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THE DECAY of LYING Furniture of “The Street Which from Oxford Has Borrowed Its by OSCAR WILDE Name,” As the Poet You Love So Much Once Vilely Phrased It
seat than the whole of Nature can. Nature pales before the THE DECAY OF LYING furniture of “the street which from Oxford has borrowed its BY OSCAR WILDE name,” as the poet you love so much once vilely phrased it. I don’t complain. If Nature had been comfortable, mankind would A DIALOGUE. never have invented architecture, and I prefer houses to the open Persons: Cyril and Vivian. air. In a house we all feel of the proper proportions. Everything is Scene: the library of a country house in Nottinghamshire. subordinated to us, fashioned for our use and our pleasure. Egotism itself, which is so necessary to a proper sense of human CYRIL (coming in through the open window from the terrace). dignity, is entirely the result of indoor life. Out of doors one My dear Vivian, don’t coop yourself up all day in the library. It becomes abstract and impersonal. One’s individuality absolutely is a perfectly lovely afternoon. The air is exquisite. There is a leaves one. And then Nature is so indifferent, so unappreciative. mist upon the woods like the purple bloom upon a plum. Let us Whenever I am walking in the park here, I always feel that I am go and lie on the grass, and smoke cigarettes, and enjoy Nature. no more to her than the cattle that browse on the slope, or the VIVIAN. Enjoy Nature! I am glad to say that I have entirely lost burdock that blooms in the ditch. Nothing is more evident than that faculty. People tell us that Art makes us love Nature more that Nature hates Mind. -
University of Birmingham Oscar Wilde, Photography, and Cultures Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Oscar Wilde, photography, and cultures of spiritualism Dobson, Eleanor License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Dobson, E 2020, 'Oscar Wilde, photography, and cultures of spiritualism: ''The most magical of mirrors''', English Literature in Transition 1880-1920, vol. 63, no. 2, pp. 139-161. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility 12/02/2019 Published in English Literature in Transition 1880-1920 http://www.eltpress.org/index.html General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Christabel Lady Aberconway
CHRISTABEL LADY ABERCONWAY She was born into a distinguished family of Irish Macnaghtens in 1890. I was born into a family of Scottish/Australian McNaughtons fifty years later. It seemed unlikely we would ever meet. But we had some common interests and eventually did meet—in London in the Swinging Sixties. My mother, Lilian May Besant, and my father, Charles Dudley McNaughton, built a double-brick house in Burwood, eight miles from the center of Melbourne, Australia, and moved in when they married in December 1935. When my sister, Eril Margaret, was born on 8 April 1938, she occupied the second bedroom at the back of the house. After I arrived on 22 July 1940 a third bedroom was added by building a “sleep-out” of fibro-cement behind Eril’s room, punching a door through her brick wall and putting a second door from the sleep-out onto the back verandah. Our rooms were not large. Eril had to put up with traffic from inside the house to my room. The sleep-out became a refuge for some difficult-to-place furniture, including my mother’s large foot-operated Singer sewing machine, a large dark-stained secretaire that belonged to my father, and a large sailing-ship print. My father died of a brain tumor in 1944 and when my step-father joined us in 1946, his cedar chest of drawers landed in my room. I lived in this room through high school, college and a two-year master’s degree and never thought about redecorating. The brick wall between our two bedrooms was painted on my side once or twice, and the curtains on the narrow strip of windows to the south were replaced. -
Myth and Censorship. Oscar Wilde Re-Writing the French Classics
Quaderns de Filologia. Estudis Literaris. Vol. X (2005) 271-283 MYTH AND CENSORSHIP. OSCAR WILDE RE-WRITING THE FRENCH CLASSICS Ignacio Ramos Gay Universitat de València ______________________________________________________________ Together with The Importance of Being Earnest, Salomé stands as one of the most original plays in Oscar Wilde’s dramaturgy. In both plays, Wilde tried to rid himself of the dramatic tradition in which he had been formed and sought to unearth a personal theatrical formula, despite using convention so as to create characters, situations and speeches easily recognizable for his audience. According to John Hankin, The Importance of Being Earnest is the nearest approach to absolute originality that he attained, for “in that play, for the first time, he seemed to be tearing himself away from tradition and to be evolving a dramatic form of his own”, and from that moment on, Wilde would have definitely discarded the machine-made construction of the Scribe-Sardou theatre which had held him too long, and begun to use the drama as an artist should, for the expression of his own personality, not the manufacture of clever pastiches (The Fortnightly Review, 1 May 1908). Louis Kronenberg’s interpretation of Salomé follows Hankin’s statement, emphasizing Wilde’s detachment as regards his dramatic context. In Kronenberg’s words (1967: 117), “it [Salomé] stands with The Importance of Being Earnest as something Oscar fully created, not only taking very little out of Flaubert or the Bible, but in refusing to revert theatrical formulas”. Apart from this oscillation between dramatic influence and original creation within the boundaries of convention, a major part of this originality results from the play being primarily written and published for its first performance in French, and from its consequent interpretative opacity. -
