To the Lighthouse #7

At the start of the Ramsay's trip to the Lighthouse, Cam and James make a pact to resist the tyranny of their father. As the family is at sea, it becomes clear that the siblings actually have extremely different opinions of their father. When James is steering the boat, he expects his father to criticize him if something goes wrong: "James kept dreading the moment when he would look up and speak sharply to him about something or other. [...] And if he does, James thought, then I shall take a knife and strike him to the heart" (187). James seemingly irrationally violent thoughts make it clear that he hates his father and he is true on his quest to resist tyranny. James hates Mr. Ramsay's natural disposition, and he does not feel sympathetic towards his father. James' aggressive feelings towards his father at age sixteen mirrors his violent desires from when he was six years old. Time has not allowed the mending of James' relationship with his father, and the boy's dislike for his father is genuine.

Although Cam promises that she will resist tyranny with James, it becomes clear that she is not as wholeheartedly devoted to her commitment as her brother. After Mr. Ramsay attempts to make Cam smile by asking her about her puppy, Cam struggles to resist her father's tyranny: "Cam now felt herself overcast, as she sat down there among calm, resolute people and wondered how to answer her father about the puppy; how to resist his entreaty" (171). Mr. Ramsay purposely asks his daughter about her puppy in order to make himself appear relatable. He is manipulating the situation because he recognizes his children's plan to some degree. Cam, unlike her brother, does not feel a passionate hatred for her father, and she struggles to follow through with her commitment to James because her father is trying to appeal to her interests, rather than assert his superiority.

To the Lighthouse #6

In the opening sections of the third part of To the Lighthouse, Lily struggles to give Mr. Ramsay what he desires. Throughout this section of the novel, Lily desperately tries to avoid Mr. Ramsay because he expects her to provide him with sympathy. When Mr. Ramsay seeks sympathy from Lily, she attempts to change the topic of conversation and talks about the lighthouse. As an internal response, Mr. Ramsay thinks, "Why [...] should she look at the sea when I am here? [...] The Lighthouse! The Lighthouse! What's that got to do with it?" (155). Mr. Ramsay is annoyed that Lily is not giving him what he wants. He is setting her up to easily provide him with the sympathy that he desires but Lily will not cooperate. He is selfish in his quest for sympathy, which is why he is irritated that Lily wants to talk about a topic other than him.

After Mr. Ramsay realizes that Lily will not accept his subtle hints to give him sympathy, he begins to dramatize his pain. He talks about how painful it is going to be to go to the Lighthouse because of his wife's previous involvement with the Lighthouse. Instead of giving Mr. Ramsay what he wants, Lily compliments Mr. Ramsay on his shoes: "What beautiful boots!" (157). Although Lily understands that it would be easier to give Mr. Ramsay sympathy, she cannot bring herself to give him what he wants. To her surprise, Mr. Ramsay is thrilled by her comment about his boots and it becomes clear that Mr. Ramsay enjoys talking about himself. He needs sympathy because a sympathetic conversation revolves around him. Lily realizes that Mr. Ramsay is so desperate for sympathy because he no longer has Mrs. Ramsay to provide it for him. Additionally, Mrs. Ramsay is no longer alive for Mr. Ramsay to talk about himself to.

To The Lighthouse #3

As the novel continues more is revealed about the workings of the Ramsay's marriage. Mr. and Mrs. Ramsay are fundamentally opposite people, where Mr. Ramsay is driven by his quest for truth, and Mrs. Ramsay is driven by her value of emotion. It does not seem like they could be a successful couple, but insight into their feelings for each other provide explanation for their lasting marriage. After James is taken away for bed, Mrs. Ramsay feels relieved that she has time to herself: "It was a relief when they went to bed. For now she need not think about anybody. She could be herself, by herself" (65). Mrs. Ramsay's alone time is almost ended by her husband's interference, but he chooses not to interrupt: "She was so lovely, lovelier now than ever he thought. But he could not speak to her. He could not interrupt her" (68). Mr. Ramsay's decision to leave his wife alone displays the unspoken communication and mutual respect within the Ramsay marriage. Although Mr. Ramsay wants to speak with his wife, he knows that she needs time alone, and he puts her desires over his own.

As the couple waits for all of their children to return home, they talk about potential scholarships for their oldest son: "They always disagreed about [scholarships], bit it did not matter. She liked him to believe in scholarships, and he liked her to be proud of Andrew whatever he did" (70). The topic of scholarships displays the couples ability to work through and embrace differences in opinion. Each respects and value's the other's opinion, which allows differences to exist in the relationship. Although the couple did not agree on how to approach the discussion of going to the lighthouse, they are able to agree on other things, and they do not resent each other for opposing thoughts. Insight into the couple's relationship provides explanation for how fundamentally opposite people have managed to stay happily married.

To the Lighthouse - Point of View

The ever-changing perspectives in To the Lighthouse presents the reader with a better overall character understanding. Learning about a character from more than one point of view prevents bias judgment by a reader, and in turn enables a reader to further understand a character as a whole. Mr. Ramsay is addressed in several different narrations, but specifically those of James and Mrs. Ramsay. After Mr. Ramsay crushes James' hopes to go to the lighthouse the following day, the six year old has violent thoughts about his father: "Had there been an axe handy, or a poker, any weapon that would have gashed a hole in his father's breast and killed him, then and there, James would have seized it" (8). Although not going to the lighthouse seems like it should be a minor disappointment, James obviously feels passionately about wanting to go, and he does not appreciate his father already saying no. Mr. Ramsay's insensitivity towards his youngest son provides the initial introduction for his value of reality. He does not believe in false hope, and he does not want his children to either, which is why he is blunt with James. Mr. Ramsay is trying to help his children prepare for the disappointments of the future, but his seemingly pessimistic outlook on life does not make him liked by his children. The initial introduction of Mr. Ramsay comes from James' point of view, and it makes the philosopher appear brutally honest and insensitive.

Although Mrs. Ramsay believes her husband to be harsh, she does not feel the same hostility towards Mr. Ramsay as James. Mrs. Ramsay does not approve of her husband's quest for truth, and reflects on his behavior: "To pursue truth with such an astonishing lack of consideration for other people's feelings [...] was to her [...] an outrage of human decency" (35). Initially it appears that Mrs. Ramsay is furious with her husband's insistence on disappointing James, but immediately after her reflection she thinks, "There was nobody whom she reverenced as she reverenced him" (35). Although Mrs. Ramsay does not approve of her husband's behavior towards James, she whole-heartedly respects Mr. Ramsay. Unlike Mrs. Ramsay, Mr. Ramsay does not align his actions and decisions with emotions, and he is only concerned with the truth. Mrs. Ramsay respects her husband for his views on life, even though she does not like that he preaches his apparent cynicism onto her innocent and sheltered children. She understands that her children will have to face the cruelty of the world in the future, but she wants to spare them from the pain until it is inevitable. Both James and Mrs. Ramsay do not like Mr. Ramsay's behavior, but Mrs. Ramsay is mature and experienced enough to understand why her husband behaves the way he does.

To the Lighthouse #2

After Mr. Ramsay struggles to extend the boundaries of his mind, he feels deflated and in need of sympathy. He enters the room where Mrs. Ramsay and James are sitting, despite the fact that James hates his father's presence. Felling needy and stubborn, Mr. Ramsay decides that he will not leave until he receives what he came for: "Nothing would make Mr. Ramsay move on. There he stood, demanding sympathy" (40). Mr. Ramsay does not care that he is interrupting James' time with his mother because Ramsay views his needs above his son's. Mr. Ramsay does not enjoy his deflated feeling, and he is desperate for his wife to make him feel better and reassure him of his intellect. Ramsay values his mind over anything else, which is why he is so desperate for sympathy and reassurance.

