Words of Qualitative Evaluation of a Person in Oscar Wilde's Novel "The Picture of Dorian Gray"

In the context of this work, the thematic group “qualitative evaluation of a person” will be considered. The main material of the study was 96 lexical units, selected by continuous sampling from the work by Oscar Wilde, accompanied by definitions and stylistic marks using special dictionaries. Thematic group “qualitative evaluation of a person” can be divided into the following semantic subgroups:

1) Evaluation of the physical and external qualities of a person or a literary hero;

2) Evaluation of the moral qualities of a person or literary hero;

3) Evaluation of the intellectual qualities of a person or literary hero.

It should be emphasized that the boundary between moral and intellectual evaluation is not clear enough and requires special consideration.

Since the novel “The Picture of Dorian Gray” is primarily a novel about the concept of aestheticism and about a person endowed with an incredible but destructive beauty, the main lexical component will be the units expressing the external qualities of a literary hero. In the context of this category, the opposition of units with a positively-estimated value (Beauty) and Units with a negative-estimated or pejorative value (Ugliness) will be considered. We will begin with the units expressing a positive-evaluative meaning with respect to the external qualities of the literary hero. For example, the adjective “beautiful” - having an attractive quality that gives pleasure to those who experience it or think about it. It is used in the novel 45 times. We can distinguish several contexts of use:

- In relation directly to the face and appearance of the character:

“She was an extraordinarily beautiful girl, Margaret Devereux, and made all the men frantic by running away with a penniless young fellow”. (p. 38)

“And Dorian Gray, with his beautiful eyes, looked down at her, and his chiselled lips curled in exquisite disdain.” (p. 133)

“You have a wonderfully beautiful face, Mr. Gray. You have. And beauty is a form of genius - is higher, indeed, than genius, as it needs no explanation.” (p. 39)

“With his beautiful face, and his beautiful soul, he was a thing to wonder at.” (p. 101)

In relation to the voice of the character:

“And he had such a beautiful voice.” (p. 36)

We can name other synonymous lexical units that express appeal, for example, attractive (used 3 times), pretty (used 12 times), good-looking (used 4 times), alluring (used 4 times), charming (used 26 times).

“I must confess that most of them are extremely pretty. And they dress well, too.” (p. 69)

“If he is like his mother, he must be a good-looking chap.” (p. 58)

“She had to remember that he was as dangerous as he was alluring.” (p. 74)

“Margaret Devereux was one of the most attractive creatures I ever saw.” (p. 60)

“You are too charming to go in for philanthropy, Mr. Gray--far too charming.” (p. 22)

In relation to the character's face, the following positive-qualitative adjectives are also used:

- Fair (“You don't look like him at all. He has a fair and beautiful face.”) (p. 82)

- Open (“He had an open, honest face. There were no dark secrets in that face.”) (p. 31)

- Bright (“What a bright and innocent face!”) (p. 59)

- Flowerlike (“Harry, imagine a girl, hardly seventeen years of age, with a little, flowerlike face.”) (p. 22)

In relation to the character's eyes, the following positive-qualitative adjectives are also used: curious (used 1 time), deep (used 2 times), frank (used 1 times), bright (used 3 times), languorous (used 2 times) thoughtful (used 1 time), wonderful (used 4 times).

- “He got the same curious eyes.” (p. 61)

- “Yes, he was certainly wonderfully handsome, with his finely curved scarlet lips, his frank blue eyes, his crisp gold hair.” (p. 17)

- “"You know you believe it all," said Lord Henry, looking at him with his dreamy languorous eyes.” (p. 45)

- “His eyes deep as the amethyst, and across them came a mist of tears.” (p. 91)

- “For nearly ten minutes he stood there, motionless, with parted lips and eyes strangely bright.” (p. 34)

- “And how charming he had been at dinner the night before, as with thoughtful eyes and lips parted in frightened pleasure.” (p. 27)

- “Dorian Gray leaped to his feet, with flushed cheeks and wonderful eyes.” (p. 13)

In relation to the character's voice, the following positive-qualitative adjectives are used: musical (used 6 times), languid (used 8 times), mellow (used 3 times), joyful (used 1 time), melodious (used 1 time), tender (used 2 times).

