Oscar Wilde

Oscar Wilde(16 October 1854 – 30 November 1900) was an Irish author, playwright and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, his novel The Picture of Dorian Gray, his plays, as well as the circumstances of his imprisonment and early death.
Wilde's parents were successful Anglo-Irish Dublin intellectuals. Their son became fluent in French and German early in life. At university, Wilde read Greats; he proved himself to be an outstanding classicist, first at Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles. As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art", and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversation, Wilde became one of the best-known personalities of his day.
At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote Salome(book),Salome (1891) in French in Paris but it was refused a licence for England due to the absolute prohibition of Biblical subjects on the English stage. Unperturbed, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late Victorian London.
==Biography==
Oscar Fingal O'Flahertie Wills Wilde was born at 21 Westland Row, Dublin (now home of the Oscar Wilde Centre, Trinity College), the second of three children born to Sir William Wilde and Jane Wilde, two years behind William ("Willie"). Wilde's mother, under the pseudonym "Speranza" (the Italian word for 'Hope'), wrote poetry for the revolutionary Young Irelanders in 1848 and was a lifelong Irish nationalist.She read the Young Irelanders' poetry to Oscar and Willie, inculcating a love of these poets in her sons.[3] Lady Wilde's interest in the neo-classical revival showed in the paintings and busts of ancient Greece and Rome in her home.William Wilde was Ireland's leading oto-ophthalmologic (ear and eye) surgeon and was knighted in 1864 for his services as medical adviser and assistant commissioner to the censuses of Ireland.He also wrote books about Irish archaeology and peasant folklore. A renowned philanthropist, his dispensary for the care of the city's poor at the rear of Trinity College, Dublin, was the forerunner of the Dublin Eye and Ear Hospital, now located at Adelaide Road. On his father's side Wilde was descended from a Dutchman, Colonel de Wilde, who went to Ireland with King William of Orange's invading army in 1690. On his mother's side Wilde's ancestors included a bricklayer from County Durham who emigrated to Ireland sometime in the 1770s.
Wilde was baptised as an infant in St. Mark's Church, Dublin, the local Church of Ireland (Anglican) church. When the church was closed, the records were moved to the nearby St. Ann's Church, Dawson Street.Davis Coakley references a second baptism by a Catholic priest, Father Prideaux Fox, who befriended Oscar's mother circa 1859. According to Fox's own testimony written by him years later in Donahoe's Magazine in 1905, Jane Wilde would visit his chapel in Glencree, Co Wicklow for Mass and would take her sons with her. She then asked Father Fox to baptise her sons. Fox described it in this way:
"I am not sure if she ever became a Catholic herself but it was not long before she asked me to instruct two of her children, one of them being the future erratic genius, Oscar Wilde. After a few weeks I baptized these two children, Lady Wilde herself being present on the occasion."
In addition to his children with his wife, Sir William Wilde was the father of three children born out of wedlock before his marriage: Henry Wilson, born in 1838, and Emily and Mary Wilde, born in 1847 and 1849, respectively, of different maternity to Henry. Sir William acknowledged paternity of his illegitimate children and provided for their education, but they were reared by his relatives rather than with his wife and legitimate children.
In 1855, the family moved to No. 1 Merrion Square, where Wilde's sister, Isola, was born in 1857. The Wildes' new home was larger and, with both his parents' sociality and success, it soon became a "unique medical and cultural milieu". Guests at their salon included Sheridan Le Fanu, Charles Lever, George Petrie, Isaac Butt, William Rowan Hamilton and Samuel Ferguson.
Until he was nine, Oscar Wilde was educated at home, where a French bonne and a German governess taught him their languages. He then attended Portora Royal School in Enniskillen, County Fermanagh.[11] Until his early twenties, Wilde summered at the villa, Moytura House, his father built in Cong, County Mayo.There the young Wilde and his brother Willie played with George Moore.
Isola died aged nine of meningitis. Wilde's poem "Requiescat" is written to her memory.
"Tread lightly, she is near
Under the snow
Speak gently, she can hear
the daisies grow"
Wilde left Portora with a royal scholarship to read classics at Trinity College, Dublin, from 1871 to 1874,sharing rooms with his older brother Willie Wilde. Trinity, one of the leading classical schools, placed him with scholars such as R. Y. Tyrell, Arthur Palmer, Edward Dowden and his tutor, J. P. Mahaffy who inspired his interest in Greek literature. As a student Wilde worked with Mahaffy on the latter's book Social Life in Greece. Wilde, despite later reservations, called Mahaffy "my first and best teacher" and "the scholar who showed me how to love Greek things".For his part, Mahaffy boasted of having created Wilde; later, he named him "the only blot on my tutorship".
