Dune: Philosophy in Science Fiction

The focus of Dune saga is on the ill-effects of hero worship. Frank Herbert warned his readers about the life altering consequences of granting too much power in the hands of a person who refrains to be questioned by his followers. The character arc of Paul Atreides depicts a moral dilemma. It also shows how power and aesthetics play a vital role when one is justifying actions, character and intent.

Dilemma of morality in the character arc of Paul Atreides

Dune Part Two shows how any person would react when thrown into the events where morals and ethics clash. Dune Part Two is about the creation of the antihero and his blind hero worship. It is important because it breaks down and effectively depicts the stages in which even a humble and good-hearted person can degenerate. Surrounding around such person has big role in it.

The focus of Dune saga is on the ill-effects of hero worship. Frank Herbert warned the readers of Dune about the life altering consequences of granting too much power in the hands of a person who refrains to be questioned by his followers. Superficially, Dune feels like a story where Bene Gesserit – a low lying powerful sisterhood planting an extremely powerful but manipulable Messiah to control the galaxy and how this Messiah ruins that plan. Deep down, Dune successfully amalgamates many philosophical, psychological concepts like Existentialism, Hero worship/ herd mentality, confirmation bias, free will and determinism.

Denis Villeneuve’s Dune Part Two has successfully translated the vision of Frank Herbert’s 1965 Sci-Fi which is more relevant than anything in the current times of 21st century. In Dune Part Two you see the transition of a young, humble, calm boy into an aggressive, extremely powerful leader – a leader who is worshiped like the God by his followers. As a fan of Sci-Fi movies, I would say Denis Villeneuve’s Dune movies have made justice with what the source material wanted to convey. (Historically, Dune series is known to be one of the most difficult materials to adapt into visual media)

The discussion hereon is not a movie review rather it is about how some fantastic philosophical, psychological, spiritual, and political ideas are brought together to create a more relevant story which is purely fictional. Despite being a fiction, it successfully depicts some important real-life scenarios and dilemmas we face in our very real lives. This all is credited to Frank Herbert and Denis Villeneuve’s vision.

There will be heavy spoilers for Dune Part Two hereon!!!

After watching Dune Part Two it is obvious that it is all about how an antihero is created. There is a moment in the end when you will lose the sympathy for Paul’s character because of the choices he makes and it is intentional. The movie gives us multiple viewpoints to justify why Paul Atreides becomes who he is. Obviously, his antihero arc creates a deep void in our heart. When I started to understand the narrative from Paul’s perspective, I stumbled upon some of the important ideas we use to justify our actions, decisions.

Boundaries of Right or Wrong – What is Moral? What is Ethical?

Let us understand the stages in which Paul is always rejecting the leadership – the prophecy of Messiah he is offered every time.

Rejection 1 – Paul has not demonstrated any grand act yet. He lacks clarity, vision.

Right from the beginning, Paul knows what it means to become the Lisan al-Gaib – the Messiah. You will see him rejecting the concept of becoming the prophesized leader. In Dune Part One you will see that he asks Leto Atreides, his father – What if he does not want to be the leader, the future of house Atreides? In response, Paul understands from Duke Leto that leadership is not a personal choice and when there will be a moment in which people will choose him as their leader and he will have to answer that call. The fear of leadership in Paul here is created due to very superficial simulation of future possibilities. He hasn’t even landed in Arrakis – the desert Planet. Here, Paul is just a well behaved, properly trained royalty who hasn’t tasted the reality of life yet. He theoretically understands the burden of leadership, the burden of the expectations of the people and that why humbly rejects it – as it is the ‘right’ thing to do. Understand that Paul’s rejection in this instance is because he doesn’t consider himself worthy. It is unethical for him to accept leadership which is granted just from the birthright. Understand that prophecy of Messiah is not apparent here, this is the leadership of his House.

Rejection 2 – The prophecy is just a clever plan. There is clarity on what and how events will happen but no clarity on what will cause them.