- “"And yet," continued Lord Henry, in his low, musical voice, and with that graceful wave of the hand that was always so characteristic of him.” (p. 43)

- There was something in his low languid voice that was absolutely fascinating.” (p. 85)

- And her voice--I never heard such a voice. It was very low at first, with deep mellow notes that seemed to fall singly upon one's ear.” (p. 33)

- Your joyful voice and the voice of Sibyl Vane are two things that I shall never forget.” (p. 27)

- “"Pleasure is the only thing worth having a theory about," he answered in his slow melodious voice.” (p. 121)

- “"Let us go, Basil," said Lord Henry with a strange tenderness in his voice, and the two young men passed out together.” (p. 99)

In contrast to the lexical units with a positive-evaluative component, as the book develops, a large number of units are used with a negative-evaluative sense in relation to the appearance of the characters. For example, the adjective «hideous» - offensive to the senses and especially to sight: exceedingly ugly. It used in the novel 38 times:

“He would become dreadful, hideous, and uncouth.” (p. 51)

“An exclamation of horror broke from the painter's lips as he saw in the dim light the hideous face on the canvas grinning at him.” (p. 18)

“Some day, when you are old and wrinkled and hideous, when thought has seared your forehead with its lines.” (p. 114)

There are also other lexical units expressing unattractiveness, for example, awful (used 14 times), ugly (used 9 times), appalling (used 2 times), horrible (used 29 times), dreadfull (used 33 times), gross (used 6 times), coarse (used 9 times).

“Look at the successful men in any of the learned professions. How perfectly awful they are!” (p. 79)

“He had told her once that he was wicked, and she had laughed at him and answered that wicked people were always very old and very ugly.” (p. 20)

“The terrible face showed the dark secrets of his life.” (p. 84)

“These common rough people, with their coarse faces and brutal gestures.” (p. 37)

“His face was old and ugly and yellow with disease. Only the rings on his fingers told them who he was.” (p. 54)

“"How sad it is! I shall grow old, and horrible, and dreadful.” (p. 42)

“"Ah! but you don't like being kissed, Jim," she cried. "You are an appalling old bear."” (p. 77)

In relation to the character's voice, the following negative-qualitative adjectives are used: husky (used 1 time), shrill (used 9 times), discordant (used 1 time), hoarse (used 6 times), hard (used 3 times), cold (used 4 times), harsh (used 1 time).

- “Romeo was a stout elderly gentleman, with corked eyebrows, a husky tragedy voice.” (p. 181)

- "I am afraid it is not Harry, Mr. Gray," answered a shrill voice.” (p. 80)

- “Some women were laughing in the pit. Their voices were horribly shrill and discordant. The sound of the popping of corks came from the bar.” (p. 71)

- “Women with hoarse voices and harsh laughter had called after him.” (p.86)

- "I am waiting, Basil," said the young man in a hard voice.” (p. 42)

- “The voice that spoke was cold and cruel. "You are mad, Dorian, or playing a part," muttered Hallward, frowning.” (p. 49)

Now we will focus on the lexical units with evaluative component expressing the moral qualities of a person or literary hero. Here the words and phrases with a positively-evaluative meaning and with a negative-evaluative meaning can also be highlighted.

Let us begin with the units expressing a positive-evaluative value with respect to the external moral qualities of the literary hero. For example, the adjective “good” is used 142 times in different contexts.

- Proper attitude to other people: “You must not think of anything but your acting. Mr. Isaacs has been very good to us, and we owe him money.” (p. 149)

“I think that you're probably a very good husband, but you like to hide your true feelings.” (p. 81)

"It is because I am going to be good to her," he answered, smiling. "I am a little changed already." (p. 101)

Skilled at doing or dealing with a specified thing: “We tell each other the most absurd stories with the most serious faces. My wife is very good at it--much better, in fact, than I am.” (p. 68)

“He has been good at everything for all his life.” (p. 239)

Possessing or displaying moral virtue: “Mr. Erskine was good and tireless man.

