality principle started its work and delivered the sense of guilty to Wilde. Wilde felt guilty for ruin his parents honor. Wilde life ended miserably, he died alone in a cheap hotel’s room.

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BIBLIOGRAPHY Abrams, M. H. A Glossary of Literary Terms: 6th Edition. New York: Holt, Rineheart, and Winston, Inc., 1981. Atkinson, Rita L, et al. Introduction to Psychology. New York: Harcourt Brace Jovanovich, 1981. Beaty, J. Jerome and Paul Hunter. New World of Literature. New York: Macmillan Publishing Company, 1986. Bornstein, March H, et al. Psychology and Its Allied Disciplines Humanities vol. 1. New Jersey: Erlbaum Associates Publisher, 1984. Bressler, Charles E. Literary Criticsm: An Introduction to Theory and Practice. New Jersey: Prentice-Hall, Inc., 1999. Butler, Judith, et al. What’s Left of Theory. New York: Routledge, 2000. Daiches, David. Critical Approaches to Literature 2nd ed. New York: Longman Inc, 1981. Eagleton, Terry. Literary Theory: An Introduction. Oxford: Blacwell,1983. Guerrin, Wilfred L., et al. A Handbook of Critical Approaches to Literature 4th ed. New York: Oxford University Press, 1999. Holman, C. Hugh and William Harmon. A Handbook to Literature. New York: Macmillan Publishing Company New York, 1986. Hudson, William Henry. An Introduction to Study of Literature. London: George S. Harrap, 1958. Jung, C.G. The Spirit In Man, Art and Literature. Princeton: Princenton University Press, 1972. Junus, Umar. Dari Peristiwa ke Imajinasi: Wajah Sastra dan Budaya Indonesia. Jakarta: PT. Gramedia, 1983. Kagan, Jerome and Ernest Haveman. Psychology: An Introduction 2nd ed. New York: Harcourt Brace Jovanovich Inc., 1972.

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Kalish, Richard A. The Psychology of Human Behavior 3rd ed. Berkeley: Berkeley Books Publisher Co., 1973. Kasschau, RichardA. Understanding Psychology. Ohio: Glencoe, 1995. Kennedy, X. J and Dana Gioia. Literature: An Introduction to Fiction, Poetry and Drama 7th ed. New York: Longman, 1999. Laar, E. Van De and Schoonderwoerd. An Approach to English Literature. Hertogenbosch: L. C. G. Malmterg, 1969. Laver, James. Oscar Wilde. London: Longmans, Green and Co., 1954. Leary, Lewis. American Literature: A Study and Research Guide. New York: St. Martin Press Inc., 1976. Murphy, M. J. Understanding Unseens: An Introduction to English Poetry and the English Novel for Overseas Students. London: George Allen and Unwin, 1972. Perrine, Lawrence. Literature: Structure, Sound and Sense. New York: Harcourt Brace Jovanovich Inc., 1974. Reichert, John. Making Sense of Literature. Chicago: The University of Chicago, 1977. Redman, Crosby E. A Second Book of Plays. New York: The Macmillan Company, 1964. Rohrberger, Mary and Samuel H. Woods, Jr. Reading and Writing About Literature. New York: Random House, 1971. Sherard, Robert H. The Life of Oscar Wilde. London: Clifford’s Inn, 1911. Stanton, Robert. An Introduction to Fiction. New York: Holt, Rinehart and Winston, 1965. Wellek, Rene and Austin Warren. Theory of Literature. New York: Harcourt, Brace and World Inc., 1956. Wilde, Oscar. De Profundis and The Ballad of Reading Gaol. Tauchnitz ed. Leipzig: Bernard Tauchnitz, 1905.

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Wilde, Oscar. ThePicture of Dorian Gray. Popular Illustrated Classics ed. Delhi: 2003. Wilde, Oscar. ThePicture of Dorian Gray. Edinburgh: R and R Clark Ltd., 1954. Online References: Cauti, Camille. (5 January 2007) Dawson, Terrence. Basil, Lord Henry, and Wilde: A Jungian Approach to the Picture of Dorian Gray. (6 January 2007) 2007)

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APPENDIX

I.

The Summary of The Picture of Dorian Gray The novel is the story about a young man named Dorian Gray. Dorian

grows up without the love of his parents, he lives with his grandfather Lord Kelso. Dorian Gray is extremely handsome and very rich. He made friend with a famous painter named Basil Hallward. One day Basil Hallward paints Dorian’s picture. This picture is one of Basil’s best works. One of Basil’s friends, Lord Henry Wotton really interested in meeting the man in the picture. This is where the story begins. Seeing Dorian’s beauty and pure nature, Lord Henry Wotton is very interested in seeing Dorian’s change. Lord Henry starts to influence Dorian with his ideologies of life. He teaches Dorian to adore his own beauty, to be ignorant and to live hedonistic life. Influenced by Lord Henry Wotton’s words, Dorian’s life starts to change. Dorian makes a wish to stay young and beautiful forever. He wishes he can stay perfectly beautiful like his picture. Magically, Dorian’s wish comes true. Somehow his picture changes every time he does something bad. The first changes happen when Dorian’s breaks his lover heart, Sibyl Vane. Sibyl Vane is a beautiful poor actress who falls in love with Dorian Gray. She calls Dorian prince charming. When Dorian refuses to meet her again she is really sad and she ends up his life with drinking poison. After Sibyl’s death Dorian starts his corrupt life. He indulges the hedonistic life. He makes friends with lots of men but they always leave him at

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the end. Dorian’s friendship causes eternal damage to his friends. Bad rumors about Dorian are heard in the society. Basil Hallward the painter is a good friend of Dorian Gray. He does not believe the rumors, he tries to save Dorian. He gives Dorian advices and tries to lead a better life. Unfortunately, Lord Henry Wotton’s influences have changed Dorian forever. Dorian Gray transforms into a good naïve young man into a villain. Dorian Gray kills James Vane, Sibyl Vane’s brother. And finally he also kills Basil Hallward because he reveals his secret to Basil Hallward. Dorian thinks that Basil is also guilty for turning him into a villain. After Basil’s death Dorian’s feels tired and angry of himself. He stabs his own picture planning to destroy the thing that starts his horrible life with the knife that kills Basil Hallward. Instead of destroying the picture, the stab of the knife ends Dorian’s life. He dies with a stab in his heart and the policemen finds a horrible old man lying on the floor which later on found to be Dorian Gray.