Conventional critiques generally assume that Wilde eventually supports Victorian morality, which, in psychoanalytic terms, means he becomes absorbed by the desire of the Other, the Symbolic order located in the Unconscious, which corresponds to conscience and the Freudian superego. However, Wilde’s strategically equivocal way of writing, disguises his deeply embedded and real ideals of aestheticism and hedonism, stigmatized as ‘evil’ by Victorian society. His conformity to Victorian mores is only apparent, not real. With focused attention given to analysis of marginalized persons and the profoundly implicit meaning of the deaths of Basil and Dorian, from the perspective of psychoanalysis, it can be detected that what Wilde actually defends is his desire to realize his aesthetic ideal. More specifically, Wilde can be interpreted as a subject who traverses from the fantasy that he is forcibly given in the symbolic order, to the fantasy he creates from his own desire. In this light, Wilde’s desire portrayed in this novel is a subversive one that realizes his aesthetic ideal. (Daeshin University)