【正文】 and side by side with Mr. Wilde’s Intentions (so he entitles his critical efforts) es a novel, certainly original, and affording the reader a fair opportunity of paring his practice as a creative artist with many a precept he has enounced as critic concerning it.If cynicism is only a pose of Henry, then Henry is simply a mask of Wilde, a man of outward cynicism but inward sincerity, with the latter idiosyncrasy latent in Basil the painter. As the mouthpiece of Wilde, Henry leads no actual life of himself。s aestheticism is still a morally engaged one. He firmly resists the society which seemed intent on debasing the imagination and inhibiting individual selfdevelopment with moral restricts. He is sick of the hypocritical moral standards of Victorian upper class and opposes the artwork created for political or religious purposes. However, Wilde’s standpoint on moral and art cannot be summarized by the principles he stated in his critical essays. In his rebellion to the orthodoxy moral control, he can not help going to another extreme at times, and find it hard to make his argument consistent in his writing practice. He more or less rectifies his radical judgement about the relation between art and moral in his literary works. He adopts the masks of different roles in his artwork to air his various thoughts and display his multidimensional and ambiguous opinions. So if we judge his views on morality only from his critical thinking without analyzing, it will inevitably run the risk of being partial. In the following analysis, I will interpret the moral messages implied in his fairy tales, novel and social edies which are representative of his moral views.In Dorian Gray he is true certainly, on the whole, to the aesthetic philosophy of his Intentions。 What’s more, this genius also had created so many beauties, not for himself only, but for us, for the whole society. Lord Henry used to say that emotion was the obstruction for pursuing pleasure, especially organic pleasure. So Dorian’s efficient way to get over sorrow was to forget, forget the past. The second day after his first lover, Sibyl’s death, Dorian referred that death the past. Heartless Dorian became what he himself said, ‘Like the painting of a sorrow, A face without a heart.’ from Hamlet. (Wilde, 1994:170) These words must came from someone who had too much sorrow, suffering too much. Actually, when we were sad, we would have this kind of thought too. Sensitive as Wilde, would be hurt by, be sad about too many things, so he needed a way to deal with. Dorian’s selfdestruction reveals Wilde’s moral tendency distinctly. However, Wilde himself should shoulder responsibility to some extent. Except for the selfdestruction of Dorian at the end of the story, Wilde does not specify his own moral leanings conspicuously as the contemporary audience expects. Moreover, Dorian’s evil conducts described in detailed context seems reasonable and justifiable to some extent. It seems that the writer has sympathy for Dorian’s wrongdoings between the lines occasionally. And Dorian’s constant search Dorian Gray was Wilde’s dream, a dream partly came true. They shared the same sorrowful ending, just as other geniuses. 　　If, say, Dorian Gray is the embodiment of beauty in the story, then it is Basil Hallward the painter who converts Dorian’s worldly existence into a heightened sphere of art. In Basil’s appreciation of beauty and art, top priority is given to his sensibility rather than sense and reason. When he first met Dorian Gray, he gives a delicate and passionate description of the psychological change he undergoes “a curious sensation of terror came over me… it would absorb my whole nature, my whole soul, my very art itself”. (ibid: 8) And in the same chapter, he made a confession to Lord Henry about the influence of Dorian’s beauty upon his art as “unconsciously he defines for me the lines of a fresh school, a school that is … and have invented a realism that is vulgar and ideality that is void”. Here the effect of sensibility is heightened to an extent to which it can even penetrate one’s nature and soul while realism is despised as being vulgar. Just as Basil’s extravagant panegyrics on Dorian’s beauty is a reflection of his emphasis upon sensibility in artistic creation, which could be further proved by his refusal to paint for somebody else despite the huge price offered to him just because “there was something in the shape of his fingers that I hated”. The description serves as an indicator of the artist’s preference of sensibility to rationalism in his pursuit of art, which is in accordance with Wilde’s theory of “there is no such thing as a moral or an immoral book. Books are well written, or badly written. ”. The Picture of Dorian Gray is not only a picture in which Wilde’s aestheticism is faithfully painted, but also a picture that delineates his inner world. The novel in effect integrates different aspects of Wilde’s social and critical thinking. This is clear in Dorian the hero, who exists both as a picture and as human. Chapter 3Wilde’s Philosophy on Morality Aestheticism Embodied in Wilde’s WorkIn the novel that is tinged with mythical color, Dorian, Basil and Henry are all aesthetes respectively representing Oscar Wilde’s aestheticism in their own way. Typical of aesthetical style expression, Wilde attaches such “split personality” on the three main characters, thus making the novel a strange one, a partly supernatural tale in which the characters are not individuals but symbols that move in a shadowy world of wit and terror. It is like a receptacle, where various Victorian art movements coexist, collide, and finally are personified into the male characters, each one corresponding to different stages in the development of Victorian human nature. In Dorian Gray he is true certainly, on the whole, to the aesthetic philosophy of his Intentions。 women, because they are curious