Oscar Wilde, a Critical Study Part 1

Oscar Wilde.

by Arthur Ransome.

NOTE

I wish to thank Mr. Robert Ross, Wilde's literary executor, who has helped me in every possible way, allowed me to read many of the letters that Wilde addressed to him, and given much time out of a very busy life to the verification, from doc.u.ments in his possession, of the biographical facts included in my book. I wish to thank Mr. Walter Ledger for much interesting information, and for the sight of many rare editions of Wilde's books that made possible the correction of several bibliographical errors into which I had fallen. I wish to thank Mr.

Martin Secker for putting at my disposal his collection of late nineteenth-century literature. I wish to thank an anonymous author for lending me the proof-sheets of a forthcoming book, which will contain a full and accurate account of the legal proceedings for and against Wilde. Many of those who knew Wilde have helped me, by letter or in conversation, with valuable reminiscence. I would thank, particularly, M. Paul Fort, M. Remy de Gourmont, M. Stuart Merrill, and Mr. Reginald Turner.

The texts of Wilde's books that I have used throughout are these: Messrs. Methuen's limited edition of the works, and the five s.h.i.+lling edition issued by the same firm; Mr. Charles Carrington's edition of _The Picture of Dorian Gray_; Mr. A. L. Humphreys' edition of _The Soul of Man under Socialism_; Mr. David Nutt's edition of _The Happy Prince and other Tales_. To these, as to the best, and in some cases the only, editions easily accessible, I must refer my readers. Much accurate observation is to be found in M. Andre Gide's "Oscar Wilde," published by the Mercure de France, and the result of much laborious and useful research is embodied in Mr. Stuart Mason's "Bibliography of the Poems of Oscar Wilde," published by Mr. Grant Richards. Permission to include many quotations has been granted by Messrs. Methuen and Co., and Mr.

Robert Ross.

I

INTRODUCTORY

Gilbert, in 'The Critic as Artist,' complains that "we are overrun by a set of people who, when poet or painter pa.s.ses away, arrive at the house along with the undertaker, and forget that their one duty is to behave as mutes. But we won't talk about them," he continues. "They are the mere body-s.n.a.t.c.hers of literature. The dust is given to one and the ashes to another, but the soul is out of their reach." That is not a warning lightly to be disregarded. No stirring up of dust and ashes is excusable, and none but brutish minds delight in mud-pies mixed with blood. I had no body-s.n.a.t.c.hing ambition. Impatient of such criticism of Wilde as saw a law-court in _The House of Pomegranates_, and heard the clink of handcuffs in the flowing music of _Intentions_, I wished, at first, to write a book on Wilde's work in which no mention of the man or his tragedy should have a place. I remembered that he thought Wainewright, the poisoner and essayist, too lately dead[1] to be treated in "that fine spirit of disinterested curiosity to which we owe so many charming studies of the great criminals of the Italian Renaissance." To-day it is Wilde who is too near us to be seen without a blurring of perspectives. Some day it will be possible to write of him with the ecstatic acquiescence that Nietzsche calls _Amor Fati_, as we write of Caesar Borgia sinning in purple, Cleopatra sinning in gold, and Roberto Greene hastening his end by drab iniquity and grey repentance.

But not yet. He only died a dozen years ago. I planned an artificial ignorance that should throw him to a distance where his books alone would represent him.

I was wrong, of course. Such wilful evasion would have been foolish in a contemporary critic of Sh.e.l.ley, worse than foolish in a critic of Wilde.

An artist is unable to do everything for us. He gives us his work as a locked casket. Sometimes the wards are very simple and all the world have keys to fit; sometimes they are intricate and subtle, and the casket is only to be opened by a few, though all may taste imperfectly the precious essences distilling through the hinges. Sometimes, when our knowledge of an artist and of the conditions under which he wrote have been entirely forgotten, there are no keys, and the work of art remains a closed casket, like much early poetry, of which we can only say that it is cunningly made and that it has a secret. Why do we try to pierce the obscurity that surrounds the life of Shakespeare if not because an intenser (I might say a more accurate) enjoyment of his writings may be given us by a fuller knowledge of the existence out of which he wrote?

