Oscar Wilde, a Critical Study. Arthur Ransome

among his friends, and imitates him as wholeheartedly as he can, he will but gain in comparison with his original. There is nothing in the master strong enough to impose itself upon the pupil. When Keats, full of admiration, imitates Leigh Hunt, he is not very heavily impeded in his search for Keats. But when Wilde blows the horn of Morris, an echo from that Norseman's lungs throws out of harmony the notes of his disciple. When he touches Rossetti's lute his melody is blurred by the thrum of the strings that the Italian's fingers have so lately left. In fifty years' time it will, perhaps, be safe to imitate Swinburne. It is not so at present.

      Even in springing from the ground of prose into the air of song, it is wise to choose ground that age has worn or that is not itself remarkable. When Coleridge reads Purchas—

      "In Xamdu did Cublai Can build a stately Palace, encompassing sixteene miles of plaine ground with a wall, wherein are fertile Meddowes, pleasant Springs, delightfule Streames, and all sorts of beasts of chase and game, and in the middest thereof a sumptuous house of pleasure"——

      and rewrites it—

      "In Xanadu did Kubla Khan

      A stately pleasure dome decree:

      Where Alph the sacred river ran

      Through caverns measureless to man

      Down to a sunless sea.

      So twice five miles of fertile ground

      With walls and towers were girdled round:

      And there were gardens bright with sinuous rills

      Where blossomed many an incense-bearing tree;

      And here were forests ancient as the hills.

      Enfolding sunny spots of greenery"——

      he works a true magic, bringing two out of one, and setting beside Purchas something that we can independently enjoy. Purchas died so long ago. He and Coleridge have different worlds behind them. But when Wilde remembers a passage in his favourite book, written not a dozen years before, and asks why he should not make personal to himself the description of the manifold life of Mona Lisa, that ends, "all this has been to her but as the sound of lyres and flutes"; when he prefixes two verses of explanation to a rhymed elaboration of that sentence—

      "But all this crowded life has been to thee

      No more than lyre, or lute, or subtle spell

      Of viols, or the music of the sea

      That sleeps, a mimic echo, in the shell"——

      he only puts it out of drawing. It is impossible to avoid a comparison, because Pater and Wilde are so close together, alike in time and feeling.

      'Eleutheria,' a section at the beginning of the book, includes a number of discreet sacrifices on the altar of Milton. Here Wilde does much better. Some of these exercises, which are among the most interesting he wrote, suggest a new view of the morale of imitation. With Wilde in this mood, imitation (to use one of those renewals of popular sayings that were the playthings of his mind), was the sincerest form of parody. Now parody is a branch of criticism. The critics of the music-hall stage are those favourite comedians who imitate their fellow-actors. Lewis Carroll is a negligible critic neither of Longfellow nor of Tennyson. Parody's criticism is too often facile, seeking applause by the readiest means, holding up to ridicule rather than to examination faults rather than excellences, exaggerating tricks of manner and concerning itself not at all with personality. Wilde's parodies are at once more valuable and more sincere. He tries to catch not only the letter but the spirit, and does indeed present a clearer view of Milton than is contained in many academic essays. An accusation of mere plagiary is made impossible by his openness. He writes a sonnet on Milton, a sonnet on Louis Napoleon, and then, matching even the title of his model, a sonnet on the Massacre of the Christians in Bulgaria. Let me print the sonnet "On the Late Massacre in Piedmont":—