Oscar Wilde

Oscar Fingal O'Flahertie Wills Wilde (16 October 185430 November 1900) was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of the most popular playwrights in London in the early 1890s. He is best remembered for his epigrams and plays, his novel ''The Picture of Dorian Gray'', and the circumstances of his criminal conviction for gross indecency for consensual homosexual acts in "one of the first celebrity trials", imprisonment, and early death from meningitis at age 46.

Wilde's parents were Anglo-Irish intellectuals in Dublin. A young Wilde learned to speak fluent French and German. At university, Wilde read Greats; he demonstrated himself to be an exceptional classicist, first at Trinity College Dublin, then at Oxford. He became associated with the emerging philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles.

As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and interior decoration, and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, ''The Picture of Dorian Gray'' (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama. He wrote ''Salome'' (1891) in French while in Paris, but it was refused a licence for England due to an absolute prohibition on the portrayal of Biblical subjects on the English stage. Undiscouraged, Wilde produced four society comedies in the early 1890s, which made him one of the most successful playwrights of late-Victorian London.

At the height of his fame and success, while ''The Importance of Being Earnest'' (1895) was still being performed in London, Wilde prosecuted the Marquess of Queensberry for criminal libel. The Marquess was the father of Wilde's lover, Lord Alfred Douglas. The libel trial unearthed evidence that caused Wilde to drop his charges and led to his own arrest and trial for gross indecency with men. After two more trials he was convicted and sentenced to two years' hard labour, the maximum penalty, and was jailed from 1895 to 1897. During his last year in prison, he wrote '' De Profundis'' (published posthumously in 1905), a long letter which discusses his spiritual journey through his trials, forming a dark counterpoint to his earlier philosophy of pleasure. On his release, he left immediately for France, and never returned to Ireland or Britain. There he wrote his last work, '' The Ballad of Reading Gaol'' (1898), a long poem commemorating the harsh rhythms of prison life.

Early life

Oscar Wilde was born at 21 Westland Row, Dublin (now home of the Oscar Wilde Centre, Trinity College), the second of three children born to an Anglo-Irish couple: Jane, née Elgee, and Sir William Wilde. Oscar was two years younger than his brother, William (Willie) Wilde.

Jane Wilde was a niece (by marriage) of the novelist, playwright and clergyman Charles Maturin (1780 – 1824), who may have influenced her own literary career. She believed, mistakenly, that she was of Italian ancestry, and under the pseudonym ''"Speranza"'' (the Italian word for 'hope'), she wrote poetry for the revolutionary Young Irelanders in 1848; she was a lifelong Irish nationalist. Jane Wilde read the Young Irelanders' poetry to Oscar and Willie, inculcating a love of these poets in her sons. Her interest in the neo-classical revival showed in the paintings and busts of ancient Greece and Rome in her home.

William Wilde was Ireland's leading oto-ophthalmologic (ear and eye) surgeon and was knighted in 1864 for his services as medical adviser and assistant commissioner to the censuses of Ireland. He also wrote books about Irish archaeology and peasant folklore. A renowned philanthropist, his dispensary for the care of the city's poor at the rear of Trinity College Dublin was the forerunner of the Dublin Eye and Ear Hospital, now located at Adelaide Road. On his father's side Wilde was descended from a Dutchman, Colonel de Wilde, who went to Ireland with King William of Orange's invading army in 1690, and numerous Anglo-Irish ancestors. On his mother's side, Wilde's ancestors included a bricklayer from County Durham, who emigrated to Ireland sometime in the 1770s.

Wilde was baptised as an infant in St. Mark's Church, Dublin, the local Church of Ireland (Anglican) church. When the church was closed, the records were moved to the nearby St. Ann's Church, Dawson Street. Davis Coakley mentions a second baptism by a Catholic priest, Father Prideaux Fox, who befriended Oscar's mother circa 1859. According to Fox's testimony in ''Donahoe's Magazine'' in 1905, Jane Wilde would visit his chapel in Glencree, County Wicklow, for Mass and would take her sons with her. She asked Father Fox in this period to baptise her sons.

Fox described it in this way:

I am not sure if she ever became a Catholic herself but it was not long before she asked me to instruct two of her children, one of them being the future erratic genius, Oscar Wilde. After a few weeks I baptized these two children, Lady Wilde herself being present on the occasion.

In addition to his two full siblings, Oscar Wilde had three half siblings, who were born out of wedlock before the marriage of his father: Henry Wilson, born in 1838 to one woman, and Emily and Mary Wilde, born in 1847 and 1849, respectively, to a second woman. Sir William acknowledged paternity of his illegitimate or "natural" children and provided for their education, arranging for them to be reared by his relatives rather than with his legitimate children in his family household with his wife.

