When deciding what element a play should contain, one must look at a large variety of options. These options can alter how the audience depicts the play and change their overall opinions. Oscar Wilde’s “The Importance of Being Earnest” is a play set around 1895 where the protagonist, Jack Worthing, takes on two identities in order to avoid social obligations. This play’s era affects how the characters are dressed and how their households appear.
On October 16, 1854, the eccentric and fervently revered Oscar Fingal O’Flahertie Wills Wilde was born in Dublin, Ireland. Wilde’s work as a dramatist, novelist, and poet was marked by controversial wit, and was often the subject of moral outrage in Europe. Much of his writing reflected his own life and his protest against societal norms happening during the nineteenth century. His only novel, The Picture of Dorian Gray, was greatly attacked for having themes of homoeroticism, and was part of the history that actualized his notoriety. However, the questions posed by his work and his life, are still relevant now as they were a hundred years ago (Ellmann, xvii).
..., C. D. "Oscar Wilde." The Literature Network. Jalic INC., 2008. Web. 3 Apr 2012.
How does Wilde use dramatic comedy to explore gender roles of upper-class Victorians?
Wilde effectively and regularly utilises the typical conventions of dramatic comedy to present a plot in which characters move away from a strict Victorian society: especially with regard to gender roles. Adhering to the conventions of a typical Comedy of Manners play, Wilde aims to comment, and most likely mock a civilisation heavily concerned with appearances, and upholding traditional values. He also firmly follows the codes of a dramatic comedy by using comic inversions to create a sense of disorder and subsequently discomfort within audiences, particularly Victorians. Wilde repeatedly questions the idea of the role of both women and men in the rigid, Victorian era and is shown to both conform and subvert the differing expectations of both sexes.
If there is nothing intrinsically precious, but only superficially glorious, there is nothing to stay. It is the same with marriage. Just as Robert Frost conveys in his poem "Nothing Gold Can Stay," even gold cannot stay no matter how beautiful it is. Comparing to Robert Frost's masterpiece, we witness how an ostensibly joyful marriage turns out to be a catastrophe in Henrik Ibsen's A Doll's House. In this play, we can perceive honor and pride, but the main qualities a marriage requires are innocence and truth. Between the poem and the play, we can perceive many similar perspectives.
Additionally, Wilde’s intense relationship with Lord Alfred Douglas is the inspiration for this poem. Elements like the speaker’s attitude provide evidence to to this claim. The speaker’s attitude is pondering and observant. He is observing the situation and analyzing what is happening. This is how Wilde felt in his relationship with Douglas. Participating in an affair, especially one with a man, was uncharted territory for him. He had to learn through trial and error. Unfortunately, his relationship also faced more stress due to a great deal of scrutiny the couple was under. Their relationship was not viewed as genuine. Society thought that their relationship was not genuine because it was a relationship between two men. Lust was considered
Oscar Wilde, the scholarly illustrative of the supposed Yellow Nineties, remained toward the end of the nineteenth century and sneered at the Victorian age. He mocked Victorian values most especially in The Importance of Being Earnest, presumably his most prevalent work. Turning on the play of words in the title, the dramatization additionally mocks the general concept of sincerity, a prudence to which the Victorians joined the most extreme centrality. To buckle down, to be genuine, straightforward, and open, and to live sincerely was the Victorian perfect. Wilde not just caricaturizes false reverence and sham prudence, he likewise taunts its real vicinity.
The interesting life of Oscar Fingal O'Flahertie Wills Wilde began on October 16, 1854, in Dublin, Ireland. By the end of his college education, Wilde had become one of the most famous aesthetes; it was this recognition which drew attention to his affected paradoxes and his witty sayings. This fame led to his 1882 lecture tour of America. In 1885 Wilde began work as a book reviewer for the Pall Mall Gazette and a critic for the Dramatic Reviewer. Two years later, he was appointed as the editor of the Lady's World Magazine. The year 1888 marked his first major published work The Happy Prince and Other Stories, which was a charming collection of children's stories. Three years later Wilde made a name for him self by publishing four books in 1891: A House of Pomegranates, Lord Arthur Savile's Crime, Intentions, and The Picture of Dorian Gray -- the latter earning him his greatest fame to date" ("Biograp...
The Homosexual Image in the Wilde Trials: Trying a Man and a Model
For a modern audience, Oscar Wilde represents a quintessential example of homosexuality, especially among notable historical figures. However, this audience may not realize how much influence Wilde had over popular conceptions of homosexuality; in fact, many believe that Wilde’s trial in fact represented the birth of the popular homosexual image. If critics like Alan Sinfield and David Halperin are to be believed, the Wilde trials served as the crucible for the concept of the male homosexual. As the many nineteenth-century models of male sexuality came under trial, the rhetoric of Queensberry’s defense in Wilde’s first trial was critical in the convergence of these models to
First published as pop-culture in Lippincott's Magazine, Oscar Wilde's The Picture of Dorian Gray sparked immediate controversy with its Victorian critics (Introduction xvi-xviii). The Victorian Era, named so for the reign of British Queen Victoria, was tantamount to exacting moral principles – media, households and government were consumed by pious platitudes. During this time, anything suggestive of sex – literal or allegorical – was stringently suppressed; women were to be covered up to the chin, out to the hands, and down to the ankles, likewise, piano and table legs were covered to the floor. Victorian literature possessed an ability to inculcate a sense of religious and social responsibility in its reader; the conventional Victorian novel most commonly embodied a “social reality” (“The Victorian Age”) – accepted social tenets of a community – and the manner of search and discovery the characters use to find and establish their places within the set “reality” (“The Victorian Age”). Wilde, and his aesthete contemporaries, challenged the mainstream didactic literature of their time with an, as Walter Pater put it, “art for [art's] sake” (276) attitude. Oscar Wilde's The Picture of Dorian Gray is a whelming campaign against the Victorian tenor; through vivid scenery and cunning language, Wilde argues not only the ability of art to consist of purely aesthetic qualities but the inability for art to consist of anything other than beauty.