It is for this that we study the Elizabethan theatre, and print upon our minds a picture of the projecting stage, the gallants smoking pipes and straddling their stools, the flag waving from above the tiled roof. We would understand his technique, but, still more, while we lack directer evidence, we would use these hints about the furniture of his mind's eye in moments of composition. Writers of Wordsworth's generation realized, at least subconsciously, that a work of art is not independent of knowledge. They tried to help us by printing at the head of a poem information about the circ.u.mstances of its conception. When a poet tells us that a sonnet was composed "on Westminster Bridge," or "suggested by Mr. Westell's views of the caves, etc., in Yorks.h.i.+re," he is trying to ease for us the task of aesthetic reproduction to which his poem is a stimulus. There is a crudity about such obvious a.s.sistance, and it would be quite insufficient without the knowledge on which we draw unconsciously as we read. But the crudity of those pitiable little sc.r.a.ps of proffered information is not so remarkable as that of the presumptuous attempt to read a book as if it had fallen like manna from heaven, and that of the gross dullness of perception that can allow a man to demand of a poem or a picture that it shall itself compel him fully to understand it. To gain the privilege of a just appreciation of a man's books (if, indeed, such an appreciation is possible) we must know what place they took in his life, and handle the rough material that dictated even their most ethereal tissue. In the case of such a writer as Wilde, whose books are the by-products of a life more important than they in his own eyes, it is not only legitimate but necessary for understanding to look at books and life together as at a portrait of an artist by himself, and to read, as well as we may, between the touches of the brush. It is not that there is profit in trying to turn works of art into biographical data, though that may be a fascinating pastime. It is that biographical data cannot do other than a.s.sist us in our understanding of the works of art.

In any case, leaving on one side this question, admittedly subject to debate, it would have been ridiculous to study the writings alone of a man who said, not without truth, that he put his genius into his life, keeping only his talent for his books. I therefore changed my original intention, and, while concerned throughout with Wilde as artist and critic rather than as criminal, read his biographers and talked with his friends that I might be so far from forgetting as continually to perceive behind the books the spectacle of the man, vividly living his life and filling it as completely as he filled his works with his strange and brilliant personality.

It is too easy to talk glibly of the choice between life and literature.

No choice can be made between them. The whole is greater than its part, and literature is at once the child and the stimulus of life, inseparable from it. But, beside art, life has other activities, all of which aspire to the self-consciousness that art makes possible. The artist himself, for all his gift of tongues, is not blinded by the descending light to the plastic qualities of the existence that fires his words and is itself intensified by his speech. He, too, moves in walled town or on the green earth, and has a little time in which to build two memories, one for his fellows, and another, a secret diary, to carry with him when he dies. In his life, his books or pictures or brave harmonies of music are but moments, notes of colour in a composition vital to himself. And when we speak so carelessly of a choice between life and literature, we do not mean a choice. We only compare the vividness of a man's whole life, as we perceive it, with that of those portions of it that he spent in books. Sometimes we wonder which is more alive. In Wilde's case we compare a row of volumes, themselves remarkable, with a life that was the occupation of an agile and vivid personality for which a cloistered converse with itself was not enough, a personality that loved the lights and the bustle, the eyes and ears of the world, and the applause that does not have to wait for print.

Wilde was a kind of Wainewright, to whom his own life was very important. He saw art as self-expression and life as self-development.

He felt that his life was material on which to practise his powers of creation, and handled it and brooded over it like a sculptor planning to make a dancing figure out of a pellet of clay. Even after its catastrophe he was still able to speak of his life as of a work of art, as if he had seen it from outside. Indeed, to a surprising extent, he had been a spectator of his own tragedy. In building his life his strong sense of the picturesque was not without admirable material, and he was able to face the street with a decorative and entertaining facade, which, unlike those of the palaces in Genoa, was not contradicted by dullness within. He made men see him as something of a dandy among authors, an amateur of letters in contrast with the professional maker of books and plays. If he wrote books he did not allow people to presume upon the fact, but retained the status of a gentleman. At the Court of Queen Joan of Naples he would have been a rival to Boccaccio, himself an adventurer. At the Court of James he would have crossed "Characters"

with Sir Thomas Overbury. In an earlier reign he would have corresponded in sonnets with Sir Philip Sidney, played with Euphuism, been very kind to Jonson at the presentation of a masque, and never set foot in The Mermaid. Later, Anthony Hamilton might have been his friend, or with the Earl of Rochester he might have walked up Long Acre to belabour the watch without dirtying the fine lace of his sleeves. In no age would he have been a writer of the study. He talked and wrote only to show that he could write. His writings are mostly vindications of the belief he had in them while still unwritten. It pleased him to pretend that his plays were written for wagers.

