The Sphinx Without A Secret

Wilde’s writing is a reflection of art for art’s sake (l’art pour l’art) and is indeed a depiction of the inner qualities of beauty that exists within both himself and the life of the text in which we see the image of the woman as being representative of Bohemian defiance. She is indeed, a metaphor of ‘Art for art’s sake’ as she is – the speechless mystery of Mona Lisa reaching out from the framed canvas, the yellow brougham, the little silver-clasped locket, arousing a curious sense of intrigue through the ages. We never quite reach the end. There is no conclusion to the reality of The Sphinx Without a Secret beyond the fact that she exists. She is pleasure to be pursued for no other reason that she is. She is the image of perpetual beauty- a metaphor of the perpetual chase that leaves us desiring (to know) more (of her).
It is in this moment in which the ‘interval is expanded’ that Murchison comes face to face with the woman- his reflection in the other, thus furthering the inherent ability to extend ones self beyond the limitations, beyond the boundaries, absorbing and being absorbed by, the marginal, the transgressive, the subversive other that needs no justification, in the freeing of the self from dominant ways of thinking and being, from dependency on dominant ideologies that would otherwise render subcultures powerless. Thus the story crosses over from the unknown to the known, from fantasy to reality, and as they meet the skillfully crafted story becomes a unified image –the metaphor of - ‘art for art’s sake’.
The familiar tones shared by the youthful countenance of Dorian Gray, nearly murdered on the canvas, and the shades of the immortalized Gioconda reflected in the face in the little silver-clasped morocco-case linked by the selfless beauty of Wilde’s style.

Wow, ErotiKa, I do not think anyone else has spoken more truth about Oscar Wilde's The Picture of Dorian Gray. In a way, the portrait does resemble much of the reverence people hold for the Sphinx, Mona Lisa, and, one could say, the remains of the Seven Ancient Wonders of the World. The novel's symbolism speaks so loudly, in fact, that I think this seems the reason so many readers love it; other novels, both classic and contemporary, share such an analogy, but none so strong that astounds the reader, as he/she reviews the plot even years after reading it.
I wonder, however: let one pretend that the Sphinx and/or the Leonardo DaVinci's Mona Lisa has perception and consciousness, similar to the character Dorian Gray (this takes a big imagination, I know). Would they, too, boast and swell with pride, engaging in numerous Hedonistic acts, and corrupting the minds of others with phenomenon, if given the chance? This analogy, of course, sounds like something that could never occur, but, though the two pieces of art have dilapidated over time, they continue to receive their well-deserved reverence, as, I think, Oscar Wilde's novel will, too.

Woooww! Mono! Great to read your response (which I have just now seen). I am going to think about that which you have written. Thank you. :) The Best, ErotiKa.