The Picture of Dorian Gray by Oscar Wilde offers the reader a compelling lesson how how narcissism and hedonism lead to inevitable pain and suffering for both the pleasure-seeker and those whom he or she crosses in their lives.

The story opens as a conversation between an artist, Basil Hallward, and a minor English lord, Henry "Harry" Wotton. The subject of their conversation is Hallward's infatuation with a young, up-and-coming nobleman named Dorian Gray who, among other things, represents the ideal of male beauty and youthful innocence. Hallward has neared completion of what he considers a masterpiece—a portrait of the young Dorian Gray.

Both Hallward and Wotton perceive Dorian Gray as an "uncarved block." The "uncarved block" is a symbol in Taoism which indicates an individual who does not yet bear the stain of learning and civilization. Thus, Hallward sees Gray as embodying an artistic ideal and the potential to do unlimited good through his physical and emotional charms. Wotton, however, sees Gray as an interesting experiment in his "new hedonism" philosophy that argues life boils down to the pursuit of pleasure and the retention of youth and beauty.

As the story progresses, Wotton exerts an enormous amount of influence over the young Dorian Gray. The completion of Gray's portrait, as well as, the consistent praise Gray receives from his companions convinces him that he must preserve his physical beauty at all costs. Gray prays that his physical body might never see the slightest imperfection of age, while the painted Gray would age and bear the burden of any sinful behavior. What I found most compelling about this portion of the work is how narcissistic behavior is often encouraged and born from environmental factors. Gray was relatively unassuming and lacked any complete awareness of his physical charms. However, he soon became "hooked" on the constant hype from Hallward and Wotton and soon believed that, aside from his beauty, he possessed very little of worth. This obsession with physical qualities and constant adoration reminds me of our current social context wherein the young chase "likes" on platforms such as Instagram or Facebook that reinforce one's conception that they are uniquely endowed with beauty.

The rest of the plot unfolds predictably as Gray becomes consumed by his pursuit of pleasure. He ruins the lives of those he crosses paths with—many commit suicide, others are driven to drug use, alcoholism, or addiction. Women are besmirched by having the remotest contact with Gray. Like most behavioral addicts or substance abusers, though, the "high" that Gray receives from the pursuit of various "passions" requires evermore risky behavior. Meanwhile, he begins to suffer the mental toll of sin and guilt although his physical body remains perfect despite the passage of time.

The climax of the story occurs when Gray murders his former friend, Hallward, in a spat of emotional rage. From there, Gray descends into madness and self-absorption. In the end, even Gray's meager attempts to be "good" were mere imitations of the real thing—he was only pursuing the "good" in an effort to boost his own ego or reputation, not for the sake of being good. The final scene presents Gray hoping to reform his life and "start over." He will destroy the portrait that has caused him such grief and hopefully end his "deal with the devil." Even this act, though, Wilde presents as another manifestation of Gray's survival instincts. This final action, perhaps Gray's most magnanimous in the entire book, is still entirely motivated by selfish desire.

All in all, a very interesting thought piece on the logical results of hedonism and self-centered behavior.