Ebook Download De Profundis and Other Prison Writings
DE PROFUNDIS AND OTHER PRISON WRITINGS PDF, EPUB, EBOOK Oscar Wilde,Colm Toibin | 304 pages | 30 Apr 2013 | Penguin Books Ltd | 9780140439908 | English | London, United Kingdom De Profundis and Other Prison Writings PDF Book View all newsletter. Contact us Contact us Offices Media contacts Catalogues. Merlin Holland concludes that "what Queensberry almost certainly wrote was "posing somdomite [ sic ]", Holland Wilde decided to write a letter to Douglas, and in it discuss the last five years they had spent together, creating an autobiography of sorts. Cookies are used to provide, analyse and improve our services; provide chat tools; and show you relevant content on advertising. Oct 04, Ingrid Elin Stokke added it. Mar 03, Regina rated it it was amazing Shelves: my-cannon. Essential We use cookies to provide our services , for example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. Oscar Wilde was born in Dublin. An abridged version was set for speaking pianist by composer Frederic Rzewski. Contact had lapsed between Douglas and Wilde and the latter had suffered from his close supervision, physical labour, and emotional isolation. Wilde loses his charm and a portion of his literary brilliance with the passage of brutal time in prison. His love for Bosie Douglas is painted patiently, paragraph by paragraph. Wilde was granted official permission to have writing materials in early , but even then under strict control: he could write to his friends and his solicitor, but only one page at a time. -
On the Rejection of Oscar Wilde's the Picture of Dorian Gray by W. H. Smith
humanities Article On the Rejection of Oscar Wilde’s The Picture of Dorian Gray by W. H. Smith Satoru Fukamachi Faculty of Humanities, Doho University, Nagoya 453-8540, Japan; [email protected] Received: 1 September 2020; Accepted: 26 October 2020; Published: 29 October 2020 Abstract: Wilde’s only novel, The Picture of Dorian Gray, is widely said to have been rejected by W. H. Smith, but there is no doubt that this did not happen. The letter sent to Wilde by the publisher strongly indicates that W. H. Smith contemplated removing the July issue of Lippincott’s Magazine, but does not go so far as to say that the bookstore did. This letter is the only evidence, however, that this is not absolute. The refusal to sell is mere speculation. The fact that none of Wilde’s contemporaries mentioned the incident of The Picture of Dorian Gray that supposedly happened, while the boycott of George Moore’s Esther Waters, which was much less topical than this one, was widely reported and discussed, provides further evidence that Wilde’s work was not rejected. Given that the censorship of literary works by private enterprises was still topical in the 1890s, it is unbelievable that the rejection of Wilde’s novel would not have been covered by any newspaper. It makes no sense, except to think that such a thing did not exist at all. It is also clear that this was not the case in the 1895 Wilde trial. Wilde’s lawyer argued that the piece was not a social evil because it was sold uninterruptedly, and the other side, which would have liked to take advantage of it in any way, never once touched on the boycott. -
Planetary Patterns of Thought in De Profundis
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 2, Issue 2 Winter 2019 Elliptical Thinking: Planetary Patterns of Thought in De Profundis Amelia Hall ISSN: 2515-0073 Date of Acceptance: 1 December 2019 Date of Publication: 21 December 2019 Citation: Amelia Hall, ‘Elliptical Thinking: Planetary Patterns of Thought in De Profundis’, Volupté: Interdisciplinary Journal of Decadence Studies, 2.2 (2019), 247–59. DOI: 10.25602/GOLD.v.v2i2.1349.g1468 volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Elliptical Thinking: Planetary Patterns of Thought in De Profundis Amelia Hall Cornell University In an 1881 letter asking a friend to meet his mother, Oscar Wilde writes: ‘all brilliant people should cross each other’s cycles, like some of the nicest planets’.1 In comparing the people in his social circle to celestial bodies in orbit, Wilde sets forth an idea that will soon become literalized in images within and surrounding his works. An illustration in Salomé (1894) renders Wilde the actual ‘(wo)man in the moon’, through placing his distinguishing physiognomy – slightly drooping eyes and thick full lips – on a white circle [fig. 1], while many cartoons satirizing Wilde’s American lecture tour put his head at the centre of a plant that seems to be more sun than flower. An 1881 Punch cartoon by Edward Sambourne, ‘O.W.’, features Wilde’s head as the only visible centre of a sunflower, with crisp triangular petals extending outward so rigidly that they appear to emanate from his body [fig. 2]. Another cartoon appearing in Judge magazine, entitled ‘A Thing of Beauty Not a Joy Forever’, features a sunflower-adorned Wilde standing with his head and torso in the centre of an enormous shape of ambiguous identification [fig. -
