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Social Hypocrisy In Oscar Wilde's Much Ado About Nothing

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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). The most pressing concerns in the play are eating cucumber sandwiches …show more content…

I have often observed that in married households the champagne is rarely of a first-rate brand. (253) Algernon assumes his butler is a thief and his butler assumes that Algernon will put up with his thievery. Wilde’s characters barely rate the term “hypocrites,” so forward are they with their own lack of moral values. In fact, the starkest accusation of wrongdoing comes when Cecily accuses Algernon of deception: “’I hope you have not been leading a double life, pretending to be wicked and being really good all the time. That would be hypocrisy’” …show more content…

That exchange between Lane and Algernon about the champagne is immediately followed by Algernon’s exclamation: “’Good heavens! Is marriage so demoralizing as that?’” Lane replies, “’I have had very little experience of it myself up to the present. I have only been married once. That was in consequence of a misunderstanding between myself and a young person’” (253). The death of a woman’s husband receives similar treatment, as Lady Bracknell tells us of “dear Lady Harbury”: “’I hadn’t been there since her poor husband’s death. I never saw a woman so altered; she looks quite twenty years younger’” (261); Algernon pipes in that “’I hear her hair has turned quite gold from grief’” (261). The sacrament of baptism offers a particularly broad target for comedy, since both heroes need to change their names to “Ernest” to satisfy their irredeemably shallow fiancées. In one of the most juvenile and entertaining moments of the play, Jack arranges with Dr. Chasuble for an emergency baptism. Asked if he has “’grave doubts’” about whether he has been christened before (“grave doubts” is the exact ecclesiastical term for what would be necessary to legitimate an adult baptism of this sort), Jack replies, “’I certainly intend to have’” and declares his willingness to “’trot round about five’” (281). However, he refuses to be baptized at the same time as

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