The Color of Innocence Essay Example for Free

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