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. -
Victorian Morality and Its Victims: Oscar Wilde and His Characters
International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 117- 122 © TJPRC Pvt. Ltd. VICTORIAN MORALITY AND ITS VICTIMS: OSCAR WILDE AND HIS CHARACTERS IN AN IDEAL HUSBAND ANITA AHMADI 1 & MITTAPALI RAJESHWAR 2 1Research Scholar, Department of English literature, Kakatiya University, Warangal, Andhra Pradesh, India 2Professor of Department of English literature, Kakatiya University, Warangal, Andhra Pradesh, India ABSTRACT Oscar Wilde as a father of aesthetic movement changed the minds and life style of people of 19 th century. He aimed to integrate beauty and art to expose the art of life as promoter of “Art for Art’s Sake”. Really, he influenced London society by his great domination as a great artist with extraordinary descriptive power. So he tried to criticize traditions, beliefs, customs, behaviors, rituals, and social codes of 19 th century in upper class family in which they are well- known as Victorian morality in Victorian Era. According to him people are victims of restrictions in their life then they couldn’t take enough pleasure of it. So they have to sacrifice their desires and aspirations to rescue the frame of their family customs. Thus, Wilde tried to present all conduct contrasts among contemporary people in his literary great works. Actually he depicted his thoughts against Victorian morality in one of his prominent works; An Ideal Husband (1895). An Ideal Husband is Wilde’s third play which revolves around blackmail and political corruption and touches on the themes of public and private honor. It is one of the most serious of Wilde’s social comedies and it contains very strong political overtones, ironically and cynically examining the contemporary political landscape. -
Modernist Vintages: the Significance of Wine in Wilde, Richardson, Joyce
Modernist Vintages: The Significance of Wine in Wilde, Richardson, Joyce and Waugh by Laura Waugh A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved March 2013 by the Graduate Supervisory Committee: Mark Lussier, Chair Daniel Bivona Patrick Bixby ARIZONA STATE UNIVERSITY May 2013 ABSTRACT “Modernist Vintages” considers the significance of wine in a selection of modernist texts that includes Oscar Wilde’s Salomé (1891), Dorothy Richardson’s Honeycomb (1917), James Joyce’s Ulysses (1922), and Evelyn Waugh’s Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder (1945). The representations of wine in these fictions respond to the creative and destructive depictions of Wine that have imbued the narratives of myth, religion, and philosophy for thousands of years; simultaneously, these WorKs recreate and reflect on numerous Wine-related events and movements that shaped European discourse in the nineteenth and tWentieth centuries. The modernists use Wine’s conventional associations to diverse and innovative ends: as the playWright August Strindberg Writes, “NeW forms have not been found for the neW content, so that the neW Wine has burst the old bottles.” Wine in these works alternately, and often concurrently, evoKes themes that Were important to the modernists, including notions of indulgence and Waste, pleasure and addiction, experimentation and ritual, tradition and nostalgia, regional distinction and global expansion, wanton intoxication and artistic clarity. -
An Ideal Husband Department of Theatre, Florida International University
Florida International University FIU Digital Commons Department of Theatre Production Programs Department of Theatre Fall 9-26-2014 An Ideal Husband Department of Theatre, Florida International University Follow this and additional works at: https://digitalcommons.fiu.edu/theatre_programs Part of the Theatre and Performance Studies Commons Recommended Citation Department of Theatre, Florida International University, "An Ideal Husband" (2014). Department of Theatre Production Programs. 77. https://digitalcommons.fiu.edu/theatre_programs/77 This work is brought to you for free and open access by the Department of Theatre at FIU Digital Commons. It has been accepted for inclusion in Department of Theatre Production Programs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Theatre u • lllul llFAR lllrt1 IUIU 1111 RH theatre.fiu.edu TO ALL OUR PATRONS An Ideal Husband Students, faculty, staff and community WELCOME TO THE 2014-2015 SEASON! By Oscar Wilde On behalf of the Department of Theatre at Florida International Cast (In order of appearance) University allow me to thank you for attending this performance. We truly appreciate your interest and continuing support. Viscount Goring- Allyn Anthony (BFA Performance) 2014 - 2015 is ,roised to be a crackerjack of a season! First up is Oscar Wilde's An Ideal Husband", and for those familiar with Sir Robert Chiltern - Danny Leonard (BFA Performance) Phillip M. Church his hilarious comedy , "The Importance of Being Earnest" there Lady Chiltern - Pia Isabell Vicioso-Vila (BA) Chairperson is an interesting surprise in store. In a move to disengage from Mrs. Cheveley - Chachi Colon (BFA Performance) the world of melodrama, Wilde developed "a new play about Vicomte De Nanjac - Lovanni Gomez (BFA Performance) modem life" in which he contrasted the worlds of social opinion Lady Markby - Madeleine Escarne (BFA Performance) against the dark interior of the human condition. -
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.".