But he must be very good, and not lose his temper, or spend his money foolishly.” (p. 56)

Other lexical units expressing a positive-evaluative meaning in relation to the moral qualities of a literary hero include the following adjectives: honest (used 3 times), affectionate (used 2 times), unspoiled (used 4 times), loyal (used 7 times), responsible (used 2 times), consistent (used 3 times), exquisite (used 28 times), noble (used 8 times), kind (used 13 times), worthy (used 6 times), self-contained (used 2 times), moral (used 11 times), practical (used 5 times), unselfish (used 3 times), enthusiastic (used 2 times), self-conscious. Moreover, the following nouns are used: heroine, optimism, courage, curiosity, grace, forgiveness, generosity.

“He appeared so sincere, so honest, yet I could not hold any sympathy for him.” (p. 50)

“But you were simple, natural, and affectionate then. You were the most unspoiled creature in the whole world.” (p. 92)

“He was the sort of person who was very loyal.” (p. 54)

“He was brilliant, fantastic, responsible. He charmed his listeners out of themselves, and they followed his pipe, laughing.” (p. 83)

“You people who go in for being consistent have just as many moods as others have.” (p. 21)

“She had never seemed to me more exquisite. She had all the delicate grace of that Tanagra figurine that you have in your studio, Basil.” (p. 90)

“Any one you love must be marvellous, and any girl who has the effect you describe must be fine and noble.” (p. 61)

“But I am glad you don't think I am heartless. I am nothing but the kind man.” (p. 153)

“She is worthy of all your adoration, worthy of the adoration of the world.” (p. 95)

“Indeed, so far from being nervous, she was absolutely self-contained.” (p. 18)

“The life of moral man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.” (p. 93)

"Women are wonderfully practical," murmured Lord Henry, "much more practical than we are.” (p. 251)

“The marriage makes one unselfish. And unselfish people are good.” (p. 56)

“Finally you will be surrounded by enthusiastic people eager to grow in faith.” (p. 71)

“The pulse and passion of youth were in him, but he was becoming self-conscious.” (p. 98)

“It was delightful to watch him. With his beautiful face, and his beautiful soul, he was a thing to wonder at.” (p. 156)

In contrast to the lexical units with a positive-evaluative meaning, a large number of units with a negative-evaluative meaning are used in relation to the moral qualities of the literary hero can be named. First of all, we can name the adjective «bad», which is used 43 times in different contextual meanings:

“And now, Dorian, get up on the platform, and don't move about too much, or pay any attention to what Lord Henry says. He has a very bad influence over all his friends, with the single exception of myself.” (p. 98)

“Mercutio was almost as bad. He was played by the low-comedian, who had introduced gags of his own and was on most friendly terms with the pit.” (p. 50)

“Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again.” (p. 208)

“Dorian, deny them! Can't you see what I am going through? My God! don't tell me that you are bad, and corrupt, and shameful.” (p. 87)

“You fool! You should have killed him. He has lots of money, and he's as bad as bad.” (p. 56)

The other units include the following adjectives: boring (used 2 times), cruel (used 23 times), cynical (used 4 times), melodramatic (used 3 times), anxious (used 3 times), timid (used 5 times), mediocre (used 5 times), indifferent (used 11 times), vulgar (used 18 times), ignorant (used 2 times), and primitive (used 3 times). The nouns used are the following: carelessness (used 4 times), a Narcissus (used 3 times), misanthrope (used 4 times), jealousy (used 4 times), stupidity (used 4 times), immorality (used 8 times), mediocrity (used 5 times), selfishness (used 2 times), hypocrisy (used 3 times).

