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k
a.J.se Oscar Wilde', Mail Online. 17 July 2009 .
.co.u /news/world
I
I
U-lurn-pn.l~-<hc.u-Wild h
.
news artic e-1200167/Vatican-d~sfll
e. tmi#,=OXPy2g48).
nunn. Oscar \Vildc, p.S4S.
http./ /www.d.lilrm.l.il
40
nscarWdde's writing career begins and ends with poetry. It was with a \UI_Jume ofPomJS that he chose to make his entry on the literary scene in
1881, sending it to admired contemporaries such as Matthew Amold,
Algemon Charles Swinburne, Robert Browning and the prime minister
and classical scholar William Gladstone; it was to poetry again that he
turned in seeking to remake his reputation after the disgrace of his imprisonment, publishing The Ballad of Rtoding Gaol in 1898. Apart from these twO
much noticed poetic appearances, Wilde wrote twO blank verse tragedies,
The Duchess of Padua (written in 1883) and A Flormtine Tragedy (never
completed), in continuation of the Romantic and Victorian homage to
Elizabethan, and in particular Shakespearean, drama, the verse drama tradition that would briefly gain the public's approval with the plays ofT.S. Eliot
and Archibald Macl.eish before once more losing its appeal. He also wrote
a number of short poems that appeared in society magazines; a few tales
which he published as 'poems in prose', in tribute to Otarles Baudelaire
and the French tradition; and, as his ultimate challenge to the emerging
Victorian canon, a remarkable poem, The Sphinx (1894), which adapts the
rhythm and some of the sentiment of In Memoriam (1850), the poem that
comforted the widowed Queen Victoria and brought Alfred Tennyson the
Laureateship, for an elegy of unfulfilled sexual fantasies.'
Poetry is never far from the surface ofWilde's prose works, either.
b Wilde
The Symbolist drama of Salome ( 1894) was called a poem Y
47
OSCAR IVILDE
htrrudf' 0
nr: nt"'t"d not ev
to dt:oYrr the _
en go beyond the be t kn
.
n
<entral role that
s own Wildean texts
,,. D<u}- of Ir>n;( (I 8 89
poetry played in Wilde's imagination
b,.,.n r<ally f.uthful to thetr ~ pahys the greatest tribute to poets who 'hav~
u bt"mg t . 1
tg mtsston and
.
. "'' ut d) unreliable' '
d
ac erson s Ossian poems, namely
e r>t<d llneration
an asson
sentences, an bu d
ance metrtcally paired very shon
n ance of si m 'I d
complex sentenc- H
I es an striking pauses instead of
c
,,_
e states th t wld
1
mrged md uthentic based
a
e never forgot the Irish cadence,
Yet hke the maJ-ority. f - . on a shon repeated unit, of Ills upbringing'.'
0
descr; bing Ch, _. d . crtucs Beatty pre fiers Wilde s prose to his poetry,
~"'' es (1881)
nl
Went on to h
'd
century J>Oets
ave const erable influence on twentiethrh
some of his
_
orough!y dism .
most pronunent successors have been
.
Isstve of his
.
_
influenced by it. Wilde 's own . poetry while Simultaneously being
of Salomc "-t
friends, to whom he read the manuscript
"'" reacted by lau bin
h .
etghtened 1an
. , g g, uncertain how to respond to its
c.
guage. Wilde s po try
Jlapers, not least in Punch b
e
was OJten parodied in the newsleverson. Waiter Hami! ~ one of hiS closest friends, the novelist Ada
study that gives am le s tons Atsthctic Mov<ment (1881), an empathetic
the strength of his~ ptlace to Wilde, praises his 'undoubted genius' on
on .lrt
en Ypublished p
. ocms and o f his
influential lectures
and design. This did
and often SLUful
,_,,
- cludmg
numerous
p--'
fnot prevent him firam m
and Am
~ uutes 0 Wilde in
1
<ncan Authors (1 889 ) In
_ vo ume 6 of his Parodies of English
ed to Wa!
terestmg'"
'--~
ter Hamilton's 1-d
.,, whi!e Robert Browning obJ'ectuun an
ea of publishi
.
ungradous'letter to
ng Parodies of his works and sent
ensure that they Would not be acoompanied
by any extracts from his work, Wilde did not appear to be perturbed,
and he sent Hamilton a characteristically charming letter on the subject:
'Parody. which is the Muse with the tongue in her cheek, has always
amused me; but it requires a light touch, ... and, oddly enough, a love
of the poet whom it caricatures'.'