Understanding what her husband needs, Mrs. Ramsay appears prepared and natural in her reaction to Mrs. Ramsay's behavior. In order to express his influence and importance to others, she references Charles Tansley's view of Mr. Ramsay: "Charles Tansley thought him the the greatest metaphysician of the time" (41). Although Mr. Ramsay knows that Tansely idolizes him, he is not yet satisfied by his wife's efforts. Unphased, Mrs. Ramsay continues to discuss her husband's relevance in the world and in the lives of many until he is satisfied. Mr. Ramsay is eventually satisfied, and he moves on from his self pity: "Filled with her words, like a child who drops off satisfied, [...] he went" (42). Mr. Ramsay selfishly used his wife to make himself feel relevant and important, displaying his inability to self assure. Although Mr. Ramsay values truth, he does not recognize his wife's emotional disposition, and therefore does not discount her reassurance. Mrs. Ramsay respects her husband and believes in what she says to reassure him, but her main intention is to display her sympathy. It is not unreasonable to conclude that Mrs. Ramsay manipulates her beliefs in her husband in order to make him feel better, which directly contrasts Mr. Ramsay's value in truth. Mr. Ramsay is willing to overlook his personal values in order to make himself feel better. 

Research Paper Outline

Research Paper Outline

Prompt: Relate The Picture of Dorian Gray to Oscar Wilde's life based off of his famous line: "Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be - in other ages, perhaps."

Thesis: Personal and public perception of Oscar Wilde connects him to all three main character in The Picture of Dorian Gray, allowing the intertwining of these connections to make clear that Basil, Lord Henry, and Dorian spawned from Wilde himself.

1. Oscar Wilde was controversial in the eyes of society, similarly to how Lord Henry is

controversial in the eyes of the reader.

I.   Lord Henry manipulates Dorian into living a life filled with pleasure and sin.

                                             a. Oscar Wilde is thought to have seduced the young Andre Gide into a life of

homosexuality: “It is commonly held that Wilde spiritually (but not physically) seduced Andre Gide into discovering the pleasures of homosexuality”

                                            b. Similarly to how Dorian began a socially unacceptable life of sin through the

influence of Lord Henry, Wilde persuaded Gide into a life of homosexuality,

which is forbidden in society of the time. Homosexuality is considered a sin and a crime.

II. Wilde married a woman, similarly to Lord Henry, but carried on numerous affairs

with men.

                                             a. Lord Henry views women as decoration, not to be valued: “Women are a

decorative sex” (47)

i.   Henry married his wife out of convenience for the sake of

appearance.

                                            b. Oscar Wilde married Constance Lloyd and had two sons. Despite his

marriage, he carried out extramarital affairs that were eventually found out.

i.   He married Constance Lloyd, but clearly valued his relationships

with men more.

a. Marriage for appearance.

ii. Wilde is responsible for the fleeing of his wife and children to

Europe in a desperate attempt to escape his infamy.

2. Oscar Wilde made mistakes in his lifetime that Dorian Gray managed to avoid.

I.   Dorian’s assumed affairs with different men throughout the book parallel Wilde’s

homosexual affairs, but Dorian managed to live a life as a closeted homosexual,

whereas Wilde was found out and legally punished.

                                             a. Dorian never kept a friend (with the exception of Lord Henry) long enough

to be arrested for his homosexual behavior.

                                            b. Wilde was arrested on the charge of sodomy after being reported by his

father’s lover

i.   He carried out his affair with Lord Alfred Douglas for several years,

and even returned to the relationship after his arrest.

II. Dorian managed to avoid marriage, whereas Wilde married and remained married

throughout his affairs and arrest.

                                             a. Dorian is cruel to Sibyl Vane and informally breaks off their engagement.

Dorian’s treatment of the young actress causes her to commit suicide,

making it impossible for Dorian to follow through with his promise to marry her.

                                            b. Although Wilde initially married Constance Lloyd happy and seemingly in

love, his sexual preferences changed after the birth of his second son when

Robert Ross was introduced into his life.

i.   Dorian and Oscar both caused humiliation for the women they

claimed to have loved at some point.

ii. Both Sibyl and Constance died at premature ages.

