In Perverse Midrash: Oscar Wilde, André Gide And Censorship Of

Human beings possess several virtues that differentiate them from other creatures and can use them in ways that represent their perceptions of social order. Surprisingly, Oscar Wilde believes that disobedience is an original virtue of every human and that it is responsible for progress and development. While Wilde’s claim is not entirely accurate, it is largely valid as evidenced by the recent events across the world, including the US, that have led to positive outcomes in spite of being termed and perceived as acts of disobedience.

play was outrageous and not accepted. The image of women in plays and stories at the time were

Write an essay that argues your position on the extent to which Wilde’s claims are valid.

At the time he delivered his lecture on Chatterton, Oscar Wilde’s career was transforming. He was transitioning from the performances he had honed during four solid years of addressing countless audiences and was developing, with greater energy than ever before, his profile as an accomplished author, critic, and editor. His discovery of Chatterton stands at the center of these changes. Paying close attention to Chatterton enabled Wilde to understand that the astonishing inventiveness of the Rowley forgeries evinced the imaginative impulse that inspired the finest forms of imaginative literature. Exploiting the links between imagination, authenticity, and truth, Chatterton’s artistic originality arose in fabrications that conjured a literary past that historically never existed.

Themes common to both works include social hypocrisy, the nature of marriage, the proper upbringing of young women, the “natural” superiority of the English over the French, questions of inheritance, the nature of a true gentleman, and debates about the proper role of the church in society, of the imagination, and of writers of novels. Wilde’s play offers very different ideals. In fact, it offers no ideals at all, except its paradoxical commitment to doing without them. As Wilde himself noted, “it has its philosophy . . . that we should treat all the trivial things of life seriously, and all the serious things of life with sincere and studied triviality” (Hart-Davis 196).

An object at rest will remain at rest and an object in motion will remain in motion unless acted upon by an unbalanced force. Newton’s first law of motion identifies what is needed to produce change. Oscar Wilde shared similar observations when he said, “Disobedience, in the eyes of anyone who has read history, is man’s original virtue. It is through disobedience that progress has been made, through disobedience and through rebellion.” Both Newton and Wilde recognized how force was essential in order to successfully achieve change. Although Wilde was an influential leader in the late 1800s, his ideas are still applicable to today’s world just like Newton’s laws of motion. The force of disobedience and rebellion has followed Wilde’s claim by historically altering the world and continuing to serve as a powerful platform for change.

Shakespeare himself faced censorship with serious consequences if he was found creating pieces which challenged the authority and values of the ruling monarchy. William Shakespeare’s early encounters with censorship prompted his preference for subtle devices; this underlying meaning allowed his plays to escape scrutiny and deliver controversial social arguments to every class.

Wilde’s novel is an obvious evidence of the pervasiveness of main values of Victorian society. According to Wilde, “Aesthetic tendencies have to be taken with prudence and have reasonable limits that imply moral responsibility.” According to the critic Alex Ross, “ Wilde’s aestheticism, his fanatical cult of beauty, was the deepest and most lasting of his passions, and it is now the most radical about him” (Ross 2011).

    "I turned half way around and saw Dorian Gray for the first time. I knew that I had come face to face with someone whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself" (7). During the Victorian era, this was a dangerous quote. The Victorian era was about progress. It was an attempt aimed at cleaning up the society and setting a moral standard. The Victorian era was a time of relative peace and economic stability (Marshall 783). Victorians did not want anything "unclean" or "unacceptable" to interfere with their idea of perfection. Therefore, this quote, taken from Oscar Wilde's The Picture of Dorian Gray,

