Oscar Wilde Books

"The Importance of Being Earnest: A Trivial Comedy for Serious People" is one of the first plays written in English since the works of Shakespeare that celebrates the language itself. Oscar Wilde's comedy has one advantage over the classic comedies of the Bard in that "The Importance of Being Earnest" is as funny today as it was when it was first performed at the St. Jame's Theater in London on February 14, 1895. After all, enjoying Shakespeare requires checking the bottom for footnotes explaining the meaning of those dozens of words that Shakespeare makes up in any one of his plays. But Wilde's brilliant wit, his humor and social satire, remain intact even though he was a writer of the Victorian era.

Wilde believed in art for art's own sake, which explains why he emphasized beauty while his contemporaries were dealing with the problems of industrial England. "The Importance of Being Earnest" is set among the upper class, making fun of their excesses and absurdities while imbuing them with witty banter providing a constant stream of epigrams. The play's situation is simple in its unraveling complexity. Algernon Moncrieff is an upper-class English bachelor who is visited by his friend Jack Worthing, who is known as "Ernest." Jack has come to town to propose to Gwendolen Fairfax, the daugher of the imposing Lady Bracknell and Algy's first cousin. Jack has a ward named Cecily who lives in the country while Algernon has an imaginary friend named "Bunbury" whom he uses as an excuse to get out of social engagements.

Jack proposes to Gwendolen but has two problems. First, Gwendolen is wiling to agree because his name is Ernest, a name that "seems to inspire absolute confidence," but which, of course, is not his true Christian name. Second, Lady Bracknell objects to Jack as a suitor when she learns he was abandoned by his parents and found in a handbag in Victoria Station by Mr. Thomas Cardew. Meanwhile, Algernon heads off to the country to check out Cecily, to whom he introduces himself as being her guardian Jack's brother Ernest. This meets with Ceclily's approval because in her diary she has been writing about her engagement to a man named Ernest. Then things get really interesting.

Wilde proves once and for all time that the pun can indeed be elevated to a high art form. Throughout the entire play we have the double meaning of the word "earnest," almost to the level of a conceit, since many of the play's twists and turns deal with the efforts of Jack and Algernon to be "Ernest," by lying, only to discover that circumstances makes honest men of them in the end (and of the women for that matter as well). There is every reason to believe that Wilde was making a point about earnestness being a key ideal of Victorian culture and one worthy of being thoroughly and completely mocked. Granted, some of the puns are really bad, and the discussion of "Bunburying" is so bad it is stands alone in that regard, but there is a sense in which the bad ones only make the good ones so glorious and emphasize that Wilde is at his best while playing games with the English language.

But if Wilde's puns are the low road then his epigrams represent the heights of his genius, especially when they are used by the characters in an ironic vein (e.g., "It is very romantic to be in love. But there is nothing romantic about a definite proposal" and "I do not approve of anything that tampers with natural ignorance"). Jack is the male lead, but it is Algernon who represents the ideal Wilde character, who insists he is a rebel speaking out against the institutions of society, such as marriage, but with attacks that are so flamboyant and humorous that the cleverness of the humor ends up standing apart from the inherent point.

In the end, "The Importance of Being Earnest" is the wittiest play every written, in English or any other language, and I doubt that anything written in the future will come close. Wilde was essentially a stand-up comedian who managed to create a narrative in which he could get off dozens of classic one-liners given a high-class sheen by being labeled epigrams. Like a comedian he touches on several topics, from the aristocracy, marriage, and the literary world to English manners, women, love, religion, and anything else that came to his fertile mind. But because it is done with such a lighthearted tone that the barbs remain as timely today as they were at the end of the 19th-century and "The Importance of Being Earnest" will always be at the forefront of the plays of that time which will continue to be produced.