The slighting ofWilde's poetry continued into the rwentieth century. WH. Auden viewed Wilde's interest in poetry and his passion for
Alfred Douglas as equally misguided: 'Of his poems, not one has survived, for he was totally lacking in a poetic voice of his own ... Nor was
it, I think, personal infatuation that made him so absurdly overestimate
Douglas' versified drivel; he quite honestly thought it was good'.' W.B.
Yeats described Wilde as a clown and thought only The Ballad of Rtoding
Gaol wonh republishing - in a drastically trin1med-down version.'
Jorge Luis Barges paid Wilde the compliment of comparing his poetry
to that of great contemporaries such as Tennyson, Swinburne and Dante
Gabriel Rossetti, yet felt compelled to state that Wilde 'was not a great
poet nor a consummate prose writer', but rather an 'enfant terrible'."
Fernando Pessoa was equally critical, protesting against comparisons
of Ills work to that ofWilde and noting that the 'exquisite phrase' of
the poets, 'the poetic phrase proper, is a thing in which his works are
signally lacking'.''
Of oourse, it would be plausible enough to argue that Wilde's disdples
were essentially right The master's dabbling in a genre for which he bad
no genuine inclination could be explained, if not ultimately excused, by Ills
upbringing and cultural drcumstances. Poetry was a highly prestigious,
arguably the most significant, art form for the Victorians. In addition,
Wilde was the son of the famous nationalist poet Lady Jane Wilde
(Speranza) and spent much of his childhood among the Irish poets,
'trained .. - to love and reverence them, as a Catholic child is the Saints
of the Calendar', as he would recall in Ills only lecture on the subject."
Poetry came easily to him, far too easily. perhaps. But it would also be
plausible to argue that his disdples had personal reasons for disparaging
Wilde's poetry, reasons connected to what one might call the 'anxiety of
assodation', not only to Wilde's homosexuality (which was only decriminalized and depathologised as late as the 1960s in the UK and the US),
but also to old-fashioned aestheticism. E.C Stedman's wide-ranging
48
49
My pum.~- t th r
ment at its start with Keats'"
,---~th n I e oollowin
n~t~m.-nt on
.
g pages is not to offer yet another definiti
e pace (f my) ofWild
ve
l=t w~y of understandin w
, e s poetry within the canon. The
coune, simply to plun
g
hJide s or anyone's poems remains, of
ge mto t em t0
d h
h .
.
et
Its
subtle
stea! into your brain and colour
your thoughts and
.
musiC
WTOte it
_ d th you Will becom e ~or a moment what he was who
e er It
fresh and glorlo
d may. ap pear [;aded truncated, bizarre or indeed
that reads so us,f, an therr ultimate strangeness as poems in a world
been forgott:rr ew and in which the craft of verse itself has almost
s~t
SI
so
OSCAR WILDE
.
as Shakespeare .s sonnets promise
'
'
\
,I,,
0 CLASSICAL POETRY
THE SCANDAL OF OSCAR WILDE S NE -
erotica. This meant that Wildean titles, including the poetry. were pub.
h
nd reports of the
lished alongside sensational bwgrap 1es a
trials and that Wilde's works were outside of the realm of reputable p~b
lishing until Robert Ross's publication of the Collected Works (1908): It
was, therefore, unavoidable that th e poetry sh o uld acquire greater bwgraphical significance.
,
.