In 1855, the family moved to No. 1 Merrion Square, where Wilde's sister, Isola Francesca Emily Wilde was born 2 April 1857. She was named in tribute to Iseult of Ireland, wife of Mark of Cornwall and lover of the Cornish knight, Sir Tristan. She shared the name Francesca with her mother while Emily was the name of her maternal aunt. Oscar was very close to her and grief struck when she died at the age of nine of a febrile illness. Isola lit up their lives like "a golden ray of sunshine dancing about our home". The Wildes' new home was larger. With both his parents' success and delight in social life, the house soon became the site of a "unique medical and cultural milieu". Guests at their salon included Sheridan Le Fanu, Charles Lever, George Petrie, Isaac Butt, William Rowan Hamilton and Samuel Ferguson.

Until he was nine, Wilde was educated at home, where a French nursemaid and a German governess taught him their languages. He joined his brother Willie at Portora Royal School in Enniskillen, County Fermanagh, which he attended from 1864 to 1871. At Portora, although he was not as popular as his older brother, Wilde impressed his peers with the humorous and inventive school stories he told. Later in life he claimed that his fellow students had regarded him as a "prodigy" for his ability to speed read, claiming that he could read two facing pages simultaneously and consume a three-volume book in half an hour, retaining enough information to give a basic account of the plot. He excelled academically, particularly in the subject of Classics, in which he ranked fourth in the school in 1869. His aptitude for giving oral translations of Greek and Latin texts won him multiple prizes, including the Carpenter Prize for Greek Testament. He was one of only three students at Portora to win a Royal School scholarship to Trinity in 1871.

Until his early twenties, Wilde summered at the villa, Moytura House, which his father had built in Cong, County Mayo. There the young Wilde and his brother Willie played with George Moore. Isola died at age nine of meningitis. Wilde's poem " Requiescat" is written to her memory:

"Tread lightly, she is near
Under the snow

Speak gently, she can hear

the daisies grow"

University education: 1870s

Trinity College Dublin

Wilde left Portora with a royal scholarship to read classics at Trinity College Dublin, from 1871 to 1874, sharing rooms with his older brother Willie Wilde. Trinity, one of the leading classical schools, placed him with scholars such as R. Y. Tyrell, Arthur Palmer, Edward Dowden and his tutor, Professor J. P. Mahaffy, who inspired his interest in Greek literature. As a student Wilde worked with Mahaffy on the latter's book ''Social Life in Greece''. Wilde, despite later reservations, called Mahaffy "my first and best teacher" and "the scholar who showed me how to love Greek things". For his part, Mahaffy boasted of having created Wilde; later, he said Wilde was "the only blot on my tutorship".

The University Philosophical Society also provided an education, as members discussed intellectual and artistic subjects such as Dante Gabriel Rossetti and Algernon Charles Swinburne weekly. Wilde quickly became an established member – the members' suggestion book for 1874 contains two pages of banter (sportingly) mocking Wilde's emergent aestheticism. He presented a paper titled "Aesthetic Morality". At Trinity, Wilde established himself as an outstanding student: he came first in his class in his first year, won a scholarship by competitive examination in his second and, in his finals, won the Berkeley Gold Medal in Greek, the University's highest academic award. He was encouraged to compete for a demyship (a half-scholarship worth £95 (£ today) per year) to Magdalen College, Oxford – which he won easily.

Magdalen College, Oxford

At Magdalen, he read Greats from 1874 to 1878, and from there he applied to join the Oxford Union, but failed to be elected.

Attracted by its dress, secrecy, and ritual, Wilde petitioned the Apollo Masonic Lodge at Oxford, and was soon raised to the "Sublime Degree of Master Mason". During a resurgent interest in Freemasonry in his third year, he commented he "would be awfully sorry to give it up if I secede from the Protestant Heresy". Wilde's active involvement in Freemasonry lasted only for the time he spent at Oxford; he allowed his membership of the Apollo University Lodge to lapse after failing to pay subscriptions.

Catholicism deeply appealed to him, especially its rich liturgy, and he discussed converting to it with clergy several times. In 1877, Wilde was left speechless after an audience with Pope Pius IX in Rome. He eagerly read the books of Cardinal Newman, a noted Anglican priest who had converted to Catholicism and risen in the church hierarchy. He became more serious in 1878, when he met the Reverend Sebastian Bowden, a priest in the Brompton Oratory who had received some high-profile converts. Neither his father, who threatened to cut off his funds, nor Mahaffy thought much of the plan; but Wilde, the supreme individualist, balked at the last minute from pledging himself to any formal creed, and on the appointed day of his baptism into Catholicism, sent Father Bowden a bunch of altar lilies instead. Wilde did retain a lifelong interest in Catholic theology and liturgy.