"The Importance of Being Earnest: A Trivial Comedy for Serious People" is one of the few plays written in English since the works of Shakespeare that celebrates the language itself. Oscar Wilde's comedy has one advantage over the classic comedies of the Bard in that "The Importance of Being Earnest" is as funny today as it was when it was first performed at the St. Jame's Theater in London on February 14, 1895. After all, enjoying Shakespeare requires checking the bottom for footnotes explaining the meaning of those dozens of words that Shakespeare makes up in any one of his plays. But Wilde's brilliant wit, his humor and social satire, remain intact even though he was a writer of the Victorian era.

Wilde believed in art for art's own sake, which explains why he emphasized beauty while his contemporaries were dealing with the problems of industrial England. "The Importance of Being Earnest" is set among the upper class, making fun of their excesses and absurdities while imbuing them with witty banter providing a constant stream of epigrams. The play's situation is simple in its unraveling complexity. Algernon Moncrieff is an upper-class English bachelor who is visited by his friend Jack Worthing, who is known as "Ernest." Jack has come to town to propose to Gwendolen Fairfax, the daugher of the imposing Lady Bracknell and Algy's first cousin. Jack has a ward named Cecily who lives in the country while Algernon has an imaginary friend named "Bunbury" whom he uses as an excuse to get out of social engagements.

Jack proposes to Gwendolen but has two problems. First, Gwendolen is wiling to agree because his name is Ernest, a name that "seems to inspire absolute confidence," but which, of course, is not his true Christian name. Second, Lady Bracknell objects to Jack as a suitor when she learns he was abandoned by his parents and found in a handbag in Victoria Station by Mr. Thomas Cardew. Meanwhile, Algernon heads off to the country to check out Cecily, to whom he introduces himself as being her guardian Jack's brother Ernest. This meets with Ceclily's approval because in her diary she has been writing about her engagement to a man named Ernest. Then things get really interesting.

Wilde proves once and for all time that the pun can indeed be elevated to a high art form. Throughout the entire play we have the double meaning of the word "earnest," almost to the level of a conceit, since many of the play's twists and turns deal with the efforts of Jack and Algernon to be "Ernest," by lying, only to discover that circumstances makes honest men of them in the end (and of the women for that matter as well). There is every reason to believe that Wilde was making a point about earnestness being a key ideal of Victorian culture and one worthy of being thoroughly and completely mocked. Granted, some of the puns are really bad, and the discussion of "Bunburying" is so bad it is stands alone in that regard, but there is a sense in which the bad ones only make the good ones so glorious and emphasize that Wilde is at his best while playing games with the English language.

But if Wilde's puns are the low road then his epigrams represent the heights of his genius, especially when they are used by the characters in an ironic vein (e.g., "It is very romantic to be in love. But there is nothing romantic about a definite proposal" and "I do not approve of anything that tampers with natural ignorance"). Jack is the male lead, but it is Algernon who represents the ideal Wilde character, who insists he is a rebel speaking out against the institutions of society, such as marriage, but with attacks that are so flamboyant and humorous that the cleverness of the humor ends up standing apart from the inherent point.

In the end, "The Importance of Being Earnest" is the wittiest play every written, in English or any other language, and I doubt that anything written in the future will come close. Wilde was essentially a stand-up comedian who managed to create a narrative in which he could get off dozens of classic one-liners given a high-class sheen by being labeled epigrams. Like a comedian he touches on several topics, from the aristocracy, marriage, and the literary world to English manners, women, love, religion, and anything else that came to his fertile mind. But because it is done with such a lighthearted tone that the barbs remain as timely today as they were at the end of the 19th-century and "The Importance of Being Earnest" will always be at the forefront of the plays of that time which will continue to be produced.

