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Decorative Art in America Oscar Wilde Decorative Art in America DECORATIVE ART IN AMERICA OSCAR WILDE DECORATIVE ART IN AMERICA A LECTURE BY OSCAR WILDE TOGETHER WITH LETTERS REVIEWS AND INTERVIEWS EDITED WITH AN INTRODUCTION BY RICHARD BUTLER GLAENZER NEW YORK BRENTANO'S MCMVI Copyright, 1906, by BRENTANO'S THE DE VlNNE PRIOSS CONTENTS PAGE INTRODUCTION • • VII DECORATIVE ART IN AMERICA • 1 JOAQUIN MILLER, THE GOOD SAMARITAN • 17 MRS. LANGTRY AS HESTER GRAZEBROOK 23 " VERA" AND THE DRAMA 3 1 MR. WHISTLER'S" TEN O'CLOCK" 39 THE RELATION OF DRESS TO ART · 47 THE TOMB OF KEATS 55 KEATS' SONNET ON BLUE · 63 ENGLISH POETESSES • LONDON MODELS • "DORIAN GRAY" AND ITS CRITICS 101 RUDYARD KIPLING AND THE ANGLO-INDIANS. 117 "A HOUSE OF POMEGRANATES" • 121 THE RELATION OF THE ACTOR TO THE PLAY 127 THE CENSURE AND "SALOME" 135 PARIS, THE ABODE OF ARTISTS 145 SARAH BERNHARDT AND " SALOME" • • • • 149 THE ETHICS OF JOURNALISM 153 DRAMATIC CRITICS AND "AN IDEAL HUSBAND" • • 161 NOTES Introduction . 175 Decorative Art in America • 181 Joaquin Miller, the Good Samaritan • 187 V vi CONTENTS PAGE Mrs. Langtry as Hester Grazebrook • • 193 "Vera" and the Drama . • 195 Mr. Whistler's" Ten O'Clock" • • 197 The Relation of Dress to Art . • • • • 201 20 The Tomb of Keats • 5 21 Keats' Sonnet on Blue • 9 English Poetesses • • • • 229 London Models . • 241 "Dorian Gray" and its Critics • 245 Mr. Kipling and the Anglo-Indians • 25 1 "A House of Pomegranates" . 253 The Relation of the Actor to the Play . 255 The Censure and "Salome" • 257 Paris, the Abode of Artists . · 261 Sarah Bernhardt and" Salome" • 263 The Ethics of Journalism • 265 Dramatic Critics and"An Ideal Husband" · 269 INDEX . 27 I INTRODUCTION If it took Labouchere three columns to prove that I was forgot. ten, then there is no difference between fame and obscurity. -New York Herald, Sunday, August Ia, I88.J. INTRODUCTION IF we are content to accept Oscar Wilde at his own final valuation and to judge him by the con­ fession which he has left the world in De Pro­ fundis, we can apply to him no better epithet than The Epicurean. But confessions are at best mis­ leading. They are tinctured by the exaggera­ tions of humility. They are laden with self-abase­ ment proportionate to the penitent's desire for absolution, rather than to the culpability of the malefactor. They confuse things material with things spiritual and the sins of the body with those of the intellect. Fearful of half-truths, they dis­ close monstrous untruths, until the spirit of self­ immolation is glutted and the tortured soul satisfied that repentance has no further penance within reach. So, with Wilde, it is difficult to believe the whole of the" pitiless indictment which he brings against himself." Fldneur and dandy he accuses ix x INTRODUCTION himself of being. 1 FIJneur and dandy he may have been. But, however profitless his life, must his word be wholly without purpose? Surely there was something more than mere dilettantism in talents so diverse, so brilliantly manifested, so exquisitely elusive. For elusive, perplexing, de­ fiant of definition was he in all that he did-this man of genius, Oscar Wilde par excellence The Protean. The Protean-for we embrace the singer of songs to find that we have seized upon the cynic; we seek to learn the secret of worldly dis­ dain and discover that we are communing with the prose poet; we are roused from the lulling charm of fable and delicate imagery by the mordant wit of the dramatist; with the smile still on our lips we are confronted by a soul in torment. Oscar Wilde, The Protean, the weaver of paradoxes­ himself the great paradox! Try as we may, shall we ever understand him? II Be warned in time, James; and remain, as I do, incomprehensible. To be great is to be misunderstood." 2 At all events he remains unexplained and unexplainable, nor one, whom his most pitiless critics have been able to explain away. Yet, if we are to approach him, as we must, with a small measure of understanding, let us begin where he ends in The Truth of Masks: H Not that I agree INTRODUCTION Xl with everything that I have said in this essay. There is much with which I entirely disagree. The essay simply represents an artistic standpoint. For in art there is no such thing as a universal truth. A Truth in art is that whose contradictory is also true." 3 Using this dogma as a basis for argument, Arthur Symons evolves the theory that Wilde was " an artist in attitudes." 