Oscar Wilde Against the Marquess of Bannard, 1899
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104 Papers of the Bibliographical Society of Canada 39/2 Been
104 Papers of the Bibliographical Society of Canada 39/2 been fruitfully informed by recent theoretical and sociological accounts of the eighteenth-century reader, as well as by other studies of individual readers. While I have registered some minor disappointments with these essays, they result from the inevitable limitations of the discrete essay format and of the book's brevity. This limitation is in itself valuable, in that it points to the need for scholarship focussed squarely on the print culture of eighteenth-century Scotland, as opposed to studies such as Robert Crawford's Devolving English Literature and Leith Davis's Acts of Union: Scotland and the Literary Negotiation of the British Nation, z7o7-183o, which have made us aware of Scottish contributions to the formation of British cultural institutions. It is to be hoped that Volume II: z7o7-18oo of the projected four-volume History of the Book in Scotla~nd will further address this gap. In the interim, this handsome, well-written collection and catalogue is admirable in what it does accomplish, in putting both the Scottish culture of the book, and Canadian contributions to the study of that culture, into the hands of readers. BETT"Y A. SCHELLENBERG Simon Fraser Unziversity James G. Nelson. Publisher to the Decadents: Leonard Smithers in the Careers of Aubrey Beardsley, Wilde, Dowson. University Park: Pennsylvania State University Press, zooo. xvi, 431PP-; $35.oo (hardcover). ISBN o-271-oI974-3. Literary scholars of the r890s era know about Leonard Smithers, and one of the things they know is that he was a publisher of low octane pornography in limited editions, or as Oscar Wilde observed, "one for the author, one for [him]self, and one for the police." On another occasion, Wilde wrote that Smithers "is so fond of suppressed books that he suppresses his own."' James G. -
Oscar Wilde Society Newsletter
Oscar Wilde Society Newsletter Edited by Aaron Eames No. 50. March 2018 The Importance of Being Earnest: The Original Theatre Company Touring Production The Original Theatre Company’s The Importance of Being Earnest is the most recent production by its Artistic Director, Alastair Whatley. The Company provides a valuable service by producing plays for small theatres, particularly away from London, which may otherwise find it hard to attract producers. The production started its four months’ provincial tour at the Yvonne Arnaud Theatre in Guildford, Surrey. The tour continues at Theatre Royal, Winchester (5-10 March), Manchester Opera House (13-17 March), Salisbury Playhouse (20-24 March), Garrick Theatre, Lichfield (27-31 March), Churchill Theatre, Bromley (3-7 April), Cambridge Arts Theatre (9-14 April), Theatre Royal, York (17-21 April), Devonshire Park Theatre, Eastbourne (24-28 April), Theatre Royal, Windsor (30 April-5 May), and Royal & Derngate Theatre, Northampton (8-12 May). It is an excellent production with some interesting new ideas. When Thomas Howes appears as Algy, full of vanity, confidence and cynicism, and with splendidly clear diction, it is immediately evident that this is going to be a faithful and enjoyable production. He and Peter Sandys-Clarke as Jack, in an equally accomplished performance, make a delightful double act. Gwen Taylor as Lady Bracknell wears a striking lilac and yellow ensemble and a majestic hat to match. When she interrogates Jack and hears his account of how he was found, she successfully combines indignation with amusement at the absurdity of Jack’s answers. Kerry Ellis’s Gwendolen wears a blue and orange outfit rather like a younger version of that worn by her Lady Bracknell; she is formidable and clearly will become like her mother in much less than a hundred and fifty years. -
Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes
33 The Poetry That Dare Not Speak Its Name: Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes Christina Hauck Kansas State University An improbable friendship sprang up in 1938 when one “Mrs Carmi- chael,” representing herself as a young mother, wrote Lord Alfred Douglas to show him a sonnet and ask his advice about publishing it. Little realizing that he was entering into correspondence with the notorious birth control advocate, Marie Carmichael Stopes, the staunchly Catholic Douglas wrote back kindly, calling Mrs. Carmichael a “pleasant poet” and lamenting his own difficulties publishing (Hall 282). If Douglas didn’t understand quite whom he was writing to, Stopes herself, rabidly homophobic and anti-Catholic, must have: Douglas’s claim to fame lay less in his poetry, whose quality critics debated fiercely when they bothered to read it at all, but in his having been a central actor in the events leading up to Oscar Wilde’s trial and imprisonment.1 By the time the correspondence had be- gun, Douglas had long converted to Catholicism and was admitting only to limited homosexual activities over a limited period, with Wilde or any- one else; Stopes apparently believed him.2 After several months, Stopes revealed her “true” identity. Douglas, understandably, was nervous. In a letter to George Bernard Shaw, he writes: I am fated to make friends with my enemies. For the last three months I have been corresponding with a lady who wrote about my poetry and poetry in general. She expressed great admira- tion for me as a poet. -
INTERDISCIPLINARY JOURNAL of DECADENCE STUDIES Volume 3, Issue 2 Winter 2020 Review: Michèle Mendelssohn, Making Oscar Wilde (O
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 3, Issue 2 Winter 2020 Review: Michèle Mendelssohn, Making Oscar Wilde (Oxford University Press, 2018) & Matthew Sturgis, Oscar: A Life (Head of Zeus Ltd, 2018) Richard Haslam ISSN: 2515-0073 Date of Acceptance: 1 December 2020 Date of Publication: 21 December 2020 Citation: Richard Haslam, ‘Michèle Mendelssohn, Making Oscar Wilde (Oxford University Press, 2018) & Matthew Sturgis, Oscar: A Life (Head of Zeus Ltd, 2018)’, Volupté: Interdisciplinary Journal of Decadence Studies, 3.2 (2020), 143–149. DOI: 10.25602/GOLD.v.v3i2.1457.g1570 volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Michèle Mendelssohn, Making Oscar Wilde (Oxford: Oxford University Press, 2018), 360 pp. ISBN 9780198802365 Matthew Sturgis, Oscar: A Life (London: Head of Zeus Ltd, 2018), 890 pp. ISBN 9781788545976 Richard Haslam Saint Joseph’s University, Philadelphia In ‘The Critic as Artist’ (1890; 1891), Oscar Wilde’s spokesperson Gilbert declares ‘Every great man nowadays has his disciples, and it is always Judas who writes the biography.’1 One book that bears out Gilbert’s claim is Lord Alfred Douglas’ Oscar Wilde and Myself (1914), but many later biographers have served Wilde more charitably, and none more so than Richard Ellmann, whose influential 1987 account concludes that Wilde was ‘so generous, so amusing, and so right’.2 Of course, as Horst Schroeder and others have argued, Ellmann’s book (although itself ‘generous’ and ‘amusing’) was not always ‘right’ about the details of Wilde’s life, and Matthew Sturgis mentions this deficiency as one justification for producing another biography. -
The Life of Oscar Wilde
Dixon 1 The late 19 th century was an exceptional time for literature in both Europe and the Americas. Arguably, some of the greatest minds in the history of Western literature actively published during this period. Twain, Melville, Dickens, Verne, Wilde and many others were widely circulated among both literary factions and laypersons. Through their fiction, their collective reach was enormous. For most of these writers, their fictive works have eclipsed their personal lives. Until recently, historians have focused only on these writers’ contributions to literature, rather than their intriguing personal histories as a whole. With the emergence of new types of historical inquiry, the study of literary figures has begun a paradigm shift toward examining the impact of their entire lives, rather than simply their works. In following that trend, this study will shine a unique light on not only the works, but also the life of one of the 19 th century’s most controversial authors: Oscar Wilde. Wilde saw himself as a brilliant Aesthetic artist, proclaiming during his 1882 American book tour, “I have nothing to declare but my genius.” 