The measure of a man's character is what he would do if he knew he would never be found out. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Thomas Babington Morality is the very foundation of goodness and the pillar of righteousness. Immorality, however, is the threshold to conspicuous malevolence. These two extremes are often but a step between which we are bewildered and confused. Morality undeniably establishes the boundaries of an individual's behavior in a given society. If these principles were to collapse, ethical boundaries would give way to anarchic freedom. Both works explored in this analysis illustrate giving in to immoral conduct for selfish purposes. In Oscar Wilde's The Picture of Dorian Gray, we are intrigued by a charming Englishman who renounces his innocence and embraces a repugnant hedonism. Tennessee Williams A Streetcar Named Desire confronts us with a robust, virile figure who opposes no authority but his own. Two unscrupulous characters emerge from different worlds with equal contempt for the moral values ​​common to humanity. Although one is characterized by beauty and the other by power, they share the same vivid animation of unbridled cruelty. It is in their disturbing acts that their actual embodiment is highlighted. Wilde and Williams reveal, through these depraved beings, the basis of humanity's intrinsic flaw: the loss of inhibitions. I will further discuss, through relevant characters, the desire for moral ideals as well as the attachment to immoral philosophies. Oscar Wilde's The Picture of Dorian Gray is set in late 19th century England, a period marked by the extreme importance of social issues. stature and personal image. The protagonist, Dorian Gray, stands as an archetype of male beauty and youth. Its aristocracy and extraordinary beauty fascinate its surroundings. He often poses for Basil Hallward, a very talented artist whose art is inspired by Dorian's charisma. While Basil's most prodigious painting is nearing completion, Dorian is introduced to Lord Henry Wotton, a cynical philosopher and skilled orator. Dorian is easily seduced by his manipulative tongue and contemptuous theories. Wotton imagines molding, corrupting the vulnerable boy into a relentless hedonist. Through him, Dorian faces the stark realization that his physical attributes are always fading. After this sudden intuition, he fears the physical burden of aging. He envies the perpetual attractiveness of Basilio's masterpiece. ...If only it were the other way around! If only I remained young and the painting grew old! For this - for this - I would give everything! Yes, there is nothing in the world I wouldn't give! I would give my soul for this! (Wilde page 31). The materialization of this desire and the resulting metamorphosis will lead to his death. The figure of Dorian remains immaculate while the image undergoes its abominable transformation. This is first confirmed following his love affair with Sibyl Vane, an actress he meets at a notorious theater. Like him, she is characterized by a bewitching beauty and youthful naivety. Mesmerized by each other, they promptly exchange vows of loyalty. Dorian invites Henry and Basil to the theater, if only to be terribly embarrassed by Sibyl's artificial performance. In a fit of anger still unknown to him, Dorian reluctantly scolds his fiancé. You are superficial and stupid. My God! How crazy I was to love you! What a fool I was! You are nothing to me now (Wilde p. 98). This vindictive refusal leads her tosuicide. Upon returning to his home, he is shocked by a horrifying discovery: his portrait was slightly altered, suggesting the sinful transfiguration that would occur during his dissolute existence. Dorian conveys strong feelings of contrition upon learning of Sibyl's unnecessary death. He is aware of his mistake and feels deeply guilty. However, Lord Henry encourages him to discard the incident and enjoy his current freedom. Dorian is torn apart because his selfishness weighs heavily on his conscience. By neglecting the death he caused and abandoning himself to pleasure, Dorian embodies Lord Henry's philosophy. With the awareness of his physical imperviousness to the consequences of any consequence, he adopts hedonistic values. The complete denial of responsibility in Sibyl's death is but the beginning of her moral degradation. He likes to observe the mutilation of the painting, and therefore of his soul. Her further encounters with Henry simply amplify this descent into debauchery. ...You were the most pristine creature in the entire world. Now, I don't know what came over you. You speak as if you have no heart, no mercy in you. It's all Harry's influence. I see that (Wilde p. 120) From that moment on Dorian becomes progressively confused with sin; causing scandals, frequenting opium dens and associating with prostitutes. Dorian often looks at the painting with horror, but is unable to turn away from this lifestyle, provoked by his wickedness. He is undoubtedly aware of his ethical dissipation and, despite the beautiful objects he surrounds himself with, he is shocked by the ugliness of his soul. He knew that he had darkened himself, that he had filled his mind with corruption, and that he had given horror to his imagination; that he had been an evil influence on others, and had taken terrible joy in being so (Wilde p. 241). Dorian's fear of his predicament being discovered grows as the picture changes with each misdeed. Although she is hidden from