This biographical impulse even infected those who were WIIde s poeoc
respondents. J.S. Young's 'Impromptu-Suggested by S.M.' . (th~
initials standing forWilde's post-prison alias Sebastian Melmoth) m his~
of HOU1S ( 1909) poetry collection 'homosexualises' cr:e romance ofWil~e s
'Panthea' ( 1881) in the manner that justif1es Wilde s observaoon that ~
bad poetry springs from genuine feeling'." Likewise, Femando Pessoas
Antinous ( 1918) is filled with covert reflections on Wilde's writing and his
love affair with Alfred Douglas. While the poem is ostensibly about the
emperor Hadrian's mourning over his beloved slave Antinous, an episOde
that is also briefly invoked by Wilde in Th< Spbiax's pageant of sexual
fantasies, it is impossible not to think ofWilde's sensuous 'fleshly' poetry
and of the global significance of the trial in reading lines such as these:
The end of days, wher1 Jove is born again,
And Ganymede again pour at his feast,
Shall see our dual soul from death released
And recreated unto love, joy, pain,
life - all the beaury and the vice and lust,
All the diviner side of flesh, flesh-staged."
Alfred Douglas's wife, Olive Custance, seems also to have been
fascinated by Wilde. Custance's poems 'The White Starue' ( 1897) and
'Antinous' (1902) play with Wildean representations of androgyny,
while 'Saint Sebastian' (1905), 'Hyacinthus' (1905) and 'Peacocks: A
Mood' (1905) can be read as comments on Wilde's love-~ wiU:
Alfred Douglas." Hart Crane's first published poem was C. 3. 3.
(1916), his identification with the dead poet suggested by the
signarure in the second line:
He has woven rose-vines
Of
dremling
With
- on th e desert white
searmg sophistry... "
This
- thi-rteen li
_,_ is a deliberate!
ye1uslve
.wnost
'
m ak es sense' an arnb'
- ne poem, an almost sonnet th t
Oscar
Wild
lguous
a
.
e or Materna, forbidd love
p oem whose subject is either
1
en homoerotic
or oedipal ove, or
mdeed both." Such poems echo Wild
attempt to recaprure h.
e s poetic imagery and ideas in
IS personal voi
an
sonnet The Dead Poet' (1907)
ce, as m Alfred Douglas's moving
lav' O..lh ID
. Gmoo (2009)
Tho
- h t in his recent
h' So does
_
_ mas w ng
PConstance's
1
grave. The nl w lch rmagmes Wilde visiting his wife
0 Y words Wri ht' W'ld
. .
o mmunize despair are hi
. g s I e can rum to in order
1
Keats' (1877) and from 'R sown, ~es from his poems 'The Grave of
eqmescat (1881) "
These rath er un probl ematized bio a hi .
perhaps, understandabl .
_
gr P ea! readings of the poetry are
ose who knew him e m wnters influenced by Wilde, and especially
th
personally
academic criticism W'ld
, . However, th ey reappear even in the best
di
I e s s1gnifi cance to queer poets as to queer artists
.m general is briefly
dialogue' that inaugurstcussed by Donald E. Hall, in the 'introductory
a es a spe 'a! Ethics' (2000) where the
':' Issue of Victorian Poetry on 'Queer
own political and ethical poetry IS read as an expression of the author's
... into a dynamic
o rebellion and rem
,VIews
tha and as a use ful entree
f
. 'He!as', the
orse
t 1s still r el evant for sexuality srudies today.
Wlth
.
0
ofWilde's 'deep :Ob-valg poem of the 1881 collection seen as a reflection
I th
ence over
nonconformity' Whil
. the consequences of his own [sexual]
e
e
ethical
- h ave changed, they still seem
next to influential
gures such as Paul Celan eJ the
lm Poet' ' P1acmg
him
the poetry is largely or uldrno el Ashberry or Philip Larkin, the value of
ground for the tncom
blat Y biographical, as 'an important training
'like his !ife ... a mixed bag'
para , eOth
comedies'
_ " The poems themselves are
orate,_ combming
.
the Jongin- fo er
. biOgraphical
.
readin gs are more elabPatrlcia Bebrendt offers an _g d r mnmacy with creative interpretations.