1 Early in his career the Victorian public viewed Wilde as an eccentric Aesthete whose plays delighted but often left the public feeling somewhat left out. Later, as Wilde’s now infamous trial approached, the public formed new ideas about homosexuality and began to develop tropes out of the mannerisms and dress of the Aesthetic movement to which Wilde belonged. The ways in which Oscar Wilde envisioned himself ran counter to the expectations of Victorian England; the mantle of homosexuality was thrust upon Wilde based on the narrow ideas of the society in which he lived – the public was simply ill- 1 Wilde, Oscar. -
An Introduction to Lady Windermere's Fan
An introduction to Lady Windermere's Fan Article written by: Andrew Dickson Themes: Fin de siècle, Popular culture Published: 5 Nov 2018 Andrew Dickson explores some of complexities of Oscar Wilde’s first hit play, Lady Windermere’s Fan. Oscar Wilde’s first hit play, Lady Windermere’s Fan (1892), is a hectic upper-class comedy, in which the tangled complexities of the plot are rivalled only by Wilde’s sparkling and witty dialogue. Relating an enjoyably unlikely story of a wife who suspects her husband of having an affair, only for the ‘other woman’ to be unmasked as her own mother, the drama was a hit on the London West End stage, and made Wilde rich. But despite its diamond-sharp one-liners, there is more to Lady Windermere’s Fan than mere entertainment: it is above all a subtle social satire, particularly pointed about the hypocrisy of Victorian attitudes to women and sex. Its meticulous construction and deft balance between comedy and seriousness point the way towards Wilde’s later scripts An Ideal Husband and The Importance of Being Earnest, perhaps his masterworks. The background to the play By the early 1890s, it looked as if Wilde – then in his late 30s – might never have a successful career as a dramatist. Born in Dublin in 1854 and educated at the University of Oxford, Wilde spent his 20s as a freelance poet, lecturer, critic, and well-dressed man about town, yearning all the time to be taken seriously as a playwright. His first play, a tragedy called Vera (1881), failed when it was produced in New York; his second, a dour historical work in Shakespearian verse called The Duchess of Padua, was rejected by the actress who commissioned it. -
Oscar Wilde, the Story of an Unhappy Friendship
oscn WILD JL'H;5H€RftRD lll *Mmm 1ifml.mf »i!u'<WW»t«i«M ma iihmmii ii 1 OSCAR WILDE Epigram Books By Mr Monkshood WOMAN AND THE WITS. THE CYNIC'S POSY. WIT AND WISDOM OF EDGAR SALTUS. THE WORLDLING'S WIT. frirfiirimiiM I -.. • "£ *i en "Fkrtographed 'by W&1; Downey Oscar Wilde. OSCAR WILDE The Story of\An XJnhaffy Friendship BY ROBERT H. SHERARD Author of "Emile Zola: A Biography, ** "Alphonse Daudet: A Biography," etc, etc. Nessun maggior dolore Che ricordarsi del tempo felice Nella miseria .... " I have saved the bird in my bosom." —Last Words of Sir Hugh Percy. 8EC0ND IMPRESSION LONDON GREENING & CO., LTD. 1905 [All rights reserved"] oS ffz. R.R. In Remembrance of His Noble Conduct Towards The Unhappy Gentleman Who is The Subject of This Memoir, Whom In Affliction He Comforted, In Prison He Visited, and In Poverty He Succoured, Thus Showing an Elevation of Heart and a Loyalty of Character Gbte JSoofc is Dedicated 448045 LIST OF ILLUSTRATIONS autographed portrait of oscar wilde, 1 892, Frontispiece PORTRAIT OF OSCAR WILDE WHEN AT OXFORD, ABOUT 1878 To face page 48 PORTRAIT OF OSCAR WILDE, FROM A DRAWING, ABOUT 1882 .... To face page 92 PORTRAIT OF OSCAR WILDE WHEN IN AMERICA, ABOUT 1883 . To face page 140 PORTRAIT OF OSCAR WILDE IN iESTHETIC DRESS, ABOUT 1884 To face page 184 portrait OF oscar wilde, 1892 To face page 232 PREFATORY NOTE TO ORIGINAL EDITION PRIVATELY PRINTED The discreet method ofpublication which has been adopted for this book will, itjs hoped, be accepted as deference to its opinion by that section of the public who, because in a man ofgenius the allied madness once got the upper hand, would consign him and the works which that genius created to the eternal night of eternal oblivion. -
The Oscar Wilde Collection Author Index 1
The Oscar Wilde Collection Author Index A.N.S. to Christopher Millard regarding the Archer, William. caricature of Sir William Wilde which appeared in "About the theatre. The English drama in German the periodical, Ireland's Eye. -- A talk with Dr. Meyerfield -- Oscar Wilde, Bernard August 29, 1974.; English; Wildeiana Box 7.8B. Shaw, Gordon Craig -- German managers and Reel: 39, Item No. 12 authors -- The kaiser and the theatre.". From an unknown newspaper, 1906. Clipping "According to the Pall Mall gazette, aestheticism has concerning German translations and productions of broken out again, and in the interval since the last Oscar Wilde's plays.; English; Wildeiana Box 2.17C. outbreak its devotees have grown mortal and stout.". Reel: 36, Item No. 55 December 18, 1890. Caricature from Moonshine (?).; English; Wildeiana Box 7.27A. Archer, William. Reel: 39, Item No. 40 "A drama and its story.". [Review for the German translation of A Duchess of "All London' at the Haymarket.". Padua, translated by Max Meyerfield]. In an In The Westminister budget, April 28, 1893, p. 17. unknown newspaper, 1904. Bibliographical material, (Review of the costume designs in the Haymarket 1880-1939.; English; Wildeiana Box 4.1J. Theatre production of A woman of no importance. Reel: 37, Item No. 28 With 3 illustrations of the actors).; English; Wildeiana Box 2.15A. Archer, William. Reel: 36, Item No. 47 "Lord Arthur Savile's crime.". From an unknown magazine, 1891? (Review of "The American lady who purchased our Oscar's Oscar Wilde's Lord Arthur Savile's crime and other tresses and banged the chignon with them.". -
Chapter 1 the Traffic in Obscenity
Notes Chapter 1 The traffic in obscenity 1 John Ashcroft, Remarks, Federal Prosecutors’ Symposium on Obscenity, National Advocacy Center, Columbia, SC (6 June 2002); Report from the Joint Select Committee on Lotteries and Indecent Advertisements (London: Vacher & Sons, 1908). 2 Steven Marcus, The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth-Century England (New York: Basic, 1964). 3 The earliest legal term for this print crime in Britain was obscenity, and I therefore prefer it to more recent terminology. 4 Michel Foucault, The Archaeology of Knowledge, 1969, trans. A. M. Sheridan Smith (London: Routledge, 2001). 5 Society for the Suppression of Vice (London: S. Gosnell, 1825), 29. 6 Robert Darnton, The Forbidden Best-Sellers of Pre-Revolutionary France (New York: Norton, 1995); Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge: MIT, 1999); Lisa Gitelman and Geoffrey B. Pingree eds, New Media, 1740–1914 (Cambridge, MA: MIT 2003); and David Thorburn and Henry Jenkins, eds, Rethinking Media Change: The Aesthetics of Transition (Cambridge, MA: MIT Press, 2003). 7 Anthony Giddens, Runaway World: How Globalization is Reshaping Our Lives (New York: Routledge, 2002), 1. 8 Jean Baudrillard, The Ecstasy of Communication, ed. Sylvère Lotringer, trans. Bernard and Caroline Schutze (Paris: Editions Galilée, 1988), 22, 24. 9 Laurence O’Toole, Pornocopia: Porn, Sex, Technology and Desire (London: Serpent’s Tale, 1999), 51. 10 Baudrillard, The Ecstasy, 24. 11 Edward Said, Orientalism (New York: Vintage, 1979), 87. 12 Saree Makdisi, Romantic Imperialism: Universal Empire and the Culture of Modernity (Cambridge: Cambridge University Press, 1998), 128. 13 Thomas Pakenham, The Scramble for Africa, 1876–1912, 1991 (London: Abacus, 2001), 140, 122. -
I SUGGESTIVE SILENCES: SEXUALITY and the AESTHETIC
