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About this sample
About this sample
Words: 2476 |
Pages: 5.5|
13 min read
Published: Jun 29, 2018
Words: 2476|Pages: 5.5|13 min read
Published: Jun 29, 2018
All language exists with two definitions. The primary, literal meaning is defined as what the object physically is, and the secondary, symbolic meaning is what the object represents. An objectâs literal meaning remains a stationary constant, as it exists in a physical reality, and can only change if the object also physically changes. The symbolic meaning, however, is subjective to an individualâs perspective. Therefore, if a form becomes ârigidâ, the symbolic meaning is also stationary and all language is restricted to producing a single interpretation. Language becomes âready-madeâ in both literal and symbolic meaning. To ârevoltâ from this, R. L. Stevensonâs The Strange Case of Dr Jekyll and Mr Hyde and Oscar Wildeâs The Picture of Dorian Gray both offer alternative symbolic meanings for the same, set language. Through this, language is only âready-madeâ syntactically, and is liberated from the âbondage of traditional formâ though development of the symbolic meaning.
A âready-madeâ language was originally created to describe a normative, human reality. As each novel encounters the âotherâ, a âdoubleâ that does not fully belong in this reality, âready-madeâ language becomes inadequate in description. Freudâs theory on the Uncanny argues for an uneasiness in the heimlich developing to represent the unheimlich. Jekyllâs double is both familiar in his human resemblance, and disturbingly unfamiliar in his deformity.
To describe the unfamiliar accurately, a new language must be created. To transition from a set, traditional language to a new, unfamiliar vocabulary presents difficulty. Mr Enfield, as a model of the reasonable, middle-class gentlemen, embodies this struggle in his attempt to articulate Mr Hydeâs features in an inadequate, pre-formed language: âHe must be deformed somewhere; he gives a strong feeling of deformity, although I couldnât specify the point.â Initially, Mr Enfield describes Hyde as âdeformedâ. However, he seemingly decides this singular adjective incompetent in offering an accurate portrayal of Hyde. The description transitions instead to a âstrong feelingâ, that features deformity, but now contains further unidentified horrors, made increasingly grotesque through the inability to determine a literal description.
The only certainty present is in emotion that is âstrongâ and asserts Hyde âmustâ be deformed, implying a Tennyson-esque concept. Language limits emotion, as abstract feelings have to be expressed through a âready-madeâ vocabulary. Through this inability to describe Hyde in a âready-madeâ language, Enfield can neither classify him in a âready-madeâ category. Consequently, he addresses Hyde as âheâ as opposed to âitâ, identifying the âotherâ as physically closer to himself, Utterson and Lanyon than with any class of creature. Almost subconsciously, Enfield aligns Mr Hyde with Dr Jekyll, forcing the âunheimlichâ closer to the âheimlichâ form. Initially, Hyde is assumed to wholly inhabit the unheimlich âotherâ. This sense of uneasiness therefore emerges from the inability to classify Hyde in âready-madeâ categories of âhumanâ or âanimalâ. The new language that must be created only slightly differs from traditional form, and exists as both familiar and unfamiliar.
Stevenson struggles to mold a âready-madeâ language to a stationary image of Hydeâs unfamiliar form. The Picture of Dorian Gray instead encounters the limitations of a pre-formed language through the âotherâ existing not as human, but as an inanimate object capable of human activity. This variety of personification requires a new set of verbs. The portrait is seemingly supernatural, yet itâs non-human actions are restricted to a human vocabulary. Wilde creates a conscious imbalance between vocabulary and meaning by using âheimlichâ, pre-existing words to describe a supernatural scene that requires new symbolism: What was that loathsome red dew that gleamed, wet and glistening, on one of the hands, as though the canvas had sweated blood? Dorian does not attempt, as Enfield does, to immediately identify either the substance, or the emotion it creates within him. Instead, Dorian reverts to a question to suggest he must gain the knowledge he lacks from an outside source. The same struggle of identification that Enfield encounters is present. Dorian can see the âred dewâ, but cannot decide upon a noun to accurately describe the vision, presenting an uneasiness in being unable to identify the âunheimlichâ.
The consideration of, firstly, âdewâ presents an Eden-like image that traditionally would dictate a new beginning. Wilde inverts this through irony, to suggest the painting as taking, rather than giving, life. In progressing to âsweatâ, the substance still remains temporarily less threatening than blood, however loses the innocence associated with âdewâ. Syntactically, and mentally, Dorian only identifies the substance as bearing the closest resemblance to âbloodâ at the end. Thus far, a âready-madeâ language is adequate in description, as all these substances exist in a human world. The previously stationary symbolic meaning is then taken from a traditional context to the unfamiliar Gothic through the moistureâs origin. The blood has âsweatedâ, not from flesh, but from the canvas. This action forces the picture to ârevoltâ from itâs identity as an inanimate object, to a supernatural context where it becomes partially human. A ârevoltâ from âready-madeâ language âthat is used to describe a mortal, earthly world âis therefore necessary. Neither Dorian nor Hyde belong to this world, and cannot be described by itâs language.
Symons urges a revolt in both âready-made languageâ and âformâ. In The Strange Case of Dr Jekyll and Mr Hyde, Stevenson revolts from this traditional form through narrative style. Instead of adhering to a singular narrative voice, the different narrative perspectives allow the novella to exist simultaneously as a crime report and memoir. However, even these distinct categories are not definite. Dr Lanyonâs narrative is a separate chapter yet is interrupted by Jekyllâs epistolary, suggesting that a claim to an account does not deem it exclusively one perspective. âDr Lanyonâs Narrativeâ focuses on physical interpretation: âas I looked, there came, I thought, a change âhe seemed to swell âhis face became suddenly blackâ (Stevenson, p.41).
If this novella is categorised as a crime report, the third person narration is the âtraditional formâ, as the perspective traditionally approaches the crime from the outside. Lanyon is detached in the action of seeing ââI lookedâ âand reporting what physically appears ââhis face became suddenly blackâ âin front of him. However, this sense of detachment is also limiting. He restricts identity to the basic and external, and can only describe Jekyll in a child-like context of colour, with âblackâ, one-dimensionally representing death. Despite initially categorizing Stevensonâs novella as a crime report, Lanyonâs perspective is still subjective. He reports what he âthoughtâ âseemedâ to be real, suggesting that an attempt to remain within a traditional narrative form is, in itself, difficult. Stevenson perhaps deems Lanyonâs narrative as necessary to identify the bondage of a traditional, wholly aesthetic, third person narrative. As this form is restricted to exterior identity, Lanyonâs analysis cannot extend to the possibility of psychological motive behind action.
âHenry Jekyllâs Full Statement of the Caseâ is therefore necessary to this fiction also, as the title suggests a forensically accurate, physical description is not a âfull statementâ. In moving from this detective genre âthat identifies who has committed the crimeâ to a first-person, psychological account, âwhy the crime was committedâ Stevenson completes the narrative through adding the possibility of emotion. Only through revolting from the rigidity of one narrative is the reader allowed to examine and consequently sympathize with Jekyllâs actions, that are revealed as compulsive.
As previously established, Stevenson ârevoltsâ from traditional form through the act of writing. Wilde also revolts from the âbondageâ of traditional form through concept. Instead of language, The Picture of Dorian Gray interacts with art. Traditionally, Victorian art carried a political or social message, such as Ford Maddox Brownâs âWorkâ, that depicts reality to provoke emotional reaction and subsequently action. Wilde breaks this âbondageâ through the aestheticism movement of the 1890âs. His novel both exists as and contains âart for artâs sakeâ, revoking any responsibility previously associated with the action of viewing art. Dorianâs picture is created to provoke pleasure, not to induce social action: âArt has no influence upon action. It annihilates the desire to actâ (Wilde, p.198). Wilde perhaps condemns this extreme lack of traditional form, and the responsibility that accompanies it. Aestheticism refuses not only âactionâ, but the âdesire to actâ, a drive that future action is dependent upon. However, identifying future action, if the activity is not specified, as either good or evil is almost impossible. Removing this desire does not deem Dorian as either antithesis, but creates an indifference to responsibility and consequence.
Whilst his hand does not personally murder Sibyl Vane, his indifference inadvertently causes her death. A ârevoltâ to aestheticism can therefore be condemned as dangerously liberal. In refusing the social responsibility traditionally associated with art, Dorian refuses a moral responsibility also, suggesting that a lack of âbondageâ allows for too much freedom. This unsustainability, exhibited by Dorianâs inability to uphold a visual perfection, suggests aestheticism can only ever exist as a ârevoltâ and will not develop as the new âtraditional formâ of art. This ârevoltâ in art is initially harmless, as Wilde claims the painting has âno influenceâ on Dorianâs actions. He temporarily achieves this by splitting his conscience and physical body between painting and the human form. Yet, this separation does not consider mental influence. The painting haunts Dorianâs mind until it, ironically, does affect his actions. In attempting to engage with aestheticism to ârevoltâ from the âtraditional formâ of art, Wilde almost returns to again to a traditional form. The picture becomes art with a meaning and an inescapable responsibility. Bondage of form, even when attempted, cannot be easily broken.
Thus far, the form, both the âtraditionalâ and the ârevoltâ, has been examined as stationary concepts. The traditional form is implied as stationary through itâs âbondageâ, and the ârevoltâ exists as a new form, yet is still stationary. Walter Pater argues for a development, that âevery moment some form grows perfect in hand or face.â [1] Pater focuses on the transition between forms, highlighting this experience as more important than the form you either begin, or finalize with. Dr Jekyll views bondage as, specifically, the human body that remains in a âtraditionalâ, singular form. The transition to Mr Hyde is, in Dr Jekyllâs perspective, growing âperfectâ, as his experiment is essentially a success in his liberation from a singular form. However, in choosing to break free of this bondage, Jekyll can never again return to a singular physical form: âif I slept, or even dozed for a moment in my chair, it was always as Hyde that I awakenedâ (Stevenson, p.53).
Without this bondage to a single body, the boundaries between Jekyllâs two forms also cease to exist. The narrative âIâ claims Jekyllâs voice, yet is simultaneously conscious that he has âawakenedâ as Hyde. The human form, ironically, still remains as a bondage for Dr Jekyll. He is successful in breaking free from a physical bondage, yet his mind remains imprisoned within a different form. Despite Paterâs focus on experience, the transition occurs during âmomentsâ where Jekyll is in a âdozeâ, and barely conscious. The experience therefore belongs to the âperfectâ form he becomes, and the reader is refused access to Hydeâs narration. The transformation itself is not witnessed, as if the reader too is in a state of semi-consciousness. Even in Paterâs idea of development, Stevenson introduces new ârigidâ forms. âAlwaysâ suggests a definite result to the process, and simply a transition to a different, certain form. To escape wholly from the âbondageâ of form, whether traditional or not, Jekyll must eternally remain within this âmomentâ, an action unsustainable in itself.
The concept of âbondageâ has been explored as both negative in its restricting influence, and positive in itâs implication of necessary social boundaries. Paterâs statement defines growth as moving towards perfection, suggesting that any âbondageâ that refuses movement is a negative concept. The Picture of Dorian Gray instead considers Paterâs idea of growth as a negative aspect. Wilde extends this concept beyond a âmomentâ to an entire lifespan, defining growth as a submission to the bondage of a physically decaying human form. The moment where Dorian anticipates this exists as his realization that youthful beauty is invaluable, displacing the vocal proclamation âI would give my soul for that!â: Yes, there would be a day when his face would be wrinkled and wizen the grace of his figure broken and deformed (Wilde, p.26-27).
The image of Dorianâs future self is aligned with Hydeâs present condition in their claim to deformity. When Enfield describes Hyde, deformity equates to a degenerative, physical form. Instead, Dorianâs âdeformityâ relates to his âgraceâ, suggesting his worth is based entirely on a socially accepted aesthetic beauty. An attempt to alter âtraditional formâ is therefore attempted. Dorian temporarily inhabits a transcendent, immortal form and attempts to assert it as the traditional human form by living his entire life through it. The human body is not capable of liberation, as it is for Jekyll, but acts as a cage that will stunt Dorianâs social aspirations by becoming inadequate in decay. Through looking to the future, Wilde pre-empts a process that will occur after Paterâs âmomentâ of perfection. It remains impossible to move beyond the highest level of perfection. After Paterâs âmomentâ has passed, the human form cannot develop any further, and will begin to degenerate. For Dorian, the âbondageâ to a particular form becomes an ambition. However, to remain as a âtraditionalâ form is still defined as a mortal, physical bondage. Instead he attempts to ârevoltâ from form, not to Paterâs development, but to a form that will not decay, but still resemble a human. Therefore, that action of looking forward to an impending moment acts as the defining moment where Dorian decides to escape the âbondageâ of decay that a traditional human is subject to.
To ârevoltâ from âtraditional formâ has consequences. Society punishes both Dr Jekyll and Dorian Gray for revolting from tradition as individuals. Dorian is forced to unite his conscience with the âbondageâ of his physical frame, returning once again to a conventional human form. In parallel, Dr Jekyll is refused existence in a reality where he can inhabit a form that accepts no social responsibility. For social change to occur in an established culture, it must occur as a gradual, collective change to a new tradition. The attempts of both protagonists can therefore only ever exist as an individual ârevoltâ, and will never develop to a reformed tradition. Society punishes both Dorian and Jekyll for revolting from tradition, deeming the death of the rebels as the only method to maintain this âbondageâ.
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