When Paul lands with his mother Lady Jessica on Arrakis he looks at the local Fremen people chanting his name as the one who was promised to free them from this exploitation of the foreigners – the Harkonnens for the precious Spice Mélange. Here, Paul understands from his mother that the religious Bene Gesserit sisterhood has planted a very meticulous storyline – a prophecy to ease out their path on Arrakis. The knowledge of ‘the prophecy’ being just a clever plan of Bene Gesserit sisterhood consoles Paul that he will always have the choice to reject the future responsibility of leadership. This rejection of leadership is due to understanding of the underlying truth and how hopeless people are getting fooled. Utilizing such false knowledge for self-benefit makes Paul uncomfortable.

Rejection 3 – Paul has clarity but doesn’t want to take the advantage of the Fremen Faith

After the death of Leto Atreides, Paul escapes to Fremen territory with Lady Jessica. Fremen accept him as he shows his skills in a fair fight. From this moment his goal is to survive with Femen’s to acquire the ‘Desert Power’ as desired by his father Leto Atreides. He still despises the Bene Gesserit Propaganda. He knows he will be fooling the Fremen by following the said prophecy. It is not ethical to utilize others’ faith for the personal benefit. That is why Paul is just trying to learn the ways of Fremen to avenge his father’s unjust murder orchestrated by the Emperor through House Harkonnen.

There is a discussion between Lady Jessica (who is now Reverand Mother) with Paul where she says that the prophecy has given Fremen people something to hope for and to fight for. This is the exact moment when Paul actively and aggressively rejects what she says.

Paul – It’s not prophecy. 
It’s a story that you keep telling.
It’s not their story, it’s yours.
They deserve to be led by one of their own.

His rejection to leadership here is because it is unethical to play with other people’s faith.

Rejection 4 – Paul loves Chani. He knows the moment he accepts ‘the prophecy’ he will lose her.

There is a scene where Chani tells Paul that the Fedaykin worship him now, they count his victories. Chani (who doesn’t believe in the prophecy) warns him that people have already started worshiping him and this will not end well. To counter Chani’s fear Paul positively clarifies that he is not the Messiah and will always be a Fremen warrior – the Fedaykin. Paul mentions several times to Chani that he will love her as long as he breaths. As the prophecy goes, he should reserve his hand for the most strategic alliance which is with the Princess Irulan – the daughter of Emperor. Here, the rejection is due to the love he has for Chani.  

Rejection 5 – Paul knows that while becoming the Mahdi, he will lose his comfortable connect with Fremen. He will have blood of billions on his hands.

Upon the encounter with Gurney Halleck, Paul clarifies certain important things. Gurney is surprised that even after having following of 200 people and millions more, why isn’t Paul taking advantage of the prophecy to avenge the death of his father? Paul tells Gurney that the moment he becomes the Messiah, he no longer be friends with Fremen, because even his Fremen friends will worship him as the God – Lisan al-Gaib. He considers it unethical to utilize the innocent beliefs and trust of the people for him for his personal benefit.

Gurney Halleck – With thousands of these guys you can take control of the entire planet. It’s your father’s dream. What you are afraid of?
Paul – Worship, Gurney. They used to be friends, now they are followers. 

Gurney tells Paul that he holds the ability to avenge his father by accepting the prophecy. Then Paul clarifies that the moment he becomes the Messiah, the galaxy will be thrown into the holy war leading to deaths of billions of people. Paul doesn’t want their blood on his hand.

The rejection of prophecy here is due to fear of losing personal connect with the people who define and respect you. It is also because Paul wants to preserve his character.

At the end of the Dune Part Two, you know what exactly happened!

Are Morality and Ethics Objective?

So, even after having at least 5 concrete reasons to reject the prophecy, why does Paul decide to become the ruthless Messiah, Lisan al-Gaib? What made him lose all the ethical and moral standards he had preserved in him?

Simple and superficial answer to these questions is – the circumstances!

Deep down the answer is totally different. Let us understand what are morals and ethics

Morality is the sense of judging a decision, event or an action being proper or improper. Morality is the sense of what is right and what is wrong.

Ethics are detailed down, systematic small-small actions which show what doing good is. The opposite act of doing a good act will be doing a bad act.  

Morality are the universal standards for right and wrong and ethics are the rules to implement this morality in daily practice.

Question – How is it decided whether certain act is good or bad?

This is where the trick starts.

The base line to decide morality or ethics is always changing. It is like deciding ‘What level of big picture are you talking about?’

Frank Herbert was very intentional while creating such moral ethical dilemma through Dune series. As you are introduced to Paul right from the start of his journey, from a kid to the Messiah, you know why he did what he did. His Great House was betrayed by the Emperor and the Harkonnens. They tried to kill him, his pregnant mother, and his people. The responsibility to handle Arrakis was forced down on his house by the Emperor. He had every reason to kill his enemies. Whatever act Paul did to avenge his father/ his house was right and justified.

Does that mean that “whatever” and “everything” that he did and would do is right?

The death of billions of people he would cause (as seen in his visions) will it be justified?

Many Fremens devoted and died to Paul’s cause, will their deaths be justified?

You will see that the moment you shift from Paul’s personal baseline of morality to the baseline of the ‘good for all’, you will appreciate why the same Paul – the Messiah – Lisan al-Gaib – the Savior is also ‘the destroyer’ for remaining others. Thus, it is important to define that baseline while judging his actions.

Philosophy of Morality

There are two ideas on how to decide this baseline for morality of given things.

Immanuel Kant says the duty assigned to you; your obligation decides the morality – The duty-based definition of morality.

Immanuel Kant

John Stuart Mill says that whatever is good for most of all should be good for one – The utilitarian definition of morality.

John Stuart Mill

Lawrence Kohlberg’s stages of moral development give us a structured view about how the baseline to justify morality of anything works. This single image deserves a detailed explanation but it is self explanatory.

Morality needs understanding of “the big picture”

In Dune’s case, it was Paul’s duty to avenge his father’s unjust death hence he was right. Whereas letting his followers kill billions of people belonging to the houses who were not accepting his ascension as the Emperor was wrong – immoral. He commanded to destroy such opposing Great Houses just to establish respect for him out of fear. The intent was not pure.

For Fremen, the act of destroying everyone opposing their leader is way better and important than living a life of slave. At the same time same Fremen killing billions in the name of their Mahdi is bad.

For Jessica, survival of her children was more important than anything. She had also promised Leto Atreides that she will save her children not as Bene Gesserit but as a mother first. That is why she eases out the path laid for Paul which guarantees his and his sister’s survival. You will understand that Jessica fears becoming the Reverand Mother, she knows that she will have to carry the pain and memories of all those who came before her but upon hearing to the clarification from Stilgar, she realizes that it is the only way to ensure the survival of her children. So, she controlling the Fremen and spreading the prophecy of the Messiah (despite knowing it as just a clever plan) feels moral.

Stilgar strengthening the events from the prophecy in the minds of Fremen ensure betterment of his people. If his actions to spread and strengthen the path for Paul would lead Fremens people to a better life then his actions are well justified. But, the moment he blindly follows every order from Paul to obliterate everyone opposing him his actions become wrong.

When it comes to mere survival of Feyd-Rautha, Baron Harkonnen, Rabban, the Emperor, Princess Irulan, Reverend Mother Mohiam someone would feel that their actions are justified. (But, we already have many other reasons to assign them villainy.)

It’s like checking which one is more wrong – Killing an ant or murdering a person!

The moment you favor the life of the person than an ant, you will feel bad for what kind of animal you are. And the moment you favor life of that ant over the person you will feel bad as a human being.

Taking any life is bad in the end, but what if it’s about survival. Then it goes in the direction which poses question – whose life is more precious?

The Trolley Problem – Which lever will you pull?

Do you see how this streak goes on and on! This will not end until the questioner will be satisfied with comfortable answer!

One must appreciate the genius of Frank Herbert’s writing which created such important intersecting points in his story.

Power and Aesthetics

So, final question – what ultimately is the right or wrong?

The answer is how deeply are we able understand the scenario (and we may never understand every aspect most of the times.)  Actions are always changing with respect to the circumstances, killing a murderer will always be justified and right at the same time killing a Saint is wrong.

This reminds me of Nietzsche’s quote:

Thus, the dilemma grows bigger.

What is right and what is right is highly dependent on your limits, your capabilities, your ability to reverse the things to exactly how they were before. If you don’t hold that capacity, then you immediately lose the power to justify your actions.

Which is exactly why what Paul believes is completely wrong, it shows how Paul character has made transition…

“He who can destroy a thing has the real control of it.”

The power will enable him to destroy any given thing; but can he reverse that destruction if things did not turn out the way he intended? The ability to restore the consequences of your decisions decides whether you hold the power to assign good or bad.

If Paul does not bear the capacity to reverse or at least restore the impact of his decisions, then he is wrong to send his followers in that direction.

I think, this is the warning Frank Herbert gives to the real-life leaders and followers among us. This is exactly where powerful people go wrong and take their blind followers with them.

So, even though his intent was to avenge his father by becoming the Messiah, the path he would choose is wrong.

The path Jessica chose to control the Fremen through prophecy is wrong. The plans Bene Gesserit orchestrated to plant a powerful yet manipulatable person on Arrakis just to have control over Spice are wrong. There are always multiple choices,

(The conclusion of the Paul Atreides’s story and ‘Dune: the God Emperor’ will make us change our current opinions. That we will discuss again when the time is right.)  

Anyways words fail me when such real-life scenarios are flawlessly presented through fiction. There is no need for anyone to teach us what is right or wrong in such stories. The dynamics of the events and the characters show us the mirror. We always have such inner compass inside ourselves, stories like this are the greatest calibrator of such inner compasses.

The power to restore the consequences of our action is the real power, I think. This idea somewhat frees the justification of our actions from the dilemmas of morality.

There is more to discuss about Dune, find out here….

(Movies Scenes from Warner Brother’s Dune: Part Two)

Further reading:

  1. Dune : Psychology in Science Fiction
  2. Existentialism – Zima Blue and Existentialism
  3. Answering the questions on existence of “the existence”
  4. The Existence – Why? How? And What?
  5. Dune’s Ornithopters and Biomimicry

The Model Millionaire – Attributes of True Wealth

Oscar Wilde’s short story “The Model Millionaire” is a story depicting the boomerang of kindness. It also tries to fuse the importance of tangible assets like money and intangible/ non-physical assets like kindness/ love/ art in our lives. It shows how the balance between these separate attributes can create a true rich life.

Oscar Wilde’s short story called “The Model Millionaire”

Fiction is the lie through which we tell the truth.

Albert Camus

Stories we cherish – especially short stories which tickle our brains have huge impact on our personality. The shortness of tightly woven multiple events inherently brings out the simplicity and invite intrigue in readers. All of us have such favorite stories which we would love to remember forever for the lessons they provide, the happiness they create. Most of such stories we love belong to the chapters in our textbooks, school books. There are many short stories which fall into exactly similar category of being a textbook chapters as if they are not that deep enough and simply convey what is to be conveyed. They get the job done within few pages thereby giving readers a worthy payoff.

It is a cakewalk for readers to enjoy such short stories and interpret the message which author/ writer is trying to convey. Sometimes there is nothing to learn or any hidden message to covey through the story, the intent is to invoke certain emotion in readers. It is a joy to appreciate such stories from readers’ perspective.

It is also crucial and highly underrated to understand what was going in the writers’ mind when they penned down such stories, especially for the of case short stories. This happens frequently in terms of short stories due to their simple, short presentation. You read, get entertained and move on to the next one. 

It is very important to understand the simplicity of such stories and so called- “entertaining” word-play. The writers of such stories make every conscious effort to simplify the narrative and convey the meaning. The simplicity is not inherent rather it is intentional and full of efforts – the hidden tediousness. If you are reading an interesting story, it’s not because writer just wrote what came to his mind showcasing his brilliance; it is interesting because writer had created multiple perspectives, personalities – I would say pseudo- readers to establish the narrative and remove the confusion from the story. Writers just wear this mask of the characters from their stories to fearlessly express what they feel about the reality.

Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.

Oscar Wilde

We will see one such simple, high school textbook-worthy yet an interesting short story written by Oscar Wilde called “The Model Millionaire”. The story is flawless in such a way that the plot can be explained in 10-15 lines. The real beauty lies in how Oscar Wilde saw the world and expressed it through the characters in this story.

Plot

Hughie Erskin is a young, good looking but incompetent (according to the mainstream social standards) – a kind of below average man. As he has not proven his worth, has no money he is struggling to find the rhythm of life and marry his love of life – Laura Merton. One day he finds his painter friend – Alan Trevor – painting a life size beggar-man. Hughie feels very sad about how the beggar has to go through this sitting session where he won’t get just few shillings whereas the painter would earn in thousands by selling this painting. Feeling pity for the beggar-man Hughie gives him most of the money he has – to take care of the matters. Later, Hughie founds out that this beggar-man was actually an exceedingly rich “Baron”, an important person capable of influencing a continent. Hughie feels ashamed of his deeds because he thinks he has insulted the Baron by handing some petty alms.

In the climax, when Hughie feels the moment of confrontation, he prepares to apologize the Baron for what he did. Turns out that all that money, all that power had not polluted the Baron and rewards Hughie for his good deed by offering enough money to get married with Laura. The millionaire who earlier was a portrait model also proves his humble personality as a “model” millionaire.

Opening – Your love and charm will not fill your belly

“Unless one is really wealthy there is no use in being a charming fellow. Romance is the privilege of the rich, not the profession of the unemployed. The poor should be practical and prosaic. It is better to have a permanent income than to be fascinating.”

Oscar is trying to establish some pragmatic thoughts to intensify how big a failure his character is in real life. He uses this established foundation to create a contrasting climax of the story in the end

Oscar Wilde in first few lines depicts the contrast between the attitude of Hughie and how the world around him is constructed. As if Hughie was never meant to live in this world. In the opening of the story Oscar makes every effort to show Hughie’s futile attempts in making a pragmatic living. In every sense Hughie is a failure. Every venture, business (Stock Exchange, trading Tea and Dry Sherry) he tried ended in failure. The legacy of his ancestors (his father’s cavalry sword and 15 volumes of the History of the Peninsular War) is worthless in those modern times. (Even luck is not on his side!)

“Ultimately, he became nothing, a delightful, ineffectual young man with a perfect profile and no profession”

Oscar Wilde is trying to portray a very practical picture of life. One must understand that things are exactly the same today in 21st century. 

When one has not established themselves at least as an average earning independent man then every new luxury, wish is burden. Love is a luxury for a man who hasn’t established himself in society (at least financially).

“To make matters worse, he was in love”

Hughie’s lover’s (Laura’s) father – Retired Colonel Merton likes Hughie but is not ready to hand over his daughter to Hughie for the same practical reasons – Hughie cannot offer Laura a stable life.

“Come to me boy, my boy, when you have got ten thousand pounds of your own, and we will see about it”

Oscar Wilde is trying to show the brutal nature of reality which is extra brutal for daydreaming people like Hughie. (Please keep in mind that the opening is mere single dimension of Hughie’s character, more things about who he is at the core unfold in the later part of the story)

Post opening – Intangible things like art must surrender to physical/tangible media in order to remain relevant in practical world

Hughie has an artist friend called Alan Trevor who paints for living. Oscar shows us that Alan truly is a gifted artist and he earns well through his painting profession. He befriended Hughie (a real-life failure) because he liked his generous and reckless spirit. Being an artist Alan appreciates a kind-hearted and good-looking people irrespective of their social and practical status.

“The only people a painter should know are the people who are bête and beautiful, people who are an artistic pleasure to look at and an intellectual repose to talk to. Men who are dandies and who are darlings rule the world, at least they should do so.”

Whatever Alan thinks, we all know what the reality is.

Middle – An act of kindness

Hughie meets Alan in a session where he is painting a beggar. Hughie feels sad for the beggar for how life is treating him. He somewhere feels that the beggar is more helpless than himself. At least he is in a better condition than the beggar who is modelling for Alan’s painting. He argues with Alan that he should pay the beggar in percentage as Alan will earn a big chunk of money through selling this painting for thousands. The beggar deserves more. Alan argues that he definitely has to put more efforts to paint the beggar than the beggar by just standing still there.

“…there are moments when Art almost attains to the dignity of manual labor…”

This expression by Alan shows that the art may just invoke intangible, non-real things in a person but the process of creation an art is very difficult as it tries to express things which know no bounds/limits through the physical media which have inherent real-life limitations.

Realizing the correctness of Alan’s opinion and at the same time feeling pity for the beggar Hughie gives whatever money he had to the beggar.

This shows another side of Hughie where he is sensitive, he is not just a naïve person who cannot handle the practicality of brutal real life thereby getting labelled as a failure as per the social norms.     