i SUGGESTIVE SILENCES: SEXUALITY AND THE AESTHETIC NOVEL A Dissertation Submitted to The Temple University Graduate Board In Partial Fulfillment Of the Requirements for the Degree Ph. D. in English by Meredith L. Collins Examining Committee Members: Dr. Peter Logan, Advisor Temple University Department of English Dr. Priya Joshi Temple University Department of English Dr. Steven Newman Temple University Department of English Dr. Teresa Dolan Temple University Department of Art History Dr. Kate Thomas Bryn Mawr College, Department of English ii ABSTRACT This dissertation addresses how the philosophy, subculture, and sexuality of aestheticism interact with the form of the nineteenth-century novel. One primary result of this exploration is a nuanced delineation of the aesthetic novel in its formal characteristics, its content, and most notably, in the sexually charged silences that both this form and content reveal—silences made audible to invested aesthetic readers through coded doubleness. Through thus defining the aesthetic novel and seeking to articulate the unspoken sexual transgressions that are, as is argued, requisite therein, this project sheds new light both on the partially submerged sexuality of aestheticism as a movement, and on why novels account for so small a portion of the aesthetic movement’s output—topics first raised in part by Linda Dowling, Dennis Denisoff, and Talia Schaffer. By engaging Oscar Wilde’s The Picture of Dorian Gray (1891), Vernon Lee’s Miss Brown (1884), Walter Pater’s Marius the Epicurean (1885), Robert Hichens' The Green Carnation (1894), John Meade Falkner’s The Lost Stradivarius (1895), and Aubrey Beardsley’s Venus and Tannhäuser (1895), this dissertation demonstrates that, whether politically engaged as affirmation or using sexuality as a way to communicate rejection of middle-class morality and its own fascination with the unusual, aestheticism defines itself by its inclusion of unusual sexual situations. -
Oscar Wilde and His Literary Circle Collection: Wildeiana MS.Wildeiana
http://oac.cdlib.org/findaid/ark:/13030/kt867nf36t No online items Finding Aid for the Oscar Wilde and his Literary Circle Collection: Wildeiana MS.Wildeiana Finding aid created by Rebecca Fenning Marschall William Andrews Clark Memorial Library © 2017 2520 Cimarron Street Los Angeles 90018 [email protected] URL: http://www.clarklibrary.ucla.edu/ Finding Aid for the Oscar Wilde MS.Wildeiana 1 and his Literary Circle Collection: Wildeiana MS.Wildeia... Contributing Institution: William Andrews Clark Memorial Library Title: Oscar Wilde and his Literary Circle Collection: Wildeiana Creator: William Andrews Clark Memorial Library Identifier/Call Number: MS.Wildeiana Physical Description: 19 Linear Feet27 boxes Date (inclusive): 1858-1998 Abstract: This finding aid describes a wide-ranging collection of material relating to Oscar Wilde and to his literary and artistic circle in late nineteenth- and early twentieth-century Great Britain. Clark Library. Language of Material: English . Provenance William Andrews Clark, Jr. acquired the nucleus of the Clark Library's Oscar Wilde collection from Dulau and Company, London, in 1929. Most of the Dulau material had been in the possession of Robert B. Ross (Oscar Wilde's literary executor), Christopher S. Millard (a.k.a. Stuart Mason, the Wilde bibliographer), and Vyvyan B. Holland (Wilde's only surviving son). Since 1929, the Clark Library has steadily purchased important new material and in the year 2000, the collection was estimated to contain over 65,000 items. It appears that large segments of the Wildeiana collection were likely originally part of the collection assembled by Wilde bibliographer Christopher Millard. The actual date the Clark acquired these materials is unknown and any documentation about the source of these items has been lost. -
Durham E-Theses
Durham E-Theses The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897 Tildesley, Matthew Brinton How to cite: Tildesley, Matthew Brinton (2007) The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2449/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Century Guild Hobby Horse and Oscar Wilde: A Study of British Little Magazines, 1884-1897. Matthew Brinton Tildesley. The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged.