“...he now felt that his soul was being purified in sin.” Joyce signals Stephen's transition from innocent bystander to self-proclaimed sinner in A Portrait of the Artist as a Young Man. Dorian underwent a similar transformation as he realized his beauty from Basil's portrait "he had recognized himself for the first time". Human nature refrains from labeling people as sinners in order to find in them a morality and virtue that they fail to find in themselves. By modern standards, Joyce's depiction of Stephen does not fall under general conceptions of sin. However, on a religious and moral level, the nature of the crimes of Stephen Dedalus and Dorian Gray compels contemporary readers to view them both as such. The difference is whether their sins are a conscious choice to commit malicious behavior considered a flaw of human nature, or whether it is the ramifications of upbringing and outside influences that cause them to sin. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Basil's initial description of Dorian's "simple and beautiful nature" helps reflect a sense of innocence and naivety. It is significant that Dorian has not yet been introduced here to the decadent Lord Henry. Before a speech from Henry, Dorian believes that youth is not the only thing worth having; after this speech he states that when he gets old, "[he] will commit suicide", indicating that the most substantial influence on his aversion to sin is Henry. Henry himself believes that to influence a person is to give him "one's own soul" and that all sins arising from this are "borrowed." It is therefore clear that Dorian's later sinful desires are Henry's desires. Sin, while fundamental to Lord Henry's human nature, is not fundamental to Dorian until he is influenced by Henry. While this may be true, Dorian is perhaps too easily forced into a life of sin to blame all the resulting behavior solely on Henry. Upon learning that Sybil is dead, the “roses are no less beautiful” and the “birds sing just as joyfully”; he is only too happy to have sinned, and his day must pass in the same way. Sin quickly overcomes remorse. Basil's brief description of Dorian as "simple and beautiful" suggests an innocence, but Wilde only fully presents his character when Henry is present; the reader is not sure who Dorian Gray was before this. Wilde therefore alludes to the interpretation that he was already a sinner. Echoing this, Joyce indicates early on Stephen's affinity with sin. From his first introduction with “a terrible and strange sin,” he instinctively “was delighted to think of it.” This indicates that sin is a fundamental part of his human nature, as Stephen's initial reaction is love. Both characters' affinity with sin can be explained in part by the predominance of mythology in the works of Joyce and Wilde. The most obvious reference embodied in the name Stephen Dedalus is St Stephen; the martyr stoned to death for his belief in the Christian faith. By using this name, it is conclusive proof that Stephen is destined for a similar life, composed of uncompromising faith free from sin. However, readers witness Stephen's attraction against religious life, notably when he discovers in his soul a "cold, cruel and loveless desire" represented by harsh alliterations contrasted with hisses establishing the emptiness of Étienne. Murphy argues that "for Stephen, religious lifebecomes in fact a sin against life.” However, this stems from the idea that religion suppresses his artistic desires, but from a religious perspective he still commits a sin by inadvertently denying God. Joyce also uses it to symbolize the confinement of an Irish Catholic upbringing. Contrary to myth, Stephen is depicted as a sinner and not a martyr, and unjustly punished for not following the strict Jesuit life. Comparably, in Greek mythology, Daedalus was a craftsman who built the labyrinth. By wanting to pursue an artistic life, he once again denies Catholicism, committing a sin. Furthermore, Daedalus being a demigod, he once again denies the existence of a Christian god. This means that Stephen, because of his name, is predestined to be enveloped by sin. Through this, it is therefore undeniable that it is fundamental to him. Although Wilde also uses Greek mythology, he develops Dorian's affliction through the influence of other characters. The temptation of a “Hellenic ideal” of making “every dream come true” is appealing to an otherwise sheltered Dorian Gray. Henry's words suddenly give Dorian a "color of fire." He is shaped into a sinner by ideas of infinite and unscathed beauty derived from Henry's images of classical Greek culture. In Dorian, Greece gives free rein to its secret desires. Sin therefore only