While at Magdalen College, Wilde became particularly well known for his role in the aesthetic and decadent movements. He wore his hair long, openly scorned "manly" sports though he occasionally boxed, and he decorated his rooms with peacock feathers, lilies, sunflowers, blue china and other ''objets d'art''. He once remarked to friends, whom he entertained lavishly, "I find it harder and harder every day to live up to my blue china." The line quickly became famous, accepted as a slogan by aesthetes but used against them by critics who sensed in it a terrible vacuousness. Some elements disdained the aesthetes, but their languishing attitudes and showy costumes became a recognised pose. Wilde was once physically attacked by a group of four fellow students, and dealt with them single-handedly, surprising critics. By his third year Wilde had truly begun to develop himself and his myth, and considered his learning to be more expansive than what was within the prescribed texts. This attitude resulted in his being rusticated for one term, after he had returned late to a college term from a trip to Greece with Mahaffy.

Wilde did not meet Walter Pater until his third year, but had been enthralled by his ''Studies in the History of the Renaissance'', published during Wilde's final year in Trinity. Pater argued that man's sensibility to beauty should be refined above all else, and that each moment should be felt to its fullest extent. Years later, in '' De Profundis'', Wilde described Pater's ''Studies...'' as "that book that has had such a strange influence over my life". He learned tracts of the book by heart, and carried it with him on travels in later years. Pater gave Wilde his sense of almost flippant devotion to art, though he gained a purpose for it through the lectures and writings of critic John Ruskin. Ruskin despaired at the self-validating aestheticism of Pater, arguing that the importance of art lies in its potential for the betterment of society. Ruskin admired beauty, but believed it must be allied with, and applied to, moral good. When Wilde eagerly attended Ruskin's lecture series ''The Aesthetic and Mathematic Schools of Art in Florence'', he learned about aesthetics as the non-mathematical elements of painting. Despite being given to neither early rising nor manual labour, Wilde volunteered for Ruskin's project to convert a swampy country lane into a smart road neatly edged with flowers.

Wilde won the 1878 Newdigate Prize for his poem "Ravenna", which reflected on his visit there the year before, and he duly read it at Encaenia. In November 1878, he graduated with a double first in his B.A. of Classical Moderations and Literae Humaniores (Greats). Wilde wrote to a friend, "The dons are '' beyond words – the Bad Boy doing so well in the end!"

Apprenticeship of an aesthete: 1880s

Debut in society

After graduation from Oxford, Wilde returned to Dublin, where he met again Florence Balcombe, a childhood sweetheart. She became engaged to Bram Stoker and they married in 1878. Wilde was disappointed but stoic: he wrote to her, remembering "the two sweet years – the sweetest years of all my youth" during which they had been close. He also stated his intention to "return to England, probably for good". This he did in 1878, only briefly visiting Ireland twice after that.

Unsure of his next step, Wilde wrote to various acquaintances enquiring about Classics positions at Oxford or Cambridge. ''The Rise of Historical Criticism'' was his submission for the Chancellor's Essay prize of 1879, which, though no longer a student, he was still eligible to enter. Its subject, "Historical Criticism among the Ancients" seemed ready-made for Wilde – with both his skill in composition and ancient learning – but he struggled to find his voice with the long, flat, scholarly style. Unusually, no prize was awarded that year.

With the last of his inheritance from the sale of his father's houses, he set himself up as a bachelor in London. The 1881 British Census listed Wilde as a boarder at 1 (now 44) Tite Street, Chelsea, where Frank Miles, a society painter, was the head of the household.

Celebrated in London’s high society, Lillie Langtry was introduced to Wilde at Frank Miles studio in 1877. The most glamorous woman in England, Langtry assumed great importance to Wilde during his early years in London, and they remained close friends for many years, with Wilde tutoring her in Latin and later encouraging her to pursue acting. She wrote in her autobiography that he "possessed a remarkably fascinating and compelling personality", and "the cleverness of his remarks received added value from his manner of delivering them."

He had been publishing lyrics and poems in magazines since entering Trinity College, especially in ''Kottabos'' and the '' Dublin University Magazine''. In mid-1881, at 27 years old, he published ''Poems'', which collected, revised and expanded his poems.