Wilde' s poetry which I.
mh- epth and often illuminating reading of
s per aps over!Y f,ocussed on unveiling Wilde's
includl~g
quot~
55
54
IS
------
~-----">:)~'
OSCAR WILDE
Sluk
np<',m, s
h omosexu.ol taint of
the
e
c as
et and Rosalind, and that the
cmon, the N>-t
h
po try expands to the entire Shakespearean
- or t en acknowl d
th
Wished to unlock h h
.
e ges at whether or not Shakespeare
IS
ean m the sonnets h e was, like
" all artists ultimately po~I
~essm~so~
.
strange' when th
. .
emonons change into something 'new md
ey pass mto the realm 0 f
Afi
.
,
md Rue' ( 188 5 )
,
uu:; metamorph
th
.
h"~--lir
OSIS IS
e pnce of admission with 'poor
-=
e as one of th
'
e sources of an, at once annihilated md perfiected
into ,...,._
.-- ...anence. 'They are th el
Beauty.'" Whateve.r th
e. ect to whom beautiful things mean ouly
source, the ultirn
e .osteruble subject of a work of art, whatever its
ate subject- for the critic as artist- is always Beauty.
a;
- ''
symbol of symbols'..
mvocattons of Beauty: 'Beauty is the
Beauty
has
Or. to quote fro th
as many memmgs as mm has moods.'"
m e even more
poems:
extravagmt lmguage of one of his
As readers of his poetry, we should take heed of the first aphorism in the
Preface to the Picture of Dorian Gray which defmes the artist as 'the creator
of beautiful things'.
This definition appeared obsolete at the time it was published- few of
Wilde's contemporaries would have thought of 'Beauty' as art's defining
quality or agreed with Edgar Allan Poe's defmition of poetry as
'the rhythmical creation of beauty'," which even the Wildean disciple
Stuart-Young tries to render more reassuringly intellectual: 'poetry is the
flowe.ring of the mind into rhythmic utte.rance'." Yet asWilde understands
md practices it, the worship of Beauty could have radical implications,
warning in 'The Critic as Artist' ( 1890) that:
There are two ways of disliking art ... One is to dislike it. The other,
to like it rationally ... If one loves Art at all, one must love it beyond
all other things in the world, and against such love, the reason, if
one listened to it, would cry out. There is nothing sane about the
worship of beauty."
Wilde's privileging of Beauty as Art's essential quality means that his
verse is always technically accomplished and frequently modelled on that
of previous poets, md that the representation is always graceful, regardless of the subject or the emotional content. When he writes a 'Sonnet
on the Massacre of the ChristiariS in Bulgaria' {1881), he does so
through the prism of John Milton's 'On the Late Massacre in Piedmont'
( 165 5). When he decides to write a ballad on the hanging of a fellowprisoner at Reading, he aesthetidzes the circumstmces of the murder
md turns to Samuel Taylor Coleridge's Rime of the Andmt Marina ( 1798)
md to his own 'The Harlot's House' to rende.r the drab world of prison
nightmarish. His beautifully designed and gorgeously printed poetry
appears liberating and inspiring to some, callous and perhaps immoral
to others whose approach to art is primarily emotional or intellectual.
Wilde's obse.rvation that 'no artist has ethical sympathies'" can be
56
57
---
------.-~z
'
OSCAR W!LDE
undcr..tood by anal
.
f h
og) to classical
.
pamtmg, in which a representation
o t e Crucifixion is as carefull
scene. To some mod
. . y composed as a still life or a country
dcu wh .
em sensibilities, this a
) we should think th b
ppears wrong, yet it is not
at roken-dawn 11. . a!
greater artistic auth
. .
, e Ipnc language pos. h
enticay than Wild '
"H lls brilliant sprinklin of
.
e s mellifluous language,
them long dead. This is re!
quotauons from fellow-poets, some of
and of different audie
y a matter of changing artistic conventions
broken laYers be b dl nee expectations. Should the letters of heatta Y spelt to signif
.
lmportancr of lki Ea
Y emotion, as Cecily suggests in The
.
ng me;t? Richard EIJrn
.