becomes fundamental to him when Henry gives the impression that Dorian's life is inferior to the possibility of a "more beautiful and richer" life. Additionally, Henry calls Dorian "Narcissus", a hunter from Greek mythology known for falling in love with his own reflection and committing suicide upon realizing his love would never materialize. When it comes to the seven deadly sins, Dorian is the embodiment of pride which is not only a sin detrimental to himself but also to those around him. Dorian's first sin, of which readers are aware, has very little effect on himself other than feeding his already growing narcissism. The most affected is Sibyl Vane; by rejecting it, she commits suicide. Dorian's portrait changes to reveal "a touch of cruelty in the mouth" embodying his sin. Upon discovering that Sibyl committed suicide out of love for him, he feels that she was "selfish" because he is partially involved. His passive approach to the rejection and death of a girl he supposedly loved is sufficient evidence of a character shrouded in sin. Despite this, feminist readers would argue that Sibyl's suicide was the result of poor characterization of a woman in Victorian society on Wilde's behalf, perhaps because his three sisters and his wife predeceased him, by opposition to any sin committed by Dorian. Sybil's naivety describing Dorian as "Prince Charming" and believing that "love is more than money" suggests that women rely solely on the love of men and a romanticized idea of ​​love to get by. flourish. Despite this, its virtuous representation still arouses the sympathy of readers. In turn, Wilde's antagonist is shown to have an innate capacity to sin due to his callous treatment of him. Additionally, suicide was condemned by the Church as "an unpardonable sin" and was illegal in England. So, because of Dorian's first sin, Sibyl is forced to sin. Dorian's malignant personality also forces Alan Campbell to dispose of the murdered body of Basil Hallward. Alan "absolutely refuses" Dorian's request until Gray threatens him with a letter containing information that could torment Campbell or someone he cares about. Forcing him to sin with a promise of torment if he does not comply. Dorian's letter was also "already written." He hadpremeditated Alan's refusal and intended to threaten him. Wilde urges readers to recognize that there is no longer any way for Dorian to seek redemption; sin is fundamental to him. He avoided threatening someone he was "once friends with", and the only positive influence on him, he murdered, claiming Basil "made him suffer". The implication being that Basil made him sin when creating the portrait, but this is simply evidence of his lack of responsibility for his own crimes. Basil only made Dorian "suffer" by reminding him that he had "done enough wrong" in his life, suggesting that he pray to repent of it. Ultimately, Basil bears the consequences of Dorian's sins and feels unjustified guilt because he "worshipped him too much." Dorian becomes a religious figure through the “worship” he receives, deciding who lives and dies around him; they bear the consequences of his transgressions.Arguably, Wilde's novel therefore criticizes the upper classes for their decadence and sinful behavior, with Dorian's only consequence being his accidental suicide, years after he began committing his atrocities. However, Dorian can be seen as a victim of Lord Henry. Henry's fascination with shaping what he believes to be "the real Dorian Gray" who imagines that his beauty "is a form of genius" enables Dorian's narcissism. To preserve this love of himself, he is driven to murder Basil; the only living reminder of what he has become. Finally, he believes that by getting rid of the portrait, “he would be free” of all guilt. This ultimately kills him. The true sinner, Lord Henry, remains unscathed by his sins. Apart from Dorian's suicide, the characters most affected by Henry's influence on Dorian are the most humble (Basil) and from working-class backgrounds (Sibyl). Thus, making Henry more malicious by persecuting those who least deserve it. Wilde seems to suggest that sin is a fundamental part of human nature, if you are of the upper classes. From a Marxist perspective, this suits the narrative that the bourgeoisie (embodied by Henry and Dorian) remains unscathed by its lack of morality. The paradigm of Victorian society that the working classes viewed them as more immoral than its elites. Forcing those like Sybil and Alan to bear the stigma of sinners, as opposed to true reprobates. Although Wilde may be right that the aristocracy is more sinful, Stephen Dedalus, in “A Portrait…”, does not sin until his family's finances begin. fail. Their