I have read quite a few books about Oscar Wilde, both biographical and fictional. But, I must say that "Judas Kiss", written by a very talented David Hare, seems to be the best among the plays. The minute I started reading this book, I felt better about not having a chance to see the play on Broadway, with an incredible Liam Neeson as late Oscar Wilde. Hare's playwriting ability is so powerful, that I was able to re-create theater stage, the story happening on it, and even Liam Neeson himself. In terms of its narrrative, "Judas Kiss" takes somewhat non-traditional look at the last few months of Oscar Wilde's life in Italy. It is well-documented that prison changed him greatly in spirit and in body, and that he came out physically and spiritually weaker than ever. But, wait and see what Hare has to say about this as well as about Bosie's presence in Wilde's life after prison, among other things.

I was anxious to ready Lady Windamere's Fan after I'd read Oscar Wilde's other more popular play, The Importance of Being Earnest. I'm not quite sure what I expected, but I was surprised at the content of Lady Windamere's Fan. Considering the lifestyle that Wilde indulged in, it was interesting to see his take on the confusions and lack of communication between a husband and wife. He introduced the subject of a possible affair and divorce, but sketched his main characters as honorable citizens who were willing to go against the "impulse of the moment" and instead, stay true and faithful to their spouses. The person of Lady Windamere is interesting and effective. She is one who many women would do well to emulate. She demonstrates great love and devotion to her husband and her child, and shows forth woman's indwelling feeling of responsibility for her offspring.

As always, Wilde gives us an interesting little "twist" at the end of the play, just to keep us on our toes and prove again that we aren't nearly as clever as he! Wilde proves himself again with Lady Windamere's Fan-- a job well done!

This is an incredibly insightful, well argued, and superbly
interesting study of male desire and its effects on Victorian
culture. A major part of the focus of this study concerns
the interacting awarenesses, defenses, attacks, and
deflections of male same-sex attraction AND desire,
and the various responses to those two factors
in relation to the classical Greek writings and art
as they influenced the thoughts and creativity of
Victorian male lives, especially in the academic
centers of Cambridge and Oxford Universities.
This study is very readable, even though the
first paragraph of the "Introduction" sounds too
"academic," the rest of the Introduction explains
the focus. The author of this work, Richard Dellamora,
is working with or against various ideas
expressed in the writings of Michel Foucault [History of
Sex: Vol. 1 An Introduction; Vol. _The Use of Pleasure_],
Eve Kosofsky Sedgwick [_Between Men: English Literature and
Male Homosocial Desire_], Elaine Showalter [_The Female
Malady: Women, Madness, and English Culture, 1830-1980_;
_A Literature of Their Own_]and other writers on sexuality
and gender, dealing with the Victorian period.
But this is no "he says; she says..." study. It is
truly a remarkable and incredibly insightful and
interesting, well focused and clearly presented work.
It is a very important source of knowledge and study
in its own right--this author has well studied and
knows the people, their works, and the issues and
arguments involved. He clearly and inspiringly explains
the meanings of the works, their major ideas, and the
counter ideas, and where each is focused
in its arguments. But the work is not dry reading.
Dellamora deals with male desire as it is
expressed in the works of both those male writers
whose affections and interests are focused on the male
exclusively, as well as with those males who have
sought the expression of their life association and