3. Although Wilde’s reputation was spoiled by his homosexual behavior, his work was viewed

as genius, similarly to the well-respected and talented Basil Hallward.

I.   Basil was a well-respected painter who put much of his own self into his work, as

seen through the portrait of Dorian Gray.

                                             a. Similarly to Basil, Wilde put much of himself in his work, for he expressed

personal issue he had with society within his writing.

i.   Homosexual inspiration can be seen throughout The Picture of

Dorian Gray, such as the homosexual impulses of several

characters.

ii. Basil Hallward’s infatuation with Dorian allows him to create the

young man’s brilliant portrait.

II. Basil’s introduction to homosexual feelings in the novel occurs when he first sees

the young and beautiful Dorian Gray

                                             a. Wilde’s first homosexual encounter and his introduction into a life of

homosexuality occurred with the young Robert Ross.

i.   Robert Ross was extremely loyal to Wilde.

ii. Dorian was not loyal to Basil and ended up murdering the artist.

                                            b. Wilde had a lengthy affair with Lord Alfred Douglas, even though Douglas

proved to be troublesome to Wilde’s security and wellbeing.

i.   Douglas was publically known as arrogant, reckless, spoiled, and

extravagant.  

Picture of Dorian Gray Outline

Picture of Dorian Gray Outline

Thesis: Throughout the novel it is clear that Dorian transforms into a self-centered man that does bad things to undeserving people, but Dorian's lack of remorse and repentance for his horrific influences on others proves that Dorian is not just a person that does bad things but actually a bad person altogether. 

1. Dorian's actions immediately following Sibyl Vane's death marks a fundamental change in Dorian where he decides that he will live his life for the purpose of pleasure because his portrait allows him to appear unscathed to society. 

a. When Dorian is first informed of Sibyl's suicide, he believes that he is to blame for her death: "So I have murdered Sibyl Vane [...] murdered her as surely as if I had cut her throat with a knife" (72).

b. After Lord Henry leaves, Dorian reflects on the malicious changes that occurred in his portrait: "There were no further changes in the picture. It had received the news of Sibyl Vane's death before he had known it himself. It was conscious of the events of life as they occurred. The vicious cruelty that marred the fine lines of the mouth had, no doubt, appeared at the very moment that the girl had drunk the poison" (76).

c. "He felt that the time had really come for making his choice. Or had his choice already been made? Yes, life had decided that for him–life, and his own infinite curiosity about life. Eternal youth, infinite passion, pleasures subtle and secret, wild joys and wilder sins–he was to have all these things. The portrait was to bear the burden of his shame: that was all" (77).

2. During Basil's final visit with Dorian, the artist tries to fix the young man's wild life of sin, but Dorian refuses to acknowledge and accept his crimes against society.

a. Basil mentions Dorian's broken relationships with several men that have been ruined in society's eyes in order to gain explanation for the horrible stories that have been spreading through London about Dorian, but Dorian does not wish to hear about his old friends and says, "Stop, Basil. You are talking about things of which you do not know of" (110)

b. Basil points out Dorian's deranged joy that seems to come from ruining the lives of friends: "Your [friends] seem to lose all sense of honour, of goodness, of purity, You have filled them with a madness for pleasure. They have down into the depths. You led them there. Yes: you led them there, and yet you can smile, as you are smiling now" (110).

c. Dorian refuses to comply to Basil's wishes and kills the artist out of rage and frustration: "He rushed at [Basil], 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" (116).

3. Dorian uses his gift of eternal youth to manipulate men into revealing their secrets, which he uses to get what he wants. 

a. Allan Campbell hates Dorian after the end of their friendship and refuses to help the murderer clean up the crime scene, but Dorian threatens Campbell until he complies: "I have a letter written already. Here it is. You see the address. If you don't help me, I must send it. If you don't help me, I will send it" (125)

b. Campbell commits suicide: "Allan Campbell's suicide" (155)