family is forced to move to a "bare and joyless" house in Dublin, which negatively affects their societal status, much like Joyce's unstable home during the era of British rule in Ireland. It is this movement that arouses new feelings of desire in Stephen, illustrating that sin was not simply limited to the upper classes; instead, they thrive in unfavorable socio-economic climates. Finances declined further, sending Stephen and his father to Cork to sell land. It is here that Stephen sees the word “fetus” carved into a desk at his father’s old school, evoking the student who wrote and made fun of his own handiwork. He finds in the outside world a trace of what he thought was a "brutal and individual disease" of his own mind. Knowing that lust is not limited to him, Stephen hates himself for "his own crazy, dirty orgies"; he is exposed to the control that lust exercises over him. Arguably, Stephen has already sinned by simply having these biblical thoughts: “Whoever looks at a woman with lust has already committed adultery with her in his heart.” However, fora modern audience, this is hardly a sin because Stephen has not yet acted on his desires. and feels a deep hatred towards them. Revealing, despite this, that sin is fundamental to human nature, as the students and Stephen were captivated by desire whether or not they acted on it. Joyce demonstrates that Stephen is encapsulated by nothing other than his suppressed desire: “Nothing moved him or spoke to him about the real world,” only the “shouts of fury within him.” A metaphor which proves that sin has completely taken hold of him. However, Stephen's sins arguably only harm himself. As he begins to sin, readers feel this is justified. They witnessed his descent into sin and understand his lack of religious feeling. By writing in a stream of consciousness, Joyce presents an intimate look into Stephen's way of thinking. Particularly after he was unfairly punished by a priest at school, resulting in "burning tears of pain"; at this point his deep respect for the Catholic process is still evident as he doesn't want this priest to think he is "proud", but this is where his distancing from religion arguably begins as Stephen witnesses the corruption within Catholicism. At this point, sin is not a fundamental part of him as he longs to be accepted by the Jesuits at his school, but these wrongdoings on the part of the priests drive him to sin. Religion therefore becomes a catalyst for Stephen's sin. Yet it is Stephen who primarily bears the burden of his sins. After Father Arnall's speech at the retreat, he felt the weight of his soul "fattening and congealing into gross fat"; the plosive and guttural sounds produce a harshness in Stephen's language, showing his soul engulfed by sin and the weight of responsibility he feels for it. In direct opposition to Dorian, Stephen feels immense guilt for every sin he has committed and fears the possible damnation that awaits him. In another way, his sins affect others more than himself. He aspires to “force another being to sin with him,” consciously compelling the prostitutes to do so. However, Joyce indicates that Stephen "surrenders himself" to the person he is sleeping with; they hold control and he is captive to them as well as his own desire. Their sins were not the result of Stephen but of themselves. Wilde also writes about Dorian's affiliation with prostitutes. Although it is difficult to call this a sin since these women willingly sleep with Dorian and Stephen, Dorian makes them "afraid" of him. A woman begs James Vane “not to give me over to him.” Dorian's sinful greed inclines him to hold absolute power to the extent that these women fear what might happen if they become his captives. This attribute can only be fundamental to him since he already holds societal power through wealth and beauty, but this is far from enough. He craves physical power over people, and this is most easily found by paying for sex. This power is prevalent throughout much of the novel until the final chapter. Without knowing it, Dorian commits suicide by stabbing his painting. Generally, suicide gives people ultimate control over themselves, as they alone choose to end their lives, but Wilde deprives Dorian of this choice because he only believes that he was getting rid of the portrait to "be at peace ". When he has power, he stops short of confessing, saying that people would call him "crazy" and states that Basil Hallward's death "seemed very little to him". It is significant that when power is finally taken away from him, he receives punishment for his sins. We can therefore ask ourselves the following question: if Dorian Gray had continued to have power,.