Climax – Kindness is a boomerang

Hughie through his friend Alan realizes that the beggar to whom he donated the money was actually a crazy rich person called Baron Hausberg. A rich person who holds potential, is powerful enough to change the course of every possible thing in society.  Now Hughie feels ashamed of his act. Even though his intent was pure it may get projected as an act of disrespect to Baron Hausberg.

But turns out that Baron Hausberg is a down to earth personality and he returns Hughie’s act of kindness by offering him 10000 pounds required to marry his love of life.

Closing – Artistic, Emotional and Materialistic wealth all can coexist; it narrows down to what kind of human being you are.

Alan expresses that despite having loads of money, Baron Hausberg understands the difference between “having lots of money/ power” and “being wealthy”. That is why this millionaire who was a model for a portrait was also an ideal millionaire – a rare “model millionaire”.     

Baron Hausberg is not the only “Model Millionaire” in this story

This might be my overthinking or over-analysis of the story but bear with me.

Oscar Wild through his cheeky narration and the expressions from his character tries to create a picture of a pragmatic life we human beings live. One must earn money to live in the society. But that is not the only thing which will define him as a model man as an ideal human being.

Baron Hausberg while having loads of money is rich in morals too. He appreciates Hughie’s act of kindness and returns that kindness with the same spirit. The materialistic wealth does not pollute his mindset. That is what makes him the “model” one. Baron Hausberg is the obvious model millionaire of the story, but you must appreciate that the word “millionaire” frees itself from its association with only money. That is exactly what the wordplay between “millionaire model” and “millionaire model” conveys. Being rich was never only associated with having loads of money and possessions.  

That is why Hughie is also a “model millionaire” thereby “a model rich” person. Hughie’s intent to help the helpless people even in the case of not possessing any basic wealth shows his richness in humanistic values. It is just that our mind is not ready to define Hughie as a rich person because the concept of being rich is mostly bound by the quantification of materialistic possessions. Emotional awareness, intellectual awareness, and proficiency in communicating the intangible things are also another versions of wealth.

Talking about the proficiency in communicating the intangibles – Alan is also another “model millionaire” of the story. He is rich in life. He knows how to identify a high spirited yet worthless (by societal definition) person like Alan and befriends him. He can also capitalize his intangible art through painting venture. He respects the labor he has to endure to translate intangible aspects of life into physical reality. (Imagine the reaction of an average art connoisseur when he/she sees a painting of beggar and finds out that the model was crazy rich person! At least from the description, that painting seems a masterpiece with an interesting backstory.) Even the last wordplay between “model” and “millionaire” portrays the artistic wealth that Alan carries.

Baron Hausberg despite being rich can only appreciate the art and is cannot create it (he can ask an artist to create it). Hughie too appreciates the worth of art but cannot create it. That is why I think Alan becomes the most balanced “model millionaire” of the story.

An “Aesthetic” Proof By Contradiction – Love, Kindness And Art Are As Important As Money.

Oscar Wilde in the writing of this short story’s opening establishes very practical aspects of life and the necessity to have enough materialistic possessions. In the beginning, Oscar makes it clear that intangible things like love, affection or good looks cannot solely help a person to meet the ends in this society. Hughie is a complete failure even though he is good looking and kind-hearted. Hughie has found true love and is ready to commit but that is not enough and practical for his future father-in-law. He knows that until and unless he does not get the hold of sufficient money, he will lose his love. Hughie also has two antiques as a legacy from his father but they are described as useless and non-liquid-able assets.

When we read through the event of Alan’s painting session with the beggar model, it is pretty much confirmed that even a seasoned artist like Alan (a person who is much closer to the art and similar intangible things than average masses) understands how important it is to sell the paintings to sustain his artistic profession. Oscar adds Hughie’s point of view in this scene to show that the sufferings of the beggar which brought him to this condition, his efforts to stand still for the painting despite being weak and old are as important as Alan’s painting skills, that is exactly why Hughie demands percentage share for the beggar model.

Alan is successful because he can translate his intangible skill of painting by selling paintings thereby into real money. It’s not because he is artistic or appreciates art. Hughie can appreciate a good art, knows what goes into the laborious process of its creation but doesn’t hold the skill that Alan has.  

Hughie also receives scolding for his extravagant charity from his love Laura. This also shows that pragmatism mostly prevails over intangible emotions.