After making imaginary backgrounds for him, let us give him his own.

This man, who would perhaps have found a perfect setting for himself in the Italy of the Renaissance, was born in 1854. Leigh Hunt, De Quincey, and Macaulay were alive. Wordsworth had only been dead four years.

Tennyson was writing "Maud" and "The Idylls of the King." Borrow was wandering in wild Wales and finis.h.i.+ng "The Romany Rye." Browning was preparing "Men and Women" for the press. d.i.c.kens was the novelist of the day, and had half a dozen books yet to write. Thackeray was busy on "The Newcomes." Matthew Arnold was publis.h.i.+ng his "Poems." FitzGerald was working underground in the mine from which he was to extract the roses of Omar. Ruskin had just published "Stones of Venice," was arranging to buy the work of a young man called Rossetti, helping with the Working Men's College, and writing a pamphlet on the Crystal Palace. William Morris, younger even than Rossetti, was an undergraduate at Oxford, rhyming nightly, and exclaiming that, if this was poetry, it was very easy.

It is characteristic of great men that, born out of their time, they should come to represent it. Victor Hugo, in 1830, was a young man irreverently trying to overturn established tradition. He had to pack a theatre with his friends to save his play from being hissed. Now, looking back on that time, his enemies seem to have faded away, tired ghosts, and he to be alone upon the stage laying about him on backs of air. So far was the Elizabethan age from a true appreciation of Shakespeare that Webster could patronise him with praise of "his happy and copious industry." Shakespeare was a busy little dramatist, working away on the fringe of the great light cast by the effulgent majesty of Elizabeth. To-day Shakespeare divides with his queen the honour of naming the years they lived in. The nineties, the early nineties when Wilde's talent was in full fruition, seem now, at least in literature, to be coloured by the personality of Wilde and the movement foolishly called Decadent. But in the nineties, when Wilde was writing, he had a very few silent friends and a very great number of vociferous enemies.

His books were laughed at, his poetry parodied, his person not kindly caricatured, and, even when his plays won popular applause, this hostility against him was only smothered, not choked. His disaster ungagged it, and few men have been sent to perdition with a louder cry of hounds behind them.

There was relief as well as hostility in the cry. Wilde had meant a foreign ideal, and one not too easy to follow. If he were right, then his detractors were wrong, and there was joy in the voices of those who taunted, pointing to the Old Bailey, "that is where the artistic life leads a man." There was also shown a curious inability to distinguish between the destruction of a man's body and the extinction of his mind's produce. When Wilde was sent to prison the spokesmen of the nineties were pleased to shout, "We have heard the last of him." To make sure of that they should have used the fires of Savonarola as well as the cell of Raleigh. They should have burnt his books as well as shutting up the writer. That sentence, so frequently iterated, that "No more would be heard of him," showed a remarkable error in valuation of his powers.

There was surprise in England when _Salome_ was played in Paris while its author was in prison. It seemed impossible that a man who had been sent to gaol for such offences as his could be an artist honoured out of his own country. Only after his death, upon the appearance of _De Profundis_, and translations of his writings into French, German, Italian, Spanish, Swedish, Yiddish, Polish, and Russian, did popular opinion recognize (if it has yet recognized) that the Old Bailey, the public disgrace and the imprisonment were only circ.u.mstances in Wilde's private tragedy that would have been terrible even without them, and that they were no guarantee of the worthlessness of what he wrote.

So far were Wilde's name and influence from ending with his personal disaster that they are daily gathering weight. Whether his writings are perfectly successful or not, they altered in some degree the course of literature in his time, and are still an active power when the wind has long blown away the dust of newspaper criticism with which they were received. It is already clear that Wilde has an historical importance too easily underestimated. His indirect influence is incalculable, for his att.i.tude in writing gave literature new standards of valuation, and men are writing under their influence who would indignantly deny that their work was in any way dictated by Wilde.