Though the book sold out its first print run of 750 copies it was not generally well received by the critics, ''Punch'' for example saying "The poet is Wilde, but his poetry's tame". By a tight vote, the Oxford Union condemned the book for alleged plagiarism. The librarian, who had requested the book for the library, returned the presentation copy to Wilde with a note of apology. Biographer Richard Ellmann argues that Wilde's poem " Hélas!" was a sincere, though flamboyant, attempt to explain the dichotomies the poet saw in himself; one line reads: "To drift with every passion till my soul / Is a stringed lute on which all winds can play".

The book had further printings in 1882. It was bound in a rich, enamel parchment cover (embossed with gilt blossom) and printed on hand-made Dutch paper; over the next few years, Wilde presented many copies to the dignitaries and writers who received him during his lecture tours.

North America: 1882

Aestheticism was sufficiently in vogue to be caricatured by Gilbert and Sullivan in '' Patience'' (1881). Richard D'Oyly Carte, an English impresario, invited Wilde to make a lecture tour of North America, simultaneously priming the pump for the US tour of ''Patience'' and selling this most charming aesthete to the American public. Wilde journeyed on the SS ''Arizona'', arriving 2 January 1882, and disembarking the following day. Originally planned to last four months, the tour continued for almost a year owing to its commercial success. Wilde sought to transpose the beauty he saw in art into daily life. This was a practical as well as philosophical project: in Oxford he had surrounded himself with blue china and lilies, and now one of his lectures was on interior design. In a British Library article on aestheticism and decadence, Carolyn Burdett writes, "Wilde teased his readers with the claim that life imitates art rather than the other way round. His point was a serious one: we notice London fogs, he argued, because art and literature has taught us to do so. Wilde, among others, 'performed' these maxims. He presented himself as the impeccably dressed and mannered dandy figure whose life was a work of art."

When asked to explain reports that he had paraded down Piccadilly in London carrying a lily, long hair flowing, Wilde replied, "It's not whether I did it or not that's important, but whether people believed I did it". Wilde believed that the artist should hold forth higher ideals, and that pleasure and beauty would replace utilitarian ethics.

Wilde and aestheticism were both mercilessly caricatured and criticised in the press: the '' Springfield Republican'', for instance, commented on Wilde's behaviour during his visit to Boston to lecture on aestheticism, suggesting that Wilde's conduct was more a bid for notoriety rather than devotion to beauty and the aesthetic. T. W. Higginson, a cleric and abolitionist, wrote in "Unmanly Manhood" of his general concern that Wilde, "whose only distinction is that he has written a thin volume of very mediocre verse", would improperly influence the behaviour of men and women.

According to biographer Michèle Mendelssohn, Wilde was the subject of anti-Irish caricature and was portrayed as a monkey, a blackface performer and a Christy's Minstrel throughout his career. "''Harper's Weekly'' put a sunflower-worshipping monkey dressed as Wilde on the front of the January 1882 issue. The drawing stimulated other American maligners and, in England, had a full-page reprint in the ''Lady's Pictorial''. ... When the ''National Republican'' discussed Wilde, it was to explain 'a few items as to the animal's pedigree.' And on 22 January 1882 the ''Washington Post'' illustrated the Wild Man of Borneo alongside Oscar Wilde of England and asked 'How far is it from this to this?'" Though his press reception was hostile, Wilde was well received in diverse settings across America: he drank whiskey with miners in Leadville, Colorado, and was fêted at the most fashionable salons in many cities he visited.

London life and marriage

His earnings, plus expected income from '' The Duchess of Padua'', allowed him to move to Paris between February and mid-May 1883. While there he met Robert Sherard, whom he entertained constantly. "We are dining on the Duchess tonight", Wilde would declare before taking him to an expensive restaurant. In August he briefly returned to New York for the production of ''Vera'', his first play, after it was turned down in London. He reportedly entertained the other passengers with " Ave Imperatrix!, A Poem on England", about the rise and fall of empires. E. C. Stedman, in ''Victorian Poets'', describes this "lyric to England" as "manly verse – a poetic and eloquent invocation".

In London, he had been introduced in 1881 to Constance Lloyd, daughter of Horace Lloyd, a wealthy Queen's Counsel. She happened to be visiting Dublin in 1884, when Wilde was lecturing at the Gaiety Theatre. He proposed to her, and they married on 29 May 1884 at the Anglican St James's Church, Paddington, in London. Although Constance had an annual allowance of £250, which was generous for a young woman (equivalent to about £ in current value), the Wildes had relatively luxurious tastes. They had preached to others for so long on the subject of design that people expected their home to set new standards. No. 16, Tite Street was duly renovated in seven months at considerable expense. The couple had two sons together, Cyril (1885) and Vyvyan (1886). Wilde became the sole literary signatory of George Bernard Shaw's petition for a pardon of the anarchists arrested (and later executed) after the Haymarket massacre in Chicago in 1886.