4 " And it was precisely in his attitudes," he says, "that he was most sincere. They represented his intentions; they stood for the better, unrealized part of himself. Thus his atti­ tude, towards life and towards art, was untouched by his conduct." There is a kernel of truth in the theory so long as emphasis be laid upon this sin­ cerity; for with Wilde the attitude was not so much a pose assumed as a point of view accidentally en­ countered. Given the new point of view, with the change of perspective, new theories became not only admissible, but imperative.5 N or was incon­ sistency or insincerity possible to him, whose one fixed star was that" art never expresses anything but itself." 6 But not only was he sincere in his at­ titudes; he was sincere concerning his attitudes. "What people call insincerity," he says in The Critz'c as Artist, "is simply a method by which we can multiply our personalities." Were this exam­ ple a random citation, it might carry little weight. .. Xli INTRODUCTION But Wilde proceeds to say in the same essay, "To know anything about oneself, one must know all about others. There must be no mood with which one cannot sympathize, no dead mode of life that one cannot make alive. Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth." 7 This, perhaps, is a key to the secret. That he intentionally adopted the !hell of different personalities, is improbable. What seems unquestionable, however, is this as­ sumption of certain quite distinct roles, which col­ oured not only his life but his written word. And so a trait, unconscious at first, through mere repeti­ tion became self-conscious-deliberate, it may be­ thereby substantiating the theory which he pro­ pounds. This much is certain. When he posed as an idealist, he was laughed at for a fool; when he posed as a cynic, he was applauded for a wit. But then the public could gain something from the pose of 1882, and had nothing to gain from that of 1892. "All art is quite useless," 8 he says. Was it in consolation or self-justification? Again we find ourselves involved in a labyrinth of paradox. And so, inexplicable he remains. Yet, if a man be intel­ ligent enough to simulate cleverness, or sufficiently gifted to exemplify genius, is he not cleverness intensifi€d, may he not be genius magnified? INTRODUCTION xiii But this is by way of digression and bears only indirectly on Wilde's literary work. His better known essays, which were published in The Nine­ teenth Century and The Fortnightly Review at various intervals from 1885 to 1890, and which, after some revision, were reissued in a collected form under the characteristic title of Inten#ons, have received much of the attention which they deserve. Though comparatively unnoticed upon their individual ap­ pearance, as a collection they not only created a sensation, but received some serious consideration and appreciation at the hands of the more discrimi­ nating critics. 9 At present, their great merit is so generally accepted that it becomes almost platitu­ dinous to insist upon the wit that characterizes their every phrase. Perhaps it is in these essays that we find Wilde in his most brilliant mood. Here we are given many of his ideas crystallized in the form of epigrams-dogmas so gracefully ex­ pressed that it seems as if such wealth of fancy could conceal no useful thought. Here is Wilde more truly Protean than ever. But here also much of potential utility has been polished into exqui­ sitely arrayed abstractions so mellifluous that they do not invite serious interpretation. But Wilde had another side: one extremely practical, in which wit was made secondary to wis- XlV· INTRODUCTION dom, and form to fact; and though this side is emphasized more especially in his unpublished personal correspondence, evidence of it may be detected in his lecture on decorative art, his specific criticisms, and in the majority of the letters included in the following collection. Furthermore, to obtain an insight into the true significance of Intentions, it is essential to grasp the theories of the young man who lectured on art in 1882; who took issue with Whistler in 1885. For the dogmas of the New }Esthetics, set forth in The Decay of Lying, are in a measure visionary and not a little destructive, while the earlier doctrines are not only constructive, but practical. In the first instance, as an iconoclast, he laid bare much of the hypocrisy and smug complacency of the" literary gentleman" -the quasi-artist, creative and critical; in the second, as a teacher, he attempted to indicate certain means for improvement and to lead the way to truth by the path of his own ideals. If we examine the files of Punch of a quarter of a century ago, we will find rather illumina­ ting references to Nincompoopiana. 10 " Jellaby Postlethwaite" from that time became so prominent a personage in the world of cartoons, that in the year 1882, which discovers Oscar Wilde, the poet, lecturer, and soi-disant }Esthete approaching INTRODUCTION xv the port of New York,11 it was difficult to scan any public sheet without finding some allusion to the resthetic movement and its high-priest.
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