“He becomes obnoxious, repetitive, boring, tedious.” (p. 16)

“Don't be cruel to me, because I love you better than anything in the world. After all, it is only once that I have not pleased you.” (p. 71)

“Lord Henry had the charm of being very dangerous. But that was all. He was too clever and too cynical to be really fond of.” (p. 232)

“Sibyl Vane seemed to him to be absurdly melodramatic. Her tears and sobs annoyed him.” (p. 69)

“Dorian Gray grew pale as he watched her. He was puzzled and anxious.” (p. 87)

“That awful memory of woman! What a timid person she is! And what an utter intellectual stagnation it reveals!” (p. 206)

“Last night she was a great artist. This evening she is merely a commonplace mediocre actress.” (p. 84)

“You like every one; that is to say, you are indifferent to every one.” (p. 23)

“Don't squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life being ignorant, common, and vulgar.” (p. 178)

“.... The moment I met you I saw that you were quite ignorant of what you really are, of what you really might be.” (p. 156)

“I am afraid that women appreciate cruelty, downright cruelty, more than anything else. They are wonderfully primitive.” (p. 62)

“He was dominated by the carelessness of happiness, by the high indifference of joy.” (p. 90)

“Why, my dear Basil, he is a Narcissus, and you--well, of course you have an intellectual expression and all that.” (p. 23)

“He had absolutely nothing to do, almost died of ennui, and became a confirmed misanthrope.” (p. 197)

“She has been innocent, and the black hands of jealousy have crushed her reedlike throat. I have seen her in every age and in every costume.” (p. 138)

“They are more cunning than practical. When they make up their ledger, they balance stupidity by wealth, and vice by hypocrisy.” (p. 251)

“The masses feel that drunkenness, stupidity, and immorality should be their own special property, and that if any one of us makes an ass of himself, he is poaching on their preserves.” (p. 54)

“Fortunately for him she had on the other side Lord Faudel, a most intelligent middle-aged mediocrity, as bald as a ministerial statement in the House of Commons.” (p. 78)

“Through vanity he had spared her. In hypocrisy he had worn the mask of goodness. For curiosity's sake he had tried the denial of self. He recognized that now.” (p. 36)

We now turn to the lexical units with the evaluative component expressing the intellectual qualities of a person or literary hero. Here we can also highlight words and phrases with a positively-evaluative meaning and with a negative-evaluative meaning.

The most common lexical unit of a positive evalution of the character's intellectual qualities is the adjective «clever», which can also be found in the following combinations - clever+of, clever+at, etc. It is used 42 times.

In addition to that, the following units are used: intellectual (used 5 times), curious (used 8 times), genius (used 11 times), bright (used 4 times), skillful (used 2 times), creative (used 2 times), wise (used 5 times).

“But that was all. He was too clever and too cynical to be really fond of.” (p. 65)

“He was an extremely clever young man, though he had no real appreciation of the visible arts, and whatever little sense of the beauty of poetry he possessed he had gained entirely from Dorian.” (p. 238)

“His dominant intellectual passion was for science.” (p. 81)

“Yes, life had decided that for him--life, and his own infinite curiosity about life.” (p. 43)

“No, Harry, this is different. She's wonderful! Her name's Sybil Vane, and one day she'll be a very famous actress. She really is extraordinarily clever.” (p. 98)

“Never heard of her. No one has. People will some day, however. She is a genius.” (p. 271)

“Dorian is far too wise not to do foolish things now and then, my dear Basil.” (p. 233)

“I have not got one who is a fool. They are all men of some intellectual power, and consequently they all appreciate me.” (p. 32)

“I loved you because you were marvellous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art.” (p. 86)

“As the painter looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there.” (p. 34)

Far fewer units are used with a negative evaluative meaning. Among the most used units are the following six: brainless (used 3 times), shallow (used 12 times), stupid (used 8 times), fool (used 11 times), foolish (used 13 times), silly (used 9 times).

“He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence.” (p. 78)

“You are shallow and stupid. My God!” (p. 116)

“How mad I was to love you! What a fool I have been!” (p. 84)

“I suppose you think me awfully foolish about it?” (p. 235)

“This silly boy doesn't really want it, and I really do.” (p. 98)

The conducted analysis can be expressed in the form of the table below:



Words of qualitative evaluation
Ameliorative	Pejorative
Evaluation of the physical and external qualities	Evaluation of the moral qualities	Evaluation of the intellectual qualities	Evaluation of the physical and external qualities	Evaluation of the moral qualities	Evaluation of the intellectual qualities
General: Attractive, pretty, good-looking, alluring, charming. Face: Beautiful, fair, flowerlike. Voice: musical, languid, mellow, joyful, melodious, tender. Eyes: deep, frank, bright, languorous, thoughtful, wonderful.	Honest, affectionate, unspoiled, loyal, responsible, consistent, exquisite, noble, kind, worthy, self-contained, moral, practical, unselfish, enthusiastic.	Intellectual, curious, genius, bright, skillful, creative, wise.	General: hideous, awful, ugly, appalling, horrible, dreadful, gross, coarse. Voice: husky, shrill, discordant, hoarse, hard, cold, harsh	Boring, cruel, cynical, melodramatic, anxious, timid, mediocre, indifferent, vulgar, ignorant, primitive, carelessness, a Narcissus, misanthrope, jealousy, stupidity, immorality, selfishness, hypocrisy.	Brainless, shallow, stupid, fool/foolish, silly.



Conclusion

Based on the analysis conducted, we can state that the vocabulary, reflecting the overall positive or negative evaluation of a person, is heterogeneous in its composition. Its main part consists of nouns and adjectives, as well as their combination with some intensification adverbs. These lexical units can be divided into the following groups:

1) Evaluation of the physical and external qualities of a person or a literary hero;

2) Evaluation of the moral qualities of a person or literary hero;

3) Evaluation of the intellectual qualities of a person or literary hero.

In total, we considered 96 units. The first group was divided into units with a positive-evaluative meanings and units with a negative- evaluative meanings. The first subgroup consisted of 24 units, which accounted for 26% of the total number of units considered. The second subgroup consisted of 15 units, which accounted for 15% of the total number. Secondly, we considered lexical units expressing the evaluation of the moral qualities of a person or a literary hero. This group was also divided into two subgroups: with a positive evaluation and with a negative evaluation. The first subgroup consisted of 17 units, which accounted for 17.7% of the total number of units considered. The second subgroup consisted of 21 units, which accounted for 22% of the total number. The third group analyzed consisted of the units expressing the evaluation of the intellectual qualities of a person or a literary hero. This group appeared the smallest. 9 units were counted as the units with a positive-evaluation of intellectual properties, which amounted to only 9.3% of the total. The number of units with a negative evaluative meaning was 6 or 6.25% of the total amount.

Thus, the largest layer of lexical units with evaluative meaning was a group of units expressing a positive evaluation of the external and physical qualities of a literary hero. We attribute this to the fact that the novel “The Picture of Dorian Gray” is a work that focuses on the contrast between beauty and ugliness. In the very plot of the novel lies the main idea of aestheticism, which expressed itself in the absolute superiority of art and beauty over the real life. To express the ideas of aestheticism, the author of the novel used a large number of lexical units expressing a positive evaluation of the external and physical qualities of the literary hero. These units were used mainly in relation to the main character of the novel - Dorian Gray, as the main object of expression of Oscar Wilde's aesthetic principles.

Thus, we have achieved the following tasks: first of all, we considered the concept of evaluation paying particular attention to its qualitative aspect, as well as to relate these concepts with the category of emotionality. In addition to that, we analyzed the lexical units expressing a qualitative evaluation used in the text. Also, we identified the belonging of these units to one or another part of speech and examined the quantitative ratio of lexical units with an ameliorative or non-pejorative and pejorative evaluation in the context of the novel by O. Wilde.



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