prying eyes, the nakedness of her soul is always present in her mind. His irascible murder of Basil not only signifies the height of his immoral behavior, but also his annihilation of moral barriers. His iniquitous act throws him into a guilt-ridden state of paranoia. He is tired of the world and crushed by the weight of this infamy. Wilde's protagonist was not an evil or unscrupulous man, simply flexible and somewhat narcissistic. Under the overwhelming influence of Lord Henry and the tempting protection of the portrait, he succumbs to a world free from restrictions, tempted by self-gratification. When he breaks the moral boundaries that establish order, Dorian is thrust into chaotic freedom. Without the ever-present prison that symbolizes morality, anarchy and evil reign, destroying the goodness in one's nature. When he encounters the diabolical image, besieged by remorse and driven mad by remorse, he wishes to purify his soul and regain the values ​​that once governed his life. Therefore, destroying the wildness that marred his spirit and the sense of guilt that plagued his conscience, he kills himself. Lord Henry is an extremely condescending and cynical character. His actions are not as overtly sinful as Dorian's, as he is not protected from their repercussions. While he preaches hedonism, he never acts according to his philosophy, remaining within the confines of what society deems tolerable. He therefore has little knowledge of the pragmatic effects induced by his philosophy. He is portrayed as a coward, who uses Dorian to flesh out his theories, but does not venture into them himself for fear of ruining his social profile. He has a brilliant intellect, although he has a narrow understanding of human behavior. For example, when he states: every crime is vulgar, as is everyvulgarity is a crime. It is not for you, Dorian, to commit murder... (Wilde p. 234), he is completely unaware of Dorian's tragedy. While the majority of humanity is forced into moral obstacles, there are those who distance themselves from these ideals, and become a source of crimes2E Morality and ethics, despite being restrictive concepts, protect the individual and therefore humanity. Without them there could be nothing but degradation and self-destruction, as illustrated by Oscar Wilde in The Picture of Dorian Gray. As Mahatma Gandhi once said: The human voice can never reach the distance covered by the still small voice of consciousness. One can enjoy life and not fear death if he obeys his scruples. Tennessee Williams A Streetcar Named Desire formulates a means to reflect on the morbid aspects of humanity and the result of these social downfalls. Stanley Kowalski emerges from an impoverished rural setting in New Orleans as the epitome of flagrant barbarism. His speech is grossly impolite and his actions display an instinctive crudeness. He adheres to the most primitive rule and fundamental code of humanity: hunt or be hunted. His family symbolizes his territory and anyone who threatens this possession should be eliminated. The metaphorical episode in which he casually throws a bundle of bloody meat at Stella, his wife, underlines his simian qualities. He has little notion of courtesy, which understandably repulses his spoiled sister-in-law, Blanche. The image of a delicate flower in the middle of a pile of rubbish is comparable to the arrival of Blanche Dubois at the Kowalski house. His expression is one of shocked disbelief. His appearance is incongruous with this setting (Williams p. 15). She appears inherently refined and somewhat ostentatious, apparently never having witnessed humiliation. However, his false decorum is a rather deliberate effort to save himself from misery. Blanche exists in a self-fabricated universe in which she is blinded by the desolation of reality. His haughty ways contrast with Stanley's uncouth behavior and clash from their first meeting. Stanley imposes his animalistic vigor on Blanche because he feels threatened by her presence. She despises his aristocratic ways, his diminutive expressions regarding his origin, and his flirting with his friend Mitch. His hatred for Blanche is intensified by his unflattering dialogue with Stella. He behaves like an animal, he has animal habits! Eat like one, move like one, talk like one! There is also something sub-human, something that has not yet reached the stage of humanity! (Williams pg. 72). This culmination of anger manifests itself in his investigation of her promiscuous past and her spiteful birthday present. He relentlessly hinders his relationship with Mitch, sabotaging his illusions of rescue. In his cowardly attempt to bring Blanche to ruin, he brutally exposes her to the harshness of his position. Stanley's final effort to tarnish Blanche's image is driven by chauvinism. Although his past attempts were strictly psychological blows, he now wishes to exert physical power over her. In Blanche's vulnerable state, he rapes her, devastating the rest of her sanity. His degenerate character, first insinuated after beating his pregnant wife, is fully highlighted following this spiteful sin. The concluding scene consists of Blanche being ostracized in an asylum and Stanley's depiction as the devoted husband, calming his wife as she embraces their newborn child. The fallacy of this image, given what we have learned throughout the show, paradoxically puts society's misconception of right and wrong into perspective. The settings of The Picture of Dorian Gray e.