The University Philosophical Society also provided an education, discussing intellectual and artistic subjects such as Rossetti and Swinburne weekly. Wilde quickly became an established member – the members' suggestion book for 1874 contains two pages of banter (sportingly) mocking Wilde's emergent aestheticism. He presented a paper entitled "Aesthetic Morality".At Trinity, Wilde established himself as an outstanding student: he came first in his class in his first year, won a scholarship by competitive examination in his second, and then, in his finals, won the Berkeley Gold Medal, the University's highest academic award in Greek.He was encouraged to compete for a demyship to Magdalen College, Oxford – which he won easily, having already studied Greek for over nine years.
At Magdalen, he read Greats from 1874 to 1878, and from there he applied to join the Oxford Union, but failed to be elected.
Attracted by its dress, secrecy, and ritual, Wilde petitioned the Apollo Masonic Lodge at Oxford, and was soon raised to the "Sublime Degree of Master Mason".During a resurgent interest in Freemasonry in his third year, he commented he "would be awfully sorry to give it up if I secede from the Protestant Heresy". He was deeply considering converting to Catholicism, discussing the possibility with clergy several times. In 1877, Wilde was left speechless after an audience with Pope Pius IX in Rome. He eagerly read Cardinal Newman's books, and became more serious in 1878, when he met the Reverend Sebastian Bowden, a priest in the Brompton Oratory who had received some high profile converts. Neither his father, who threatened to cut off his funds, nor Mahaffy thought much of the plan; but mostly Wilde, the supreme individualist, balked at the last minute from pledging himself to any formal creed. On the appointed day of his baptism, Father Bowden received a bunch of altar lilies instead. Wilde retained a lifelong interest in Catholic theology and liturgy.
While at Magdalen College, Wilde became particularly well known for his role in the aesthetic and decadent movements. He wore his hair long, openly scorned "manly" sports though he occasionally boxed,and decorated his rooms with peacock feathers, lilies, sunflowers, blue china and other objets d'art, once remarking to friends whom he entertained lavishly, "I find it harder and harder every day to live up to my blue china."The line quickly became famous, accepted as a slogan by aesthetes but used against them by critics who sensed in it a terrible vacuousness.Some elements disdained the aesthetes, but their languishing attitudes and showy costumes became a recognised pose.Wilde was once physically attacked by a group of four fellow students, and dealt with them single-handedly, surprising critics. By his third year Wilde had truly begun to create himself and his myth, and saw his learning developing in much larger ways than merely the prescribed texts. This attitude resulted in his being rusticated for one term, when he nonchalantly returned to college late from a trip to Greece with Prof. Mahaffy.
Wilde did not meet Walter Pater until his third year, but had been enthralled by his Studies in the History of the Renaissance, published during Wilde's final year in Trinity.Pater argued that man's sensibility to beauty should be refined above all else, and that each moment should be felt to its fullest extent. Years later, in De Profundis, Wilde called Pater's Studies... "that book that has had such a strange influence over my life". He learned tracts of the book by heart, and carried it with him on travels in later years. Pater gave Wilde his sense of almost flippant devotion to art, though it was John Ruskin who gave him a purpose for it.[31] Ruskin despaired at the self-validating aestheticism of Pater, arguing that the importance of art lies in its potential for the betterment of society. Ruskin admired beauty, but believed it must be allied with, and applied to, moral good. When Wilde eagerly attended Ruskin's lecture series The Aesthetic and Mathematic Schools of Art in Florence, he learned about aesthetics as simply the non-mathematical elements of painting. Despite being given to neither early rising nor manual labour, Wilde volunteered for Ruskin's project to convert a swampy country lane into a smart road neatly edged with flowers.
Wilde won the 1878 Newdigate Prize for his poem "Ravenna", which reflected on his visit there the year before, and he duly read it at Encaenia. In November 1878, he graduated with a double first in his B.A. of Classical Moderations and Literae Humaniores (Greats). Wilde wrote to a friend, "The dons are 'astonied' beyond words – the Bad Boy doing so well in the end!"
After graduation from Oxford, Wilde returned to Dublin, where he met again Florence Balcombe, a childhood sweetheart. She became engaged to Bram Stoker and they married in 1878. Wilde was disappointed but stoic: he wrote to her, remembering "the two sweet years – the sweetest years of all my youth" they had spent together.He also stated his intention to "return to England, probably for good." This he did in 1878, only briefly visiting Ireland twice.
