An essay on art - There is no opposition to beauty except ugliness: all things are either beautiful or ugly. (9 pages)
A very long, intensely emotional letter written from prison at Reading Gaol to Lord Alfred Douglas – Bosie. (28 pages)
A lecture on house decoration: What is the meaning of beautiful decoration which we call art? (5 pages)
Thoughts and impressions after lecture touring the United States in 1882. (4 pages)
Lecture about art and beauty: Nothing is more dangerous to the young artist than any conception of ideal beauty. (6 pages)
An essay on art models: Professional models are a purely modern invention. (5 pages)
A vast collection of Wilde's aphorisms and witty one-liners. (31 pages)
Essay about Thomas Griffiths Wainewright (1794 1847), English artist and serial poisoner. (14 pages)
Six prose poems published in The Fortnightly Review magazine in 1894. (6 pages)
A collection of reviews written before Wilde's fame. (304 pages)
A collection prose writings, with a preface by Robert Ross, a Canadian journalist and art critic. (57 pages)
Short prose collection on various topics and issues. (21 pages)
Protest letter to The Daily Chronicle, criticism of the prison system. (7 pages)
An essay on art written in the form of a philosophical dialogue. It contains Wilde's major aesthetic statements. (46 pages)
A critical dialogue between two upper-class aesthetes. (21 pages)
Lecture on the English art, first delivered in New York, 1882. (17 pages)
Lengthy essay evaluating historical writings and the art of criticism. (40 pages)
An essay exploring socialism ideas. (24 pages)
An essay focusing of dramatic theory. (17 pages)
Oscar Wilde 1854-1900
(Born Oscar Fingal O'Flahertie Wills Wilde, also wrote under pseudonyms C. 3. 3. and Sebastian Melmoth) Irish playwright, novelist, essayist, critic, poet, and short story writer.
Wilde is recognized as one of the foremost figures of late nineteenth-century literature Aesthetic or “art for art's sake” movement, which defied convention, subordinating ethical instruction to aesthetic value. This credo of aestheticism, however, indicates only one facet of a man notorious for resisting any public institution—artistic, social, political, or moral—that attempted to subjugate individual will and imagination. Wilde is best known for his critical essays and popular plays, which are humorous comedies of manners that focus on upper-class English society.
Wilde was born and raised in Dublin, Ireland. He began his advanced education at Dublin's Trinity College and concluded it with an outstanding academic career at Oxford. In college Wilde was influenced by the writings of Walter Pater, who in his Studies in the History of the Renaissance (1873) urged indulgence of the senses, a search for sustained intensity of experience, and stylistic perfectionism in art. Wilde adopted such aestheticism as a way of life, cultivating an extravagant persona that was burlesqued in the popular press and music-hall entertainments, copied by other youthful iconoclasts, and indulged by the avant-garde literary and artistic circles of London wherein Wilde was renowned for intelligence, wit, and charm. Wilde published his first volume of poetry in 1881. A few years later he married, and embarked on successful lecture tours of the United States, Canada, and Great Britain. In the 1880s, Wilde and his family settled in London, where he continued to crusade for aestheticism as a book reviewer and as the editor of the periodical Lady's World, whose name he immediately changed to Woman's World.
During this period of creativity, Wilde met and became infatuated with Lord Alfred Douglas, son of the Marquess of Queensbury. His relationship with Douglas, the Marquess's violent disapproval of this relationship, and his own ill-advised legal action against the Marquess scandalized London. The Importance of Being Earnest was in production at the time of Wilde's 1895 trial on charges of “gross indecency between male persons.” His conviction and subsequent imprisonment led to ignominy for Wilde and obscurity for his works. He continued to write during his two years in prison. Upon his release, however, Wilde was generally either derided or ignored by literary and social circles. At the time of his death in 1900, the scandal associated with Wilde led most commentators to discuss him diffidently, if at all. While critical response no longer focuses so persistently on questions of morality, Wilde's life and personality still incite fascination. Biographical studies and biographically oriented criticism continue to dominate Wilde scholarship.
Wilde arrived at his greatest success through the production of four plays in the 1890s. The first three—Lady Windermere's Fan (1892), A Woman of No Importance (1893) and An Ideal Husband (1895)—are well-made comedies of manners revolving around social codes of the English upper classes. They are distinctively Wildean for the epigrams and witticisms delivered at frequent intervals (a show of rhetoric which often brings the action of the drama to a standstill). A fourth play, The Importance of Being Earnest (1895), marked the height of Wilde's popularity and is considered his best and most characteristic drama. Bypassing the more realistic characters and situations of its predecessors, The Importance of Being Earnest forms the apogee of Victorian drawing-room farce. Its stylish characters, stylized dialogue, and elegant artificiality are for many readers and critics the ultimate revelation of Wilde's identity as both man and author.
Wilde's plays have been popular with both audiences and critics, who praise his humorous and biting satire of English manners at the turn of the twentieth century. Analysis of sexuality in his work have been a rich area for critical discussion, as commentators investigate the role of androgyny and homosexuality in his comedies. Possible influences on and sources for his work has been another subject for critical study. Commentators on Wilde have also come to stress the intellectual and humanist basis of his plays. Traditionally, critical evaluation of Wilde's work has been complicated, primarily because his works have to compete for attention with his sensational life. Wilde himself regarded this complication as unnecessary, advising that “a critic should be taught to criticise a work of art without making reference to the personality of the author. This, in fact, is the beginning of criticism.”