A personality as vivid as his, exercised at once through books and in direct but perhaps less intimate social intercourse, cannot suddenly be wiped away like a picture on a slate. No man's life was crossed by Wilde's without experiencing a change. Men lived more vividly in his presence, and talked better than themselves. No common man lives and dies without altering, to some extent, the life about him and so the history of the world. How much wider is their influence who live their lives like flames, hurrying to death through their own enjoyment and expenditure alike of their bodies and their brains. "Pard-like spirits, beautiful and swift" are sufficiently rare and notable to be ensured against oblivion.

His personality was stronger than his will. When, as he often did, he set himself to imitation, he could not prevent himself from leaving his mark upon the counterfeit. He stole freely, but often mounted other men's jewels so well that they are better in his work than in their own.

It is impossible to dismiss even his early poetry as without significance. He left no form of literature exactly as he found it. He brought back to the English stage a spirit of comedy that had been for many years in mourning. He wrote a romantic play which necessitated a new manner of production, and may be considered the starting-point of the revolution in stage-management that, happily, is still proceeding.

He showed both in practice and theory the possibilities of creation open to the critic. He found a new use for dialogue, and brought to England a new variety of the novel. His work continually upset accepted canons and received views. It placed, for example, the apparently settled question of sincerity in a new obscurity, and the distinction between decoration and realism in a new light. One of the tests of novelty and beauty is that they should be a little out at elbows in an old aesthetic. Wilde sets the subtlest problems before us, and I shall not be wasting time in posing them and showing that his work has at least this quality of what is beautiful and new, that it is impossible to apply to it definitions that were sufficient before it. It will be necessary in considering his writing, as I hope to do, to digress again and again from book, or play, or poem into the abstract regions of speculation. Only so will it be possible to appreciate this man whose name was to have disappeared in 1895, whose work is likely to preserve that name long after oblivion has swallowed the well-intentioned prophets of its extinction.

Even so, however carefully I may discuss alike his work and the abstract and technical questions that it raises; however carefully I may gather evidence of his overflowing richness of personality, I shall not be able to make a complete and worthy portrait of the man. There are people, mostly of the generation before my own (though the youngest of us may come to it), who make a practice of suggesting our entire ignorance of a subject by demanding that we shall define it in a few words. "Say what you think of him in a sentence." If I could do that, do you think I should be going to the labour of writing a book? One cannot define in a sentence a man whom it has taken G.o.d several millions of years to make.

In a dozen chapters it is no less impossible. The utmost one can do, and that only with due humility, is to make an essay in definition.

FOOTNOTE:

[1] He died in 1852. Wilde wrote in 1888.

II

BIOGRAPHICAL SUMMARY

"The necessity of complying with times, and of sparing persons, is the great impediment of biography. History may be formed from permanent monuments and records; but Lives can only be written from personal knowledge, which is growing every day less, and in a short time is lost for ever. What is known can seldom be immediately told; and when it might be told, it is no longer known. The delicate features of the mind, the nice discriminations of character, and the minute peculiarities of conduct, are soon obliterated; and it is surely better that caprice, obstinacy, frolick, and folly, however they might delight in the description, should be silently forgotten, than that, by wanton merriment and unseasonable detection, a pang should be given to a widow, a daughter, a brother, or a friend. As the process of these narratives is now bringing me among my contemporaries, I begin to feel myself _walking upon ashes under which the fire is not extinguished_, and coming to the time of which it will be proper rather to say _nothing that is false, than all that is true_" (Samuel Johnson, in his "Life of Addison").

Before proceeding to the main business of the book, an examination of Wilde's work, I wish to set before myself and my readers a summary biography which may hereafter be useful for our reference. Much of the life of Wilde is so bound up with his work as to be incapable of separate treatment; but, on the other hand, dates clog a page, and facts do not always enjoy their just value when dovetailed into criticism. In this chapter I shall set down the facts of Wilde's parentage and education, up to the time when it becomes possible and advisable to speak of his life and his work together. Thenceforward, I shall do little more than note the dates of events and publications (reserving to myself the right of repeating them when I find it convenient), and make, as it were, a skeleton that shall gather flesh from the ensuing pages of the book.