sexuality with women,but who have nonetheless been
aware of, been participants in, and been celebrators
of profound male bonding desire,
even if not of a sexual nature. Indeed, Dellamora's
main argument is that the history of the presentation
of male desire in the 19th century English cultural
context transcends the limitation imposed by the idea
that only "homosexuals" would be aware of, feel,
or desire such male oriented caring. That idea breaks
the stereotype and opens up (liberates) the cultural
strictures and impositions that sadly still dominate
willingness to talk of male desire and sexuality in
some academic writings, especially in the United States.
Mr. Dellamora is professor of English and Cultural Studies
at Trent University in Ontario [according to the back cover].
The chapter titles help to show the range and excellent
areas of analysis by the author, who knows and uses the
writings, letters, and sources extremely well. The titles
are: Introduction-Masculine Desire and the Question of the
Subject; (1) Tennyson, the Apostles, and _In Memoriam_; (2)
"Spousal Love" in the Poetry of Gerard Manley Hopkins; (3)
[Walter]Pater at Oxford in 1864--Old Mortality and
"Diaphaneite"; (4) Poetic Perversities of A. C. Swinburne;
Excursus--Hopkins, Swinburne, and the Whitmanian Signifier;
(5) [Matthew]Arnold, Winckelmann, and [Walter] Pater;
(6) John Ruskin and the Character of Male Genius; (7)
Leonardo, Medusa, and the Wish to be Woman; (8) "The New
Chivalry" and Oxford Politics (the contest to elect a new
Professor of Poetry at Oxford; the influences of Walter
Pater, John Addington Symonds, and Jowett);
9)Theorizing Homophobia--Analysis of Myth in Pater;
(10) Homosexual Scandal and Compulsory Heterosexuality
in the 1890s; Afterword--The Subject of Sexual (In)difference.
The Bibliography at the back of this book is
exceptional, interesting, and informative (in terms of
future sources that one might wish to consult or
purchase for one's own use). It is filled with both
essay and book entries, but all of a highly
intellectual and culturally stimulating kind.
Dellamora presents here a thorough, well studied,
well analyzed, and totally enlightening work. It is
well worth the purchase by any reader interested in
the subjects of male desire, cultural impact, and
artistic expression.
His exceptional gift in this work is to use letters
and journals to show the range of feelings and

expressions -- the letters between Arthur Hallam
to Richard Milnes and the expressions between
Tennyson and Hallam are incredibly interesting
(as well as being something one would not be
able to easily access from other sources). The other
personages inovlved in the Apostles and
their interests and expressions and doings
provide great insight also in understanding
more fully the context of the cultural and personal
interactions that were going on at both Cambridge
and Oxford in the 1800s.
[Byron and Tennyson attended Cambridge;
Pater, Hopkins (tutored by Pater), Symonds,
Ruskin, and Wilde attended Oxford.]
Notice: Dellamora uses the words which
the writers of the works and the letters use --
both Latinate and common. The words have both
to do with bodily parts and sexual acts, so the
general reader should be aware. But none of
this is presented in a sensationalist fashion, rather
as an enlightening insight into the thoughts and ideas
that motivated, influenced, and found expression (or
repression) in the lives of the experiencers. This is
NOT a book about sex or about sex acts -- it is about
ideas and desires and their influences on personal
motivations, strivings, and artistic expressions.

"Oscar Wilde and the Ring of Death" is the second in Gyles Brandreth's series of murder mysteries featuring Oscar Wilde as detective. It is one of the most fun books I have read this year, fueled by Mr Brandreth's impressive understanding of the Wilde witticism and the affairs of the turn of the century. It is almost like Mr Brandreth having romped through London at that time with Oscar Wilde himself, and then living to tell the tale.

In the book, Mr Wilde is the toast of London's high society. His "Lady Windermere's Fan" is a critical and box-office success, and his popularity is unmatched amongst the cognoscenti. One evening, at an exclusive "Sunday Supper Club" dinner with such friends as Arthur Conan Doyle, Bram Stoker, and Robert Sherard (who also narrates the story), Wilde introduces a parlor game involving a list of people that his guests would secretly like to kill. From the next day onward, each person on the "hit list" dies mysteriously, in the very order with which his or her name showed up during the dinner. Wilde, Conan Doyle, and Sherard begin to investigate independently, especially after failing to enlist the help of Scotland Yard . . . and especially since Wilde's name itself appears on the "hit list!" Their ensuing adventures are as jolly as they are thrilling.

Mr Brandreth's characters stay with you throughout the reading of the book. I like the way that he imbues beauty in every character, even those who Oscar Wilde considers "ugly" ("He is grotesque. Speak to him, Robert. I cannot") and who Robert Sherard abhors ("He was too charming, too intelligent, too well- and widely-read"). The sensual characters coexist with the virtuous, and they all stand out.