Unsure of his next step, he wrote to various acquaintances enquiring about Classics positions at Oxford or Cambridge. The Rise of Historical Criticism was his submission for the Chancellor's Essay prize of 1879, which, though no longer a student, he was still eligible to enter. Its subject, "Historical Criticism among the Ancients" seemed ready-made for Wilde – with both his skill in composition and ancient learning – but he struggled to find his voice with the long, flat, scholarly style.Unusually, no prize was awarded that year.With the last of his inheritance from the sale of his father's houses, he set himself up as a bachelor in London.The 1881 British Census listed Wilde as a boarder at 1 (now 44) Tite Street, Chelsea, where Frank Miles, a society painter, was the head of the household.Wilde spent the next six years in London and Paris, and in the United States where he travelled to deliver lectures.
He had been publishing lyrics and poems in magazines since his entering Trinity College, especially in Kottabos and the Dublin University Magazine. In mid-1881, at 27 years old, Poems collected, revised and expanded his poetic efforts. The book was generally well received, and sold out its first print run of 750 copies, prompting further printings in 1882. It was bound in a rich, enamel, parchment cover (embossed with gilt blossom) and printed on hand-made Dutch paper; Wilde presented many copies to the dignitaries and writers who received him over the next few years.The Oxford Union condemned the book for alleged plagiarism in a tight vote. The librarian, who had requested the book for the library, returned the presentation copy to Wilde with a note of apology. Richard Ellmann argues that Wilde's poem "Hélas!" was a sincere, though flamboyant, attempt to explain the dichotomies he saw in himself:
To drift with every passion till my soul
Is a stringed lute on which all winds can play
Punch was less enthusiastic, "The poet is Wilde, but his poetry's tame" was their verdict.
estheticism was sufficiently in vogue to be caricatured by Gilbert and Sullivan in Patience (1881). Richard D'Oyly Carte, an English impresario, invited Wilde to make a lecture tour of North America, simultaneously priming the pump for the US tour of Patience and selling this most charming aesthete to the American public. Wilde journeyed on the SS Arizona, arriving 2 January 1882, and disembarking the following day.Originally planned to last four months, it continued for almost a year due to the commercial success. Wilde sought to transpose the beauty he saw in art into daily life.This was a practical as well as philosophical project: in Oxford he had surrounded himself with blue china and lilies, and now one of his lectures was on interior design. When asked to explain reports that he had paraded down Piccadilly in London carrying a lily, long hair flowing, Wilde replied, "It's not whether I did it or not that's important, but whether people believed I did it". Wilde believed that the artist should hold forth higher ideals, and that pleasure and beauty would replace utilitarian ethics.
Wilde and aestheticism were both mercilessly caricatured and criticised in the press; the Springfield Republican, for instance, commented on Wilde's behaviour during his visit to Boston to lecture on aestheticism, suggesting that Wilde's conduct was more a bid for notoriety rather than devotion to beauty and the aesthetic. T.W. Higginson, a cleric and abolitionist, wrote in "Unmanly Manhood" of his general concern that Wilde, "whose only distinction is that he has written a thin volume of very mediocre verse", would improperly influence the behaviour of men and women. Though his press reception was hostile, Wilde was well received in diverse settings across America; he drank whiskey with miners in Leadville, Colorado and was fêted at the most fashionable salons in every city he visited.
His earnings, plus expected income from The Duchess of Padua, allowed him to move to Paris between February and mid-May 1883. Whilst there he met Robert Sherard, whom he entertained constantly. "We are dining on the Duchess tonight", Wilde would declare before taking him to a fancy restaurant.In August he briefly returned to New York for the production of Vera, his first play, after it was turned down in London. He reportedly entertained the other passengers with "Ave Imperatrix!, A Poem on England", about the rise and fall of empires. E.C. Stedman, in Victorian Poets describes this "lyric to England" as "manly verse – a poetic and eloquent invocation". The play was initially well-received by the audience, but when the critics wrote lukewarm reviews attendance fell sharply and the play closed a week after it had opened.
Wilde was left to return to England and lecturing on topics including Personal Impressions of America, The Value of Art in Modern Life, and Dress.