Oscar Fingal O'Flahertie Wills Wilde was born on October 16, 1854, at 21, Westland Row, Dublin. His father was William Wilde, knighted in 1864, a celebrated oculist and aurist, a man of great intellectual activity and uncertain temper, a runner after girls, with a l.u.s.ty enjoyment of life, and a delight in falling stars and thunderstorms.

His mother, whose maiden name was Elgee, was a clever woman, who, when very young, writing as "Speranza" in a revolutionary paper, had tried to rouse Irishmen to the storming of Dublin Castle. She read Latin and Greek, but was ready to suffer fools for the sake of social adulation.

She was clever enough to enjoy astonis.h.i.+ng the _bourgeois_, but her cleverness seldom carried her further. When Wilde was born, she was twenty-eight and her husband thirty-nine. They were people of consideration in Dublin. His schoolfellows did not have to ask Wilde who his father was. It is said, that before Wilde's birth, his mother had hoped for a girl. He was a second son. His elder brother, William, became a journalist in London, and died in 1899. He had a sister, Isola, younger than himself, who died in childhood. Her death suggested the poem 'Requiescat.' To him, as to De Quincey, a sister brought the idea of mortality. There are exceptions to that fine rule of Hazlitt's brother: "No young man believes he shall ever die." De Quincey looking across his sister's death-bed through an open window on a summer day, and Wilde, thinking of

"All her bright golden hair Tarnished with rust, She that was young and fair Fallen to dust,"

felt the fingers of death before their time. Like most of Wilde's early melodies, his lament is sung to a borrowed lyre, but the thing is so sweet that it seems ungracious to remember its indebtedness to Hood.[2]

Both Sir William and Lady Wilde busied themselves in collecting folk-lore. Wilde in boyhood travelled with his father to visit ruins and gather superst.i.tions. His childhood must have had a plentiful mythology.

Wilde and his brother were not excluded from the extravagant conversations of their mother's _salon_. Any precocity they showed was encouraged, if only by that curious atmosphere of agile cleverness.

There are no valuable anecdotes of his childhood, but it is said that his mother always thought that Oscar was less brilliant than her elder son.

When he was eleven he was sent to the Portora Royal School at Enniskillen, where he behaved well, did not particularly distinguish himself, did not play games, read a great deal, and was very bad at mathematics. In the holidays he travelled with his mother in France.

Leaving Portora in 1873, he went with a scholars.h.i.+p to Trinity College, Dublin, where, in 1874, he won the Berkeley Gold Medal for Greek. In the same year he left Dublin for Oxford, matriculating at Magdalen and taking a scholars.h.i.+p. In 1876 he took a First Cla.s.s in Cla.s.sical Moderations, always a sufficient proof of sound learning, and, in 1878, he took a First Cla.s.s in Literae Humaniores. In 1877 he travelled in Italy and went to Greece with Professor Mahaffy. This experience had great influence on his att.i.tude towards art, filled the cla.s.sical dictionary with life, and made the figures of mythology so luminous that he was tempted to overwork them. In 1878 he read the Newdigate Prize Poem in the Sheldonian Theatre.

On leaving Oxford he brought to London a small income, a determination to conquer the town, and a reputation as a talker. He took rooms in the Adelphi. He adopted a fantastic costume to emphasize his personality, and, perhaps to excuse it, spoke of the ugliness of modern dress. In three years he had won the recognition of Punch, which, thenceforward, caricatured him several times a month.

In 1881 he published his first book, a volume of poems, discussed in the next chapter. Five editions of it were immediately sold. His costume and identification with the aesthetic movement of that time determined his selection as a lecturer in America. The promoters of his tour there were, however, anxious to help not the aesthetic movement but the success of a play that laughed at it. He went to America in 1882, and again in 1883, on the latter occasion to see the production of _Vera_. On his return from the first visit he went to Paris, where he finished _The d.u.c.h.ess of Padua_, which was not published till 1908. In 1891 it was produced in New York, when twenty copies were printed for the actors and for private circulation. It is likely that in 1883, while in Paris, he began _The Sphinx_, upon which he worked at various periods before its publication in 1894.

Returning to England, he took rooms in Charles Street, Haymarket, and lectured in the provinces. In 1884 he married Constance Mary Lloyd, who brought him enough money to enable him to take No. 16 t.i.te Street, Chelsea, which was his home until 1895. He wrote for a number of periodical newspapers, and, for two years, edited The Woman's World.