But it is in his profound knowledge of Oscar Wilde that Mr Brandreth shines. I am not sure of any other novelist who can match his ability to drop this much Wildesque one-liners ("It is sweet to think that one day I will serve to grow tulips") and add-on information ("It's called parsley." "Correctly known as 'petroselinum'"). Mix that with terrific wit and story-telling shrewdness, and you have an entertaining writer and a sensational book. I do not think that "Oscar Wilde and the Ring of Fire" is necessarily part of a series you read in order. I picked up the book from Kolkata's Starmark Bookstore with no prior knowledge of Mr Brandreth and his murder series, and I did not notice the need to read the prequel. However, I shall move on to the other books. Oscar Wilde and Gyles Brandreth are certainly worth the time.

After reading Profundis, I was struck by Oscar, his life, times, regrets and the depth of his self-inflicted pain. This book provides the reader with a perspective on the London of Oscars' time which must be thoroughly understood to glean meaning to his life. Daily life is explored on various social levels as are those contemporary laws and social mores of which Oscar spoke and often debated. This book is a must for those who wish to OBJECTIVELY get beyond Oscar's sexuality and popularized personnae. A fantastic overview of the London which harbored the young Wilde -- rejected the sexual Wilde -- and ultimately embraced the visionary Wilde.

There is undoubtedly very little scholarship in the field of Wilde studies that can compare to this work. Ellman's biography of Wilde is a classic, but this work, so little known, and so little referenced, is the first to offer an exhaustive view of Wilde's philosophical, literary, and scientific reading at Oxford. (I refer to the commentary that is included in the first section of this book preceding the edited material as that is where my comments mostly apply).

Smith and Helfand haved used Wilde's entries in his commonplace book and Oxford notebooks (1878-79) to demonstrate that his wide reading at Oxford was not isolated to that period of his life. A commonplace book, for the uninitiated, is not exactly a class notebook, but a serious repository of ideas that were written down and organized with the idea of improving upon them in future writing. This is what Wilde's commonplace book is. Smith and Helfand demonstrate how Wilde took many of these ideas with him into his later writings. It is a good example of a very traditional method of Bildung, or cultural and intellectual formation. For those who would read Wilde as a serious writer whose literary career followed a thread (many threads) from beginning to end, here is the book for you.

The erudition required for editing a book such as this, is a great task, one that the editors have accomplished with skill. This work was edited in the wake of queer studies, when the reductively mythical presentations of Wilde as gay martyr were annexed to the needs of a burgeoning academic community. It is perhaps due to this circumstance that little attention has been devoted to the scholar Oscar Wilde, and much more to Wilde hagiography. Smith and Helfand are concerned with Wilde's intellectual career, and they have contributed vitally to the recuperation of an identity smeared like an inkblot across the pages of intellectual history.

What is most formidable about this research is that it is not splattered with the ideas of poststructuralist writers, which would inevitably date the book. Smith and Helfand use the editing principles of Tanselle, but their commentary is derived from straightforward readings of original texts. It certainly destined to remain a classic in Wilde studies for a long time to come. Those interested in Foucault's concept of the technology of the self as history of writing practices may find this work helpful. Historians of evolution writing may be interested in the integration and arrangement of entries in the notebooks. Wilde wrote synthetically. He brought together ideas from Victorian writers as far afield as Spencer and Green, Huxley and Arnold, Darwin and Newman, etc. Many of Wilde's gretest aphorisms are located and his passion for the Greek Classics is present on nearly every page.

Oscar Wilde is considered a notable writer, but died in poverty in exile in Paris a hundred years ago. Oscar Wilde: A Life In Quotes is a compelling tribute to his life and works as it uses his own writings to examine his sentiments and struggles, adding the author's illustrations and notes to complete a lively, well-rounded presentation.

Dr. Downey confronts the little-understood censorship of Biblical drama that continued into the twentieth century. She has done immense research and synthesized it well. Read her book!