In London, he had been introduced in 1881 to Constance Lloyd, daughter of Horace Lloyd, a wealthy Queen's Counsel. She happened to be visiting Dublin in 1884, when Wilde was lecturing at the Gaiety Theatre. He proposed to her, and they married on 29 May 1884 at the Anglican St. James Church in Paddington in London.[54] Constance's annual allowance of £250 was generous for a young woman (equivalent to about £22,700 in current value), but the Wildes had relatively luxurious tastes, and they had preached to others for so long on the subject of design that people expected their home to set new standards.No. 16, Tite Street was duly renovated in seven months at considerable expense. The couple had two sons, Cyril (1885) and Vyvyan (1886).
Wilde became the sole literary signatory of George Bernard Shaw's petition for a pardon of the anarchists arrested (and later executed) after the Haymarket massacre in Chicago in 1886.
Robert Ross had read Wilde's poems before they met, and was unrestrained by the Victorian prohibition against homosexuality, even to the extent of estranging himself from his family. By Richard Ellmann's account, he was a precocious seventeen-year-old "so young and yet so knowing, was determined to seduce Wilde".According to Daniel Mendelsohn, Wilde, who had long alluded to Greek love, was "initiated into homosexual sex" by Ross, while his "marriage had begun to unravel after his wife's second pregnancy, which left him physically repelled"
Criticism over artistic matters in the Pall Mall Gazette provoked a letter in self-defence, and soon Wilde was a contributor to that and other journals during the years 1885–87. He enjoyed reviewing and journalism; the form suited his style. He could organise and share his views on art, literature and life, yet in a format less tedious than lecturing. Buoyed up, his reviews were largely chatty and positive.Wilde, like his parents before him, also supported the cause of Irish Nationalism. When Charles Stewart Parnell was falsely accused of inciting murder Wilde wrote a series of astute columns defending him in the Daily Chronicle.
His flair, having previously only been put into socialising, suited journalism and did not go unnoticed. With his youth nearly over, and a family to support, in mid-1887 Wilde became the editor of The Lady's World magazine, his name prominently appearing on the cover.He promptly renamed it The Woman's World and raised its tone, adding serious articles on parenting, culture, and politics, keeping discussions of fashion and arts. Two pieces of fiction were usually included, one to be read to children, the other for the ladies themselves. Wilde worked hard to solicit good contributions from his wide artistic acquaintance, including those of Lady Wilde and his wife Constance, while his own "Literary and Other Notes" were themselves popular and amusing.The initial vigour and excitement he brought to the job began to fade as administration, commuting and office life became tedious.At the same time as Wilde's interest flagged, the publishers became concerned anew about circulation: sales, at the relatively high price of one shilling, remained low. Increasingly sending instructions to the magazine by letter, he began a new period of creative work and his own column appeared less regularly.In October 1889, Wilde had finally found his voice in prose and, at the end of the second volume, Wilde left The Woman's World. The magazine outlasted him by one volume.
If Wilde's period at the helm of the magazine was a mixed success from an organizational point of view, one can also argue that it played a pivotal role in his development as a writer and facilitated his ascent to fame. Whilst Wilde the journalist supplied articles under the guidance of his editors, Wilde the editor is forced to learn to manipulate the literary marketplace on his own terms.
Wilde published The Happy Prince and Other Tales in 1888, and had been regularly writing fairy stories for magazines. In 1891 he published two more collections, Lord Arthur Savile's Crime and Other Stories, and in September A House of Pomegranates was dedicated "To Constance Mary Wilde". "The Portrait of Mr. W. H.", which Wilde had begun in 1887, was first published in Blackwood's Edinburgh Magazine in July 1889. It is a short story, which reports a conversation, in which the theory that Shakespeare's sonnets were written out of the poet's love of the boy actor "Willie Hughes", is advanced, retracted, and then propounded again. The only evidence for this is two supposed puns within the sonnets themselves.The anonymous narrator is at first sceptical, then believing, finally flirtatious with the reader: he concludes that "there is really a great deal to be said of the Willie Hughes theory of Shakespeare's sonnets." By the end fact and fiction have melded together.Arthur Ransome wrote that Wilde "read something of himself into Shakespeare's sonnets" and became fascinated with the "Willie Hughes theory" despite the lack of biographical evidence for the historical William Hughes' existence. Instead of writing a short but serious essay on the question, Wilde tossed the theory amongst the three characters of the story, allowing it to unfold as background to the plot. The story thus is an early masterpiece of Wilde's combing many elements that interested him, conversation, literature and the idea that to shed oneself of an idea one must first convince another of its truth. Ransome concludes that Wilde succeeds precisely because the literary criticism is unveiled with such a deft touch. Though containing nothing but "special pleading", it would not, he says "be possible to build an airier castle in Spain than this of the imaginary William Hughes" we continue listening nonetheless to be charmed by the telling."You must believe in Willie Hughes," Wilde told an acquaintance, "I almost do, myself."