In 1886 at Oxford, Wilde met Robert Ross. Ross, who had read Wilde's poems before they met, seemed unrestrained by the Victorian prohibition against homosexuality. By Richard Ellmann's account, he was a precocious seventeen-year-old who "so young and yet so knowing, was determined to seduce Wilde". According to Daniel Mendelsohn, Wilde, who had long alluded to Greek love, was "initiated into homosexual sex" by Ross, while his "marriage had begun to unravel after his wife's second pregnancy, which left him physically repelled".

Wilde had a number of favourite haunts in London. These included the Hotel Café Royal in Piccadilly; today the Oscar Wilde Lounge provides a traditional afternoon tea service, Hatchards bookstore in Piccadilly, and the department stores Liberty & Co. on Great Marlborough Street and Harrods in Knightsbridge; Wilde was among Harrods' first selected customers who were granted extended credit.

Prose writing: 1886–1891

Journalism and editorship: 1886–1889

Criticism over artistic matters in ''The Pall Mall Gazette'' provoked a letter in self-defence, and soon Wilde was a contributor to that and other journals during 1885–87. He enjoyed reviewing and journalism; the form suited his style. He could organise and share his views on art, literature and life, yet in a format less tedious than lecturing. Buoyed up, his reviews were largely chatty and positive. Wilde, like his parents before him, also supported the cause of Irish nationalism. When Charles Stewart Parnell was falsely accused of inciting murder, Wilde wrote a series of astute columns defending him in the '' Daily Chronicle''.

His flair, having previously been put mainly into socialising, suited journalism and rapidly attracted notice. With his youth nearly over, and a family to support, in mid-1887 Wilde became the editor of ''The Lady's World'' magazine, his name prominently appearing on the cover. He promptly renamed it as '' The Woman's World'' and raised its tone, adding serious articles on parenting, culture, and politics, while keeping discussions of fashion and arts. Two pieces of fiction were usually included, one to be read to children, the other for the ladies themselves. Wilde worked hard to solicit good contributions from his wide artistic acquaintance, including those of Lady Wilde and his wife Constance, while his own "Literary and Other Notes" were themselves popular and amusing.

The initial vigour and excitement which he brought to the job began to fade as administration, commuting and office life became tedious. At the same time as Wilde's interest flagged, the publishers became concerned anew about circulation: sales, at the relatively high price of one shilling, remained low. Increasingly sending instructions to the magazine by letter, Wilde began a new period of creative work and his own column appeared less regularly. In October 1889, Wilde had finally found his voice in prose and, at the end of the second volume, Wilde left ''The Woman's World''. The magazine outlasted him by one issue.

If Wilde's period at the helm of the magazine was a mixed success from an organizational point of view, it played a pivotal role in his development as a writer and facilitated his ascent to fame. Whilst Wilde the journalist supplied articles under the guidance of his editors, Wilde the editor was forced to learn to manipulate the literary marketplace on his own terms.

During the late 1880s, Wilde was a close friend of the artist James McNeill Whistler and they dined together on many occasions. At one of these dinners, Whistler said a bon mot that Wilde found particularly witty, Wilde exclaimed that he wished that he had said it, and Whistler retorted "You will, Oscar, you will." Herbert Vivian—a mutual friend of Wilde and Whistler—attended the dinner and recorded it in his article ''The Reminiscences of a Short Life'', which appeared in ''The Sun'' in 1889. The article alleged that Wilde had a habit of passing off other people's witticisms as his own—especially Whistler's. Wilde considered Vivian's article to be a scurrilous betrayal, and it directly caused the broken friendship between Wilde and Whistler. The Reminiscences also caused great acrimony between Wilde and Vivian, Wilde accusing Vivian of "the inaccuracy of an eavesdropper with the method of a blackmailer" and banishing Vivian from his circle. Vivian's allegations did not diminish Wilde's reputation as an epigrammatist. London theatre director Luther Munday recounted some of Wilde's typical quips: He said of Whistler that "he had no enemies, but was intensely disliked by his friends." Of Hall Caine that "he wrote at the top of his voice." Of Rudyard Kipling that "he revealed life by splendid flashes of vulgarity." Of Henry James that "he wrote fiction as if it were a painful duty," and of Marion Crawford that "he immolated himself on the altar of local colour."Munday, Luther, ''A Chronicle of Friendships'', p.98 (New York, 1896).
/ref>

Shorter fiction

Wilde published '' The Happy Prince and Other Tales'' in 1888, and had been regularly writing fairy stories for magazines. In 1891 he published two more collections, '' Lord Arthur Savile's Crime and Other Stories'', and in September '' A House of Pomegranates'' was dedicated "To Constance Mary Wilde". " The Portrait of Mr. W. H.", which Wilde had begun in 1887, was first published in ''Blackwood's Edinburgh Magazine'' in July 1889. It is a short story, which reports a conversation, in which the theory that Shakespeare's sonnets were written out of the poet's love of the boy actor " Willie Hughes", is advanced, retracted, and then propounded again. The only evidence for this is two supposed puns within the sonnets themselves.

The anonymous narrator is at first sceptical, then believing, finally flirtatious with the reader: he concludes that "there is really a great deal to be said of the Willie Hughes theory of Shakespeare's sonnets." By the end fact and fiction have melded together. Arthur Ransome wrote that Wilde "read something of himself into Shakespeare's sonnets" and became fascinated with the "Willie Hughes theory" despite the lack of biographical evidence for the historical William Hughes' existence. Instead of writing a short but serious essay on the question, Wilde tossed the theory amongst the three characters of the story, allowing it to unfold as background to the plot. The story thus is an early masterpiece of Wilde's combining many elements that interested him: conversation, literature and the idea that to shed oneself of an idea one must first convince another of its truth. Ransome concludes that Wilde succeeds precisely because the literary criticism is unveiled with such a deft touch.

Though containing nothing but "special pleading", it would not, he says "be possible to build an airier castle in Spain than this of the imaginary William Hughes" we continue listening nonetheless to be charmed by the telling. "You must believe in Willie Hughes," Wilde told an acquaintance, "I almost do, myself."

Essays and dialogues

Wilde, having tired of journalism, had been busy setting out his aesthetic ideas more fully in a series of longer prose pieces which were published in the major literary-intellectual journals of the day. In January 1889, ''The Decay of Lying: A Dialogue'' appeared in '' The Nineteenth Century'', and ''Pen, Pencil and Poison'', a satirical biography of Thomas Griffiths Wainewright, in '' The Fortnightly Review'', edited by Wilde's friend Frank Harris. Two of Wilde's four writings on aesthetics are dialogues: though Wilde had evolved professionally from lecturer to writer, he retained an oral tradition of sorts. Having always excelled as a wit and raconteur, he often composed by assembling phrases, ''bons mots'' and witticisms into a longer, cohesive work.

Wilde was concerned about the effect of moralising on art; he believed in art's redemptive, developmental powers: "Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine."Wilde, O. ''The Complete Works of Oscar Wilde'', Collins. In his only political text, ''The Soul of Man Under Socialism'', he argued political conditions should establish this primacy – private property should be abolished, and cooperation should be substituted for competition. At the same time, he stressed that the government most amenable to artists was no government at all. Wilde envisioned a society where mechanisation has freed human effort from the burden of necessity, effort which can instead be expended on artistic creation. George Orwell summarised, "In effect, the world will be populated by artists, each striving after perfection in the way that seems best to him."

This point of view did not align him with the Fabians, intellectual socialists who advocated using state apparatus to change social conditions, nor did it endear him to the monied classes whom he had previously entertained.Pearson, H. ''Essays of Oscar Wilde'' London: Meuthen & Co (1950:xi) Catalogue no:5328/u Hesketh Pearson, introducing a collection of Wilde's essays in 1950, remarked how ''The Soul of Man Under Socialism'' had been an inspirational text for revolutionaries in Tsarist Russia but laments that in the Stalinist era "it is doubtful whether there are any uninspected places in which it could now be hidden".

Wilde considered including this pamphlet and " The Portrait of Mr. W. H.", his essay-story on Shakespeare's sonnets, in a new anthology in 1891, but eventually decided to limit it to purely aesthetic subjects. ''Intentions'' packaged revisions of four essays: ''The Decay of Lying''; ''Pen, Pencil and Poison''; ''The Truth of Masks'' (first published 1885); and ''The Critic as Artist'' in two parts. For Pearson the biographer, the essays and dialogues exhibit every aspect of Wilde's genius and character: wit, romancer, talker, lecturer, humanist and scholar and concludes that "no other productions of his have as varied an appeal". 1891 turned out to be Wilde's ''annus mirabilis''; apart from his three collections he also produced his only novel.

''The Picture of Dorian Gray''

The first version of ''The Picture of Dorian Gray'' was published as the lead story in the July 1890 edition of '' Lippincott's Monthly Magazine'', along with five others. The story begins with a man painting a picture of Gray. When Gray, who has a "face like ivory and rose leaves", sees his finished portrait, he breaks down. Distraught that his beauty will fade while the portrait stays beautiful, he inadvertently makes a Faustian bargain in which only the painted image grows old while he stays beautiful and young. For Wilde, the purpose of art would be to guide life as if beauty alone were its object. As Gray's portrait allows him to escape the corporeal ravages of his hedonism, Wilde sought to juxtapose the beauty he saw in art with daily life.

Reviewers immediately criticised the novel's decadence and homosexual allusions; '' The Daily Chronicle'' for example, called it "unclean", "poisonous", and "heavy with the mephitic odours of moral and spiritual putrefaction". Wilde vigorously responded, writing to the editor of the ''Scots Observer'', in which he clarified his stance on ethics and aesthetics in art – "If a work of art is rich and vital and complete, those who have artistic instincts will see its beauty and those to whom ethics appeal more strongly will see its moral lesson." He nevertheless revised it extensively for book publication in 1891: six new chapters were added, some overtly decadent passages and homo-eroticism excised, and a preface was included consisting of twenty-two epigrams, such as "Books are well written, or badly written. That is all."

Contemporary reviewers and modern critics have postulated numerous possible sources of the story, a search Jershua McCormack argues is futile because Wilde "has tapped a root of Western folklore so deep and ubiquitous that the story has escaped its origins and returned to the oral tradition". Wilde claimed the plot was "an idea that is as old as the history of literature but to which I have given a new form". Modern critic Robin McKie considered the novel to be technically mediocre, saying that the conceit of the plot had guaranteed its fame, but the device is never pushed to its full. On the other hand, Robert McCrum of ''The Guardian'' lists it among the 100 best novels ever written in English, calling it "an arresting, and slightly camp, exercise in late-Victorian gothic". The novel has been the subject of many adaptations to film and stage, and one of its most quoted lines, "there is only one thing in the world worse than being talked about, and that is not being talked about", features in Monty Python's "Oscar Wilde sketch" in an episode of ''Monty Python's Flying Circus''.

Theatrical career: 1892–1895

''Salomé''

The 1891 census records the Wildes' residence at 16 Tite Street, where Oscar lived with his wife Constance and two sons. Not content with being better known than ever in London, though, he returned to Paris in October 1891, this time as a respected writer. He was received at the ''salons littéraires'', including the famous ''mardis'' of Stéphane Mallarmé, a renowned symbolist poet of the time. Wilde's two plays during the 1880s, '' Vera; or, The Nihilists'' and '' The Duchess of Padua'', had not met with much success. He had continued his interest in the theatre and now, after finding his voice in prose, his thoughts turned again to the dramatic form as the biblical iconography of Salome filled his mind. One evening, after discussing depictions of Salome throughout history, he returned to his hotel and noticed a blank copybook lying on the desk, and it occurred to him to write in it what he had been saying. The result was a new play, '' Salomé'', written rapidly and in French.

A tragedy, it tells the story of Salome, the stepdaughter of the tetrarch Herod Antipas, who, to her stepfather's dismay but mother's delight, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the Dance of the Seven Veils. When Wilde returned to London just before Christmas the ''Paris Echo'' referred to him as ''"le great event"'' of the season. Rehearsals of the play, starring Sarah Bernhardt, began but the play was refused a licence by the Lord Chamberlain, since it depicted biblical characters. ''Salome'' was published jointly in Paris and London in 1893, but was not performed until 1896 in Paris, during Wilde's later incarceration.

Comedies of society

Wilde, who had first set out to irritate Victorian society with his dress and talking points, then outrage it with ''Dorian Gray'', his novel of vice hidden beneath art, finally found a way to critique society on its own terms. ''Lady Windermere's Fan'' was first performed on 20 February 1892 at St James's Theatre, packed with the cream of society. On the surface a witty comedy, there is subtle subversion underneath: "it concludes with collusive concealment rather than collective disclosure". The audience, like Lady Windermere, are forced to soften harsh social codes in favour of a more nuanced view. The play was enormously popular, touring the country for months, but largely trashed by conservative critics. The success of the play saw Wilde earn £7,000 in the first year alone (worth £ today).

His first hit play was followed by ''A Woman of No Importance'' in 1893, another Victorian comedy, revolving around the spectre of illegitimate births, mistaken identities and late revelations. Wilde was commissioned to write two more plays and ''An Ideal Husband'', written in 1894, followed in January 1895.

Peter Raby said these essentially English plays were well-pitched: "Wilde, with one eye on the dramatic genius of Ibsen, and the other on the commercial competition in London's West End, targeted his audience with adroit precision".

Queensberry family

In mid-1891 Lionel Johnson introduced Wilde to Lord Alfred Douglas, Johnson's cousin and an undergraduate at Oxford at the time. Known to his family and friends as "Bosie", he was a handsome and spoilt young man. An intimate friendship sprang up between Wilde and Douglas and by 1893 Wilde was infatuated with Douglas and they consorted together regularly in a tempestuous affair. If Wilde was relatively indiscreet, even flamboyant, in the way he acted, Douglas was reckless in public. Wilde, who was earning up to £100 a week from his plays (his salary at ''The Woman's World'' had been £6), indulged Douglas's every whim: material, artistic, or sexual.

Douglas soon initiated Wilde into the Victorian underground of gay prostitution and Wilde was introduced to a series of young working-class male prostitutes ( rent boys) from 1892 onwards by Alfred Taylor. These infrequent rendezvous usually took the same form: Wilde would meet the boy, offer him gifts, dine him privately and then take him to a hotel room. Unlike Wilde's idealised relations with Ross, John Gray, and Douglas, all of whom remained part of his aesthetic circle, these consorts were uneducated and knew nothing of literature. Soon his public and private lives had become sharply divided; in '' De Profundis'' he wrote to Douglas that "It was like feasting with panthers; the danger was half the excitement... I did not know that when they were to strike at me it was to be at another's piping and at another's pay."

Douglas and some Oxford friends founded a journal, '' The Chameleon'', to which Wilde "sent a page of paradoxes originally destined for the ''Saturday Review''". " Phrases and Philosophies for the Use of the Young" was to come under attack six months later at Wilde's trial, where he was forced to defend the magazine to which he had sent his work. In any case, it became unique: ''The Chameleon'' was not published again.

Lord Alfred's father, the Marquess of Queensberry, was known for his outspoken atheism, brutish manner and creation of the modern rules of boxing. Queensberry, who feuded regularly with his son, confronted Wilde and Lord Alfred about the nature of their relationship several times, but Wilde was able to mollify him. In June 1894, he called on Wilde at 16 Tite Street, without an appointment, and clarified his stance: "I do not say that you are it, but you look it, and pose at it, which is just as bad. And if I catch you and my son again in any public restaurant I will thrash you" to which Wilde responded: "I don't know what the Queensberry rules are, but the Oscar Wilde rule is to shoot on sight". His account in ''De Profundis'' was less triumphant: "It was when, in my library at Tite Street, waving his small hands in the air in epileptic fury, your father... stood uttering every foul word his foul mind could think of, and screaming the loathsome threats he afterwards with such cunning carried out". Queensberry only described the scene once, saying Wilde had "shown him the white feather", meaning he had acted in a cowardly way. Though trying to remain calm, Wilde saw that he was becoming ensnared in a brutal family quarrel. He did not wish to bear Queensberry's insults, but he knew to confront him could lead to disaster were his liaisons disclosed publicly.

''The Importance of Being Earnest''

Wilde's final play again returns to the theme of switched identities: the play's two protagonists engage in "bunburying" (the maintenance of alternative personas in the town and country) which allows them to escape Victorian social mores. ''Earnest'' is even lighter in tone than Wilde's earlier comedies. While their characters often rise to serious themes in moments of crisis, ''Earnest'' lacks the by-now stock Wildean characters: there is no "woman with a past", the principals are neither villainous nor cunning, simply idle cultivés, and the idealistic young women are not that innocent. Mostly set in drawing rooms and almost completely lacking in action or violence, ''Earnest'' lacks the self-conscious decadence found in ''The Picture of Dorian Gray'' and ''Salome''.

The play, now considered Wilde's masterpiece, was rapidly written in Wilde's artistic maturity in late 1894. It was first performed on 14 February 1895, at St James's Theatre in London, Wilde's second collaboration with George Alexander, the actor-manager. Both author and producer assiduously revised, prepared and rehearsed every line, scene and setting in the months before the premiere, creating a carefully constructed representation of late-Victorian society, yet simultaneously mocking it. During rehearsal Alexander requested that Wilde shorten the play from four acts to three, which the author did. Premieres at St James's seemed like "brilliant parties", and the opening of ''The Importance of Being Earnest'' was no exception. Allan Aynesworth (who played Algernon) recalled to Hesketh Pearson, "In my fifty-three years of acting, I never remember a greater triumph than hatfirst night." ''Earnest''s immediate reception as Wilde's best work to date finally crystallised his fame into a solid artistic reputation. In a review of the play for ''The Pall Mall Gazette'' H. G. Wells