In the present context many of Wilde’s contextual jokes in the play may not be as humorous in the present context, thus it is understandable why Parker has placed more emphasis on the farcical jokes, which would appeal to a wider audience. When Wilde wrote the play it was at a time when literature was becoming more widely available for all citizens, wealthy or poor. This gave Wilde room to write as he did, making a mockery of the upper class, as the lower class would enjoy it. However that was over a century ago, and in the modern context people may not find this as relevant or quite as amusing. However, the farcical elements of the play, such as the plot, are the kind of jokes that can be understood in either context. Therefore, Parker has not focused on the contextual jokes, and instead on the farcical jokes. It is the farce nature of the plot that Parker has constructed his romantic comedy around. While this enables the film to be appreciated by a wider audience, it no longer embodies Wilde’s criticisms of the upper class, which was the crux of Wilde’s play. However, Parker not only stops at one overembellished farcical plot, but he does the same with an extended sub-plot.

- first the name Ernest, which is the main focus of the play, and also

Oscar Wilde’s play The Importance of Being Earnest (.1993.) is an enlightening epitome of social class in the Victorian era. The satire is driven by the frivolous behaviour, superficial lives and artificial norms within the Victorian aristocracy. Incorporating his own opinion into the play, Wilde continually attacked and mocked their hypocrisy, views on marriage, and their mannerisms. Throughout the play, Wilde used an abundant range of literary techniques to reinforce his opinion. Irony, paradox and hyperboles, as well as witty epigrams and aphorisms were used astutely and were ubiquitous throughout the play. This contributed to the satirical style and tone of the text, and enabled Wilde to effectively communicate his critical perspective on social class in Victorian England.

Salome is an opera libretto composed by Richard Strauss, which is based off a play written by Oscar Wilde. Strauss’s first two operas ridiculed Wagnerian ideas and themes, by choosing Salome, Strauss “broke his attempt to write mock-Wagnerian operas” (Gilman 37). This mock-Wagnerian break allowed Strauss to identify with the “moderns,” and Salome can be seen as Strauss’s first “modern” opera (37). Strauss, in his writings, acknowledges that Salome is a “Jewish” opera (39). Jewish people at the time were seen as outsiders, and Strauss’s “association of the Jew with the cultural avant-garde influences his selection of the Salome libretto” (39). The author Oscar Wilde was homosexual and his popularity declined in Britain. His convictions and

Gender identity and its roles in 17th and 19th century England were regarded as rigid fact — definite and unyielding. The adherence to these social protocols was of utmost importance. Masculinity was viewed as being dominant, assertive, and bold, whereas femininity involved beauty, obedience, and chastity. The theatre became a method of challenging this rigid social concept. Both William Shakespeare’s As You Like It and Oscar Wilde’s The Importance of Being Earnest explore these public values through their characters. Wilde and Shakespeare’s use of gender reversals satirize the traditions of social order, marriage, and gender responsibilities at the time, thereby revealing that gender is not absolute.

The genre of comedy, throughout the history of dramatic art has always served to not only entertain audiences, but to make them aware of their own individual flaws, or flaws that exist in society. (Weitz, E.) Comedy has no precise definition, and its boundaries are broad. One function of comedy however has remained the same - to hold up a mirror to the society of the time but through pleasure, inviting audiences to reflect and also providing amusement. Set in the late nineteenth century, the play An Ideal Husband by Oscar Wilde (1895) epitomises comedy, as both a literary and dramatic genre. Wilde was masterful in his ability to combine aspects of evolved comedic traditions and dramatic conventions to critique Victorian society. Drawing on characteristics of Greek and Roman tragicomedy, the choices in the play’s plot involves elements of tragedy as well as scenes that serve as comic relief and give the audience a sense of finality through a happy resolution. (Bureman, L) Focussing on the upper class stratum, Wilde employs a comedy of manners Molière style, of the Restoration Period in the seventeenth century in the play by combining forms of comedy with aspects of realist drama. The portrayal of archetypal figures such as Lady Chiltern and Lord Goring satirize rigid moral value of the time and expose their hypocrisies, through dialogue involving irony, wit and humour. Elements of farce and disguises characterized by ‘commedia dell’arte’, a form of comedy first developed in