Wilde, having tired of journalism, had been busy setting out his aesthetic ideas more fully in a series of longer prose pieces which were published in the major literary-intellectual journals of the day. In January 1889, The Decay of Lying: A Dialogue appeared in The Nineteenth Century, and Pen, Pencil and Poison, a satirical biography of Thomas Griffiths Wainewright, in the Fortnightly Review, edited by Wilde's friend Frank Harris.Two of Wilde's four writings on aesthetics are dialogues: though Wilde had evolved professionally from lecturer to writer, he retained an oral tradition of sorts. Having always excelled as a wit and raconteur, he often composed by assembling phrases, bons mots and witticisms into a longer, cohesive work.
Wilde was concerned about the effect of moralising on art, he believed in art's redemptive, developmental powers: "Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine."In his only political text, The Soul of Man Under Socialism, he argued political conditions should establish this primacy, and concluded that the government most amenable to artists was no government at all. Wilde envisions a society where mechanisation has freed human effort from the burden of necessity, effort which can instead be expended on artistic creation. George Orwell summarised, "In effect, the world will be populated by artists, each striving after perfection in the way that seems best to him."
This point of view did not align him with the Fabians, intellectual socialists who advocated using state apparatus to change social conditions, nor did it endear him to the monied classes whom he had previously entertained.Hesketh Pearson, introducing a collection of Wilde's essays in 1950, remarked how The Soul of Man Under Socialism had been an inspirational text for Tsarist revolutionaries in Russia but laments that in the Stalinist era "it is doubtful whether there are any uninspected places in which it could now be hidden".
Wilde considered including this pamphlet and The Portrait of Mr. W.H., his essay-story on Shakespeare's sonnets, in a new anthology in 1891, but eventually decided to limit it to purely aesthetic subjects. Intentions packaged revisions of four essays: The Decay of Lying, Pen, Pencil and Poison, The Truth of Masks (first published 1885), and The Critic as Artist in two parts. For Pearson the biographer, the essays and dialogues exhibit every aspect of Wilde's genius and character: wit, romancer, talker, lecturer, humanist and scholar and concludes that "no other productions of his have as varied an appeal".1891 turned out to be Wilde's annus mirabilis, apart from his three collections he also produced his only novel.
By 25 November Wilde had developed cerebral meningitis. Robbie Ross arrived on 29 November and sent for a priest, and Wilde was conditionally baptised into the Catholic Church by Fr Cuthbert Dunne, a Passionist priest from Dublin[170] (the sacrament being conditional because of the doctrine that one may be baptised only once– Wilde having been baptised in the Church of Ireland and having moreover a recollection of Catholic baptism as a child, a fact later attested to by the minister of the sacrament, Fr Lawrence Fox). Fr Dunne recorded the baptism:
As the voiture rolled through the dark streets that wintry night, the sad story of Oscar Wilde was in part repeated to me....Robert Ross knelt by the bedside, assisting me as best he could while I administered conditional baptism, and afterwards answering the responses while I gave Extreme Unction to the prostrate man and recited the prayers for the dying. As the man was in a semi-comatose condition, I did not venture to administer the Holy Viaticum; still I must add that he could be roused and was roused from this state in my presence. When roused, he gave signs of being inwardly conscious... Indeed I was fully satisfied that he understood me when told that I was about to receive him into the Catholic Church and gave him the Last Sacraments... And when I repeated close to his ear the Holy Names, the Acts of Contrition, Faith, Hope and Charity, with acts of humble resignation to the Will of God, he tried all through to say the words after me.
Wilde died of cerebral meningitis on 30 November 1900. Different opinions are given as to the cause of the meningitis: Richard Ellmann claimed it was syphilitic;Merlin Holland, Wilde's grandson, thought this to be a misconception, noting that Wilde's meningitis followed a surgical intervention, perhaps a mastoidectomy; Wilde's physicians, Dr. Paul Cleiss and A'Court Tucker, reported that the condition stemmed from an old suppuration of the right ear (une ancienne suppuration de l'oreille droite d'ailleurs en traitement depuis plusieurs années) and did not allude to syphilis.
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Category:Oscar Wilde
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