The Picture of Dorian Gray Mood Analysis

Pay attention to what the prompt is asking you to analyze. Thoroughly annotate the passage below, noting Wilde’s use of diction, syntax, and imagery. Then synthesize these notes into a one-page, typed analysis that explains how Wilde uses these resources of language to develop mood.

How do you organize an analysis? TOP-DOWN

Instead of searching for a single word or a list of words that can capture all the nuances of a given passage, use specific diction to identify the mood of a specific moment. Rarely will the mood (or tone) be the same throughout a piece. Examples - Oscar Wilde creates a heavy, unstable, entrapped, wretched mood. + The comparison of mist to “ghostly sails” creates an ominous mood by suggesting an other-worldly dimension haunted by spirits of the dead. + As Dorian’s wariness increases with a quickened pace and glances over his shoulder, Wilde builds dramatic tension. (Note here that the mood has shifted from “ominous” to “tense.”)

Word choice does matter: while you don’t want to inflate your language unnecessarily, you do want to use the most apt diction. Example Use the words “nightmarish,” “eerie,” or “haunting” instead of “spooky” or “creepy.”

Go beyond simply asserting that a word or an image contributes to mood; explain fully how that word or image conveys the mood. Examples - The image of mist creates an eerie mood.   + Wilde likens the buildings to “black masts of ships” wreathed in white mist that gives the masts their “ghostly sails.” Mist has a connotation of obscurity; it’s often used to hide or cover actions beneath its blanket.

Don’t confuse the character’s disposition or state of mind with the mood of the passage. Remember, mood is the outgrowth of setting. Examples - The mood becomes paranoid when Dorian “peered around.”   + Dorian’s apprehension is clear when he peers around, quickens his step, and looks over his shoulder. These nervous actions contribute to the nightmarish quality of the scene. [Note here how the character’s mood reflects or contributes to--but is not synonymous with—the mood of the scene.]

Avoid discussing the reader. Instead stay focused on the passage itself. Examples - Oscar Wilde appeals to the reader’s senses. Reading the vivid diction and graphic description, the reader can actually see the “fly-blown mirror” and feel the slimy “pavement.”   - The words “walked quickly and he hurried on towards the left, glancing back now and then to see if he was being followed” show the reader that Dorian is becoming paranoid.

Instead of inserting entire sentences without commentary, incorporate carefully selected words or phrases into your own syntax. Examples - The people inside the filthy room provide a contrast to the city people. “The door opened quietly, and he went in without saying a word to the squat misshapen figure that flattened itself into the shadow as he passed.”   + Also, the inhabitants are “squat” and “misshapen,” demonstrating how the district is a distortion of “higher” society. The people are “haggard,” sprawled about the place in a “tawdrily-painted bar”-- a stark contrast to the refined, polished society.

Instead of citing long lists of words or images out of context, zero in on one or two key words or images and discuss their effect fully. Example - Wilde uses images like dark lane, slimy pavement, squat misshapen figure, gusty wind, and the tawdrily-painted bar to show how dark and dismal this place is.  

Avoid second person. Examples - Wilde uses short sentences with a lot of punctuation to make you feel like you’re in a panic.   + Wilde uses short sentences interrupted by several commas to quicken the pace which, in turn, intensifies the tension. (But, avoid talking about punctuation. Instead, describe the syntax.)

(Are his words no longer effective?) . Use present tense verbs, not past tense, for analysis. Examples - Oscar Wilde’s language was effective in creating an eerie mood. (Are his words no longer effective?)   - The description did not focus exclusively on Dorian himself. + By ending the passage with a man whimpering, he leaves the scene on a lingering note of terror and utter despair.

Summary (With a Few Extras Thrown In) Do not list the stylistic elements you will discuss at the beginning of your analysis. Since the prompt asks you to analyze certain aspects of language (e.g. diction, syntax, selection of detail, imagery, etc.), a reader is aware of what you will be discussing. There is no need to alert him / her to this. Avoid defining a “blanket” mood (or tone, etc.) of the entire passage at the beginning of your analysis. Instead, focus on identifying the way that mood shifts throughout the passage. Nobody expects you to be able to identify a specific mood that applies to an entire passage. When identifying mood, be precise. Avoid “generic” words like shady, scary, etc. Use the most exact word possible.

Summary (With a Few Extras Thrown In) If you discuss Dorian’s mood or the cab driver’s mood, be sure to explain how the character’s mood helps to create the mood of the passage. Do not simply discuss a character’s mood, as this is not necessarily the same as the mood of the passage.  Avoid giving lists of words / examples from the passage. Instead, talk about specific examples one at a time, focusing on how each helps to create mood. Stay focused on what the prompt asks you to analyze. It is easy to begin discussing symbolism or other more “abstract” concepts, but you need to only address the specific aspect of the passage that the prompt asks you to focus on.

Summary (With a Few Extras Thrown In) Instead of identifying an example and stating that it creates a specific mood, be sure to clearly explain how the example creates that mood. When discussing syntax, short, choppy sentences increase the pace of the passage. Long, drawn-out sentences slow reading down. Also, do not discuss the punctuation of an example (“a sentence with a lot of commas”); rather, address the length and amount of detail in the sentence.

Finally. . . Proofread and correct mechanical errors. Especially distracting are run-ons and errors in pronoun-antecedent or subject- verb agreement.