And to comment on Baron Hausberg, he is the only person in the story who knows the importance of capital possessions, is capable of compounding them for the influence and power – I mean he is filthy rich and respects money. Otherwise, why would he commission a painting of himself as a beggar? He understands what he would become if he doesn’t have that money. If he truly wanted to mock the poverty and beggars, he would have paid some model for the painting assignment. He would not have wasted his valuable time in this assignment.    

Can you see it now?

Oscar Wilde first puts the mind of readers in the practical aspects of living a life. He establishes that emotions, art, love will not put food in your plate at the end of the day, you must go out and do something practical to earn money.

And then Oscar starts showing you the other side of the same people, same events which are fully in contradiction with what he had established as “practical and tangible”.

You will see Hughie getting rewarded for his emotions, kindness and act of charity. Only a fool who is poor will give all he has to another poor person but that does not happen here. Hughie knows what it means to be poor and helpless. It is Hughie’s empathy which makes him rich – a millionaire at heart. Oscar through Hughie’s character shows his readers that love and kindness are also the attributes of a true rich person. Hughie is wealthy by his character. (Hughie could have turned to some malpractices to get the money but Oscar does not inject this intent into the character of Hughie)

Alan Trevor is a kind of bridge in this story. Oscar Wilde developed Alan’s character in such way that he is a double-edged sword in this proof that there are other important things than only capital possessions. Alan can not only appreciate art but also create it and capitalize it. If we are to rank the millionaires by the balance between the possession of tangibles and intangibles in life, then Alan Trevor is the richest of them all. He also knows to identify and befriend kind people like Hughie. Alan has enough money, a skill in hands and company of good people like Hughie and Baron – the ideal and balanced wealth. (There are no ways in which Alan’s character would have become polluted – that is also why his character is the most balanced character of all- he knows ends of the both sides of the society)

Baron Hausberg intends to see himself as a beggar not because he is mocking the poor people, it is his attitude of attributing importance to things which are not money. Oscar Wilde attributes the wish of ‘a rich man to see himself as a beggar’ in a very conscious and artistic way. Baron wishing to picture himself as a beggar through a piece of art shows how much he values art when he is crazy rich. Again, the choice of modelling himself instead of some paid model is his artistic interest. He knows his reality and the depiction in painting will elevate the artistic value of the piece. Also, Baron doesn’t consider the Alan’s act of charity as an insult to his wealth which shows that monetary wealth has not touched his soul. (Baron Hausberg could have been an arrogant filthy rich old man, but Oscar did not projected him in that way)

It is funny how the story turns out in the end. The Model Millionaire is not just about how a good-hearted but helpless person like Hughie got rewarded for his act of kindness by a filthy rich person like Baron Hausberg. It also shows how different non-physical attributes like kindness, love and art equally contribute the a truly wealthy life.

That is where aestheticism come in picture and Oscar Wilde is hailed as ‘the Father of Aestheticism’.

The dictionary definition of aestheticism goes like this:

“A late 19th-century European arts movement which centered on the doctrine that art exists for the sake of its beauty alone, and that it need serve no political, didactic, or other purpose.”

There is this famous quote by Oscar Wilde

“All art is useless”

Oscar Wilde

I think it is an antiphrasis (the rhetorical device of saying the opposite of what is actually meant in such a way that it is obvious what the true intention is)

It’s not just art but its also about intangible things which the art tries to convey i.e., emotions of all sorts. You will realize that when we remove these art-like non-physical attributes from our lives even when we are materialistically filthy rich, that riches would be worthless. I think that is why he creates these contradictions in his story “The Model Millionaire” to show that the balance of tangible and intangible assets makes the person a truly wealthy person. Oscar Wilde fuses the importance of tangible assets like money and intangible assets like kindness/ love/ art through this story.

Oscar also makes a conscious effort to show this fusion through Alan Trevor’s comment on art and manual labor.

In simple words,

What good is being nice if the man has no money to achieve what he desires?

What good is money if the man is not nice?

An extremely emotional poor and an extremely insensitive rich person both are the wrong ends of the reality.

I mean, if Oscar really meant that art is useless then it is literally useless of him to contribute to the prosaic artistry through his writings. He was just messing with our head to prove the importance of the given thing by showing the effect after its absence. It is indeed one smart trick!