Even though the author of Dorian Gray preached aestheticism as the ultimate goal of arts, his work does not converge to that conclusion.
Oscar Wilde, along with other artists belonging to the movement, claimed to believe art is done for art's sake. That, behind books, pictures and music, there shouldn't be a deeper meaning, a lesson to be taught and learned, any political positioning to defend or attack. Art was, thus, only supposed to be beautiful.
However, Wilde's character Dorian finds himself sinking in life for his lack of moral. Concerned only about his own youth and beauty, Dorian is incapable of loving and connecting to another human being. Consequently, everyone around him suffers and he becomes a dark and lonely soul, whose sins and real age are apparent in a picture of him painted by a friend.
The words from stanza VI, "And that imperial palace whence he came" have the following effect on the tone of the poem:
A) The palace represents a child's idyllic perspective on life, setting a melancholy tone.
William Wordsworth describes how miserable we grow to be as we get older. The palace he talks about is how a child sees life: pure, joyful, always exciting. However, life itself takes that palace away from us as we experience life in its naked entirety, with all the setbacks, sorrow, pain and misery. The author believes we all come from God, and that we are born with the wonders of Heaven floating above us. Losing such eagerness to live and smile is a melancholic perspective. That is why Christ says in the New Testament that in order to enter the Kingdom of Heaven, one must be like a child.
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Answer: third-person omniscient
Explanation: In the third person point of view, the narrator is someone outside the story, who frequently uses pronouns, like 'he,' 'she,' and 'they,' to describe the characters.
The third-person omniscient point of view is a method of storytelling in which the narrator knows the thoughts and feelings of all of the characters in the story. The third-person is not the same as the third-person limited, a point of voice that adheres closely to one character's perspective, usually the main character's.