.
.,.,,ddy held bel,ef . h
arm IS perhaps thinking of the
Ill t e COMe f
b
U!a mu 1turn Am
( 1
.
should be a k
f
aVI
881)? Is this even a question we
s mg o poetry' Th W'ld
..
.
1
paradoxical would ar
e
ean crmc at hts most
of ,_ .
.
gue that the source, real or fictitious of the work
~' ts untmport
t .
,
'
language' ... all th han smce love is the child, not the parent of
at appens a1 ,,,.
can
m re .Ue is at best a raw material that Art
accept and transform or .
expands
reJect altogether, while Art itself constantly
our perception of Lift
d th
one doe
e an
ereby constantly improves upon it:
s not see a th
.1
does .
.
mg unu one sees its beauty. Then, and then on!~
lt come mto existence."7
'
While the aesthete can 0 n1 dm
under so
Y a I! emotion into the realm of Art
me more or less c
readers wh c!in
onVInong, yet always decorous, guise, for the
0
should be th g to the natural' pose, and to the idea that poetry
the disguise, ~:p~ntane~us overflow of emotion'," the prominence of
enough to d-- eer VlStbility of the mask as mask in Wilde's poetry is
.......ue 1t smce it
1
their Studv;n p
mvests so c early in such theatricalicy. In
' 9 O<tJy Stephen Matt
d
too many appear to think
erson an Darryl ]ones despair that far
modelled on th R
that all poetry should be Romantic that is
e omanti th
'
'
explain why Wilde's e c i eory of poe~ a view that would help
contemporaty read ~':;' try s not only alien but alienating to some
''-hed verses caners. At the level f tee hnique, Wilde s smoothly
pom;
appear old-fashioned alongside Wait Whitrnan's
=es
58
e
perceived failure or tameness ofWilde's poetry has been atmbuted br
critics to a young writer's lack of conftdence (Murray. Frankel) or undtScriminating enthusiasm (Ransome), anxiety of influence (Bloom) or
even to opporrunism, shortage of ideas (Small) md unscrupulous
plagiarism (Gardner)." Yet Wilde was no dilettante when it came to
poetry. As Leslie White has demonstrated in a recent article. Wilde's critical remarks on Browning anticipate the most interesting scholarship of
the last twenty years." He was also an early admirer of Wait Whitman.
though his appreciation seems to centre on the American poet's personality rather than on his artistic accomplishment: 'Wait Whitrnan if not"
poet is a man who sounds a strong note. He writes neither prose nor
poetry but something of his own that is unique.'" Wilde's interactions
With Mallarme and other avant-garde poets deserve more attention thm
they have so far received. In Paris, Wilde was, if not perhaps 'the prince
of poets', as the Romanian symbolist Dimitrie Anghel described him,
certainly an influential and admired figure who paid tribute to Mallarme
as the only 'maitre' of French contemporary poetry and was in his turn
admired by Mallarme for The Picture of Dorian Gray: 'un des seuls [livres]
qui puissent emouvoir, vu que d'une reverie essentielle et des parfums
d'ames les plus etranges s'est fait son orage. Redevenir poignant a travers
l'inoui raffinement d'intellect, et humain, et une pareille perverse
atmosphere de beaute, est un miracle que vous accomplissez' ." Wilde's
Sphinx is dedicated to the young French poet and scholar Marcel Schwob
whose Uvre de Monelle, published in the same year (1894), is an equally
decadent elegy of a prostitute, written in highly unusual free verse with
echoes of the Psalms.
Moreover, Wilde's reviews of contemporary poetry for the journals.
not least his 'Literary Notes' as editor of Woman's World, reveal the
breadth of his interests and his critical discrimination. ranging as they
do from Williarn Morris' translation of The Odyssey (1887) (which Wilde
is able to compare with previous translations from the Greek) to Joseph
Skipsey's Carols from the Coal Fields (1886}, from Yeats' Wanderings of OISln
(1889} to Edward Carpenter's edition of Chants of Labour: A Song Book of the
59
OSCAR WILