The Picture of Dorian Gray (1891) by Oscar Wilde explores the divide that existed in 19th century London. The divide between "east and west that was perpetuated through poetry and novels" reflects the duality of Dorian Gray. Dualism is "the condition or state of being dual or composed of two parts." Wilde uses London to represent decadence, hedonism, sexual promiscuity, and shocking violence throughout the novel. The East End is a place where Dorian can seek new and stimulating sensual experiences and free himself from the limitations of bourgeois society. The West End represents aestheticism, wealth, the establishment and aristocratic society. The East End represents Dorian's corrupt soul and his decadence. The idea of ​​decay is defined by the Oxford English Dictionary as 'the process of falling away or declining (from a previous state of excellence, vitality, prosperity, etc.); decay; compromised or deteriorated condition." The duality of his soul is what leads to his death. We say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"? Get an original essay In The Picture of Dorian Gray , Wilde sets the contrasting locations of the wealthy West End and the decadent East End. The differences in locations highlight the wealth of the upper class and the poverty of the working class. In Basil's study we are introduced to the luxury of the bourgeois class Ci are descriptions of "saddlebag shutters" and "long tussor silk curtains" that highlight the upper class's pleasure in beautiful objects, thus showing how the Aesthetic movement influenced people's homes. Professor Joseph McLaughlin called them "sumptuous interiors." Orientals" which I believe well reflects the indulgent nature of the upper class. Furthermore, Wilde uses the simile "the faint roar of London was like the bourdon note of a distant organ". The placement of the distant organ separates the characters from the frenetic London life. At this point, the reader has only been introduced to the west part of London with its rules and riches. The other parts of London are completely separated physically and culturally. The contrast between Dorian and Henry's setting and the rest of London showcases their selfish and corrupt obsession with only their own desires and pleasures. This reinforces the culture surrounding hedonism in the 19th century. In addition to the West and East End settings, Wilde explores the setting of Dorian's house. For example, the painting of Dorian Gray has its place in the house, in the attic. The changing beauty of the painting to reflect Dorian's corrupted soul places the focus on his duality. So by hiding the painting he is trying to hide his double life. The setting of the painting is in his "old schoolroom", which is a place of innocence. Wilde uses the location to indicate Dorian's attempt to hide the corruption and duality of his soul behind the innocence of his bedroom in the attic. There is an obvious tension between innocent childhood and corrupt adult life. He's trying to escape what's in his house by going to the East End, but he only finds more corruption there. Dorian Gray begins to explore another side of London, the theater closest to the East End. The theater is an environment that puts Dorian in contact with Sibyl Vane. At this point we have only heard rumors about the East End indicating how protected Dorian's life is. The trip to the theater is an adventure for him because it allows him to experience another life. It's the beginning of his double life. Dorian was taught to appreciate art and find beauty in everything. He initially does this with theater as he admires Sybil's art of acting. However, the East End setting begins tobe revealed when he visits her again. In the theater "the heat was terribly oppressive, and the enormous sunlight blazed like a monstrous dahlia with petals of yellow fire." The images of fire and heat indicate the unpleasant sensation of being in an environment to which Dorian's friends, Basil and Henry, are not accustomed. The symbolism of the "dahlia" is a bond that lasts forever, which is ironic since Dorian and Sybil's relationship breaks down that night. The fire in the theater hints at the corruption and damage that Dorian will soon commit. In the movement from the East End to the West End, we see the transition from Dorian's corruption to his identity as a gentleman. The West End, in the novel, is represented as Dorian's physical form as it is perfect, beautiful and pure. Scholar Linda Dryden asserts that there are “illicit measures located within the East; [and] social elegance in the West." I agree that Wilde chooses to open the novel by introducing the elegance of the West. In the opening section, "the study was filled with the rich smell of roses, and when the light summer wind stirred among the trees of the garden" we are immediately introduced to the theme of aestheticism. Sensory overload, especially the intense scent of flowers, highlights wealth and luxury. The choice to open the novel with sensual imagery is effective in introducing the theme of aestheticism and the concept of new hedonism. The lightness of the wind represents Dorian's supposed innocence in this movement in the novel. After the disaster at the theater, Dorian rejects Sibyl and begins his journey home. In this movement of mapping places, readers can see the clear division between places. Scholar Rosemarie Bodenheimer, "Dickens stitched together different parts of London simply by describing the walking routes his characters take." Here Wilde used a similar technique to create a greater understanding of place, however he chooses to use this technique to exaggerate the setting of his aesthetic novel. Dorian talks about "wandering through dimly lit streets, past gaunt dark arches and evil-looking houses." It is evident that by destroying Sibyl Vane's life he has taken Dorian to a darker and more corrupt place which is reflected in the gothic setting. London has become dark and forbidding with “dimly lit streets” and “gaunt, black-shadowed archways”. The absence of light suggests Dorian's lack of morality and innocence. Then, as Dorian enters Covent Garden, the scene changes from his corrupt soul to his youth and beauty. Dorian notes that “the darkness lifted, and, reddened with faint fires, the sky hollowed itself into a perfect pearl.” Huge carts filled with nodding lilies rumbled slowly down the shiny, empty street. The tone changed to something more optimistic. The metaphor of the sky as a pearl connotes purity, thus reflecting Dorian's desire to remain young and beautiful. Wilde uses "lilies" to symbolize death, as Sibyl has killed herself, although Dorian does not know this yet. Despite the ominous interpretation, "the scent of the flowers and their beauty seemed to bring him relief from his [Dorian's] grief." The rich sensual images of flowers give Dorian a sense of calm and peace. The flower refers to the aristocratic aesthetic appreciation for art and the desire to find pleasure in beauty. It allows Dorian to forget his argument with Sibyl for a brief movement. The contrast between the darkness of Dorian's corruption and the moment when “the darkness lifts” highlights the duality of his soul. Dorian is playing with a double life and trying to maintain his innocence while, hidden in the darkness, terrible things happen. The "shiny empty streets" of these West Ends are directly juxtaposed with the streets of the East End as they are"like the black web of a tentacled spider." Once again, the contrast between light and darkness represents Dorian's external beauty and corrupt soul. In contrast, the East End is represented as animalistic and classified as 'the Other'. The exploration of the opium dens represents Dorian's dualism. Wildesi draws on the animalistic imagery of Dorian returning home after breaking up with Sibyl: "The drunks staggered around, cursing and chattering to each other like monstrous monkeys." Wilde refers to the drunken men as "monstrous apes" to represent that the East End is the regression to a more animalistic state. The verbs “swear,” “chatter,” and “shout” echo animal sounds, therefore, implying that they are wild and describing the degradation of Dorian's double life. Scholar Paul Newland recognizes this in the novel and states that "in accounts of a threatened and decadent London bourgeois culture, for example, individuals who were spatially positioned within a conceptual 'east' tended to be represented as aliens or 'Others'. ". ''. Therefore, at this time Wilde uses the metaphor of "apes" to reflect the cultural anxiety of the "Other". Late Victorian society was afraid of what they might reveal. The animalistic imagery/nature represents the way in which Dorian is trying to identify with more than his rich surroundings and his role as a gentleman, yet he ends up revealing his bestial impulses which result in a hedonistic way of living life in London's East End he is represented as monstrous. He wonders in the streets and states: "I have felt that this gray and monstrous London of ours, with its myriads of people, its sordid sinners and its splendid sins [...] must have something in store for me. ". Dramatic irony is used here as we are aware that London has something bad in store for Dorian, yet he interprets it as something thrilling and exciting. London has become a place of growth with "myriads of people". However, Dorian is desperately trying to escape the growing city and himself, through exploration of the East End (the country at the end). “This gray and monstrous London” is a reflection of Dorian's inner soul and the corruption resulting from Lord Henry's influence. Despite the growing city, Dorian feels more pressured by the values ​​of the old aristocratic society. Wilde uses the East End to provide a space for Dorian to escape these restrictions. The East End represents freedom for Dorian at the beginning as the "monstrous" idea of ​​London is glamorized as something new and exciting. However, as the novel progresses, Dorian desperately tries to sustain this double life but fails. As he becomes more corrupt this is reflected in the setting, the setting of London and his "monstrous body" becomes strange, grotesque and reflects the deceased aesthetic. Despite the corruption and horrors witnessed in the East End, Dorian is constantly drawn to it. The East End offers a sense of freedom to upper-class men, like Dorian, as it allows them to break away from the rigid rules of the middle class. The duality of the setting allows Dorian to explore two different aspects of his life. He has the freedom to explore his morality while maintaining his status as a gentleman through the concealment of the portrait. Dorian admires "the rude brawl, the hateful den, the raw violence of disorderly life." This part of London is described as wild and unruly, and that is what attracts Dorian because it is so different from his other life. His hedonistic lifestyle becomes his sole purpose in his life. In the West End, he cannot satisfy these desires for drugs, alcohol and sex, so the East End becomes his escape. The scholar Paul Newland 16.12.18.