Oscar Wilde, a Critical Study. Arthur Ransome

Dorian Gray appeared in Lippincott's Magazine in 1890. The Preface was published separately in The Fortnightly Review in 1891. He added several chapters, and The Portrait of Dorian Gray was published in book form in 1891. Much of his time was spent in Paris, and there, before the end of the year, he wrote Salomé. In 1892 that play was prohibited by the Censor when Madame Sarah Bernhardt had begun to rehearse it for production at the Palace Theatre. It was first produced in Paris, at the Théâtre de L'Œuvre, in 1896. Lady Windermere's Fan was produced on February 20, 1892, by Mr. George Alexander at the St. James's Theatre. A Woman of No Importance was produced on April 19, 1893, by Mr. H. Beerbohm Tree at the Haymarket Theatre, where, on January 3, 1895, he produced An Ideal Husband. On February 14, 1895, Mr. George Alexander produced The Importance of Being Earnest at the St. James's.

      With the production of these plays Wilde became not only a caricatured celebrity but a popular success. He lived extravagantly. In 1895 the applause was turned to execration, when he lost in a prosecution for criminal libel that he brought against the Marquis of Queensberry, and was himself arrested on a more serious charge. The jury disagreed, and he was released on bail, perhaps in the hope that he would leave the country. He waited the re-trial, was convicted, and sentenced to two years' imprisonment with hard labour, which sentence he served. Towards the end of his time in prison he wrote the letter from which De Profundis (published in 1905) is extracted. After his release he went to Berneval-sur-mer, near Dieppe, where he began The Ballad of Reading Gaol, which he revised in Naples and Paris, and published pseudonymously in 1898. He also wrote two letters on prison abuses, which were published in The Daily Chronicle on May 28, 1897, and March 24, 1898. He lived in Italy, Switzerland and France. He died in Paris on November 30, 1900. He was buried on December 3 in the Bagneux Cemetery. On July 20, 1909, his remains were moved to Père Lachaise.

      Footnote

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      "Take her up tenderly,

      Lift her with care;

      Fashioned so slenderly,

      Young, and so fair!"

III

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      POEMS

      It is a relief to turn from a list of bibliographical and biographical dates to the May-day colouring of a young man's first book; to forget for a moment the suffering that is nearly twenty years ahead, and to think of "undergraduate days at Oxford; days of lyrical ardour and of studious sonnet-writing; days when one loved the exquisite intricacy and musical repetitions of the ballade, and the villanelle with its linked long-drawn echoes and its curious completeness; days when one solemnly sought to discover the proper temper in which a triolet should be written; delightful days, in which, I am glad to say, there was far more rhyme than reason." It is too easy to forget this note in Wilde's personality, that he sounded again and again, and that was not cracked even by the terrible experiences whose symbol was imprisonment. To the end of his life Wilde retained the enthusiasm, the power of self-abandon to a moment of emotion, the delight in difficult beauty, in accomplished loveliness, that made his Oxford years so happy a memory, and give his first book a savour quite independent of its poetical value.

      Ballade and villanelle, rondeau and triolet, the names of these French forms were enough to set the key for a young craftsman's reverie. But the university at that time was full of lively influences. Walter Pater's "Renaissance" had not long left the press. Its author, that grave man, was to be met in his panelled rooms, ready to advise, to point the way to rare books, and to talk of the secrets of his art. Pater in those days was a new classic, the private possession of those young men who found his books "the holy writ of beauty." The new classics of the generation before—Tennyson and Arnold and Browning—had not yet faded into that false antiquity that follows swift upon the heels of popular recognition. The scholar gipsy had not long been given his place in the mythology of "Oxford riders blithe," and the trees in Bagley Wood were still a little tremulous at his presence. Browning's "The Ring and the Book" had been published ten years before. Queen Victoria's approval of Tennyson may have somewhat marred him in the eyes of youthful seekers after subtlety, but the early poems offered a pleasant opportunity for discriminating appreciation. It was not very long since Swinburne "had set his age on fire by a volume of very perfect and very poisonous poetry." Morris, the first edition of whose "Defence of Guenevere," though published in 1857, was not exhausted till thirteen years later, was a master not yet so widely admired as to deny to his disciples the delight of a personal and almost daring loyalty. Rossetti's was a still more powerful influence.

      All these factors must be remembered in any attempt to reconstruct the atmosphere in which Wilde wrote his early poems. Nor must we forget that when Wilde entered that atmosphere as an undergraduate he had an unusual training behind him. He had known another university, and carried away from it a gold medal for Greek. He was an Irishman whose nationality had been momentarily intensified by his revolutionary mother and his own name. And, perhaps still more important, he was a very youthful cosmopolitan, had been often abroad, knew a good deal of French poetry, and had been able to date one of his earliest poems from that light-hearted Avignon where the Popes once held their court, and whence the dancing on the broken bridge has sent a merry song throughout the world.

      It is curious to see this young lover of Théophile Gautier and old intricate rhyme-forms, winning the Newdigate Prize for a poem in decasyllabic couplets on a set subject. Many bad and a few good poets have won that prize, and it constitutes, I suppose, a sort of academic recognition that a man writes verse. Wilde was always pleased with recognition, of whatever quality, and was, perhaps, induced to compete on finding himself curiously favoured by the subject chosen for the year, which happened to be Ravenna. He had visited Ravenna on his way to Greece in the previous long vacation, and so was equipped with memories denied to his rivals. He saw the city "across the sedge and mire," when they could only see her on the map. He knew "the lonely pillar, rising on the plain" where Gaston de Foix had died. And, in Italian woods, he had actually watched, hoping to see and hear

      "Some goat-foot Pan make merry minstrelsy

      Amid the reeds! some startled Dryad-maid

      In girlish flight! or lurking in the glade,

      The soft brown limbs, the wanton treacherous face

      Of woodland god!"

      The wordy piece of rhetoric that was published after winning him the prize is enriched by some pictorial effects that are almost effects of poetry. But the best that can or need be said of the whole is, that it is an admirable prize poem.

      Three years later he published his first book.

      Poems, bound in white vellum, decorated with gold, and beautifully printed, contains work done before and after Ravenna. The most obvious quality of this work, and that which is most easily and most often emphasized, is its richness in imitations. But there is more in it than that. It is full of variations on other men's music, but they are variations to which the personality of the virtuoso has given a certain uniformity. Wilde played the sedulous ape with sufficient self-consciousness and sufficient failure to show that he might himself be somebody. His emulative practice of his art asks for a closer consideration than that usually given to it. Let me borrow an admirable phrase from M. Remy de Gourmont, and say that a "dissociation of ideas" is necessary in thinking of imitation. To describe a young poet's work as derivative is not the same thing as to condemn it. All work is derivative more or less, and to pour indiscriminate contempt on Wilde's imitations because they are imitations, is to betray a lamentable ignorance of the history of poetry. There is no need too seriously to defend this early work. Wilde's reputation can stand without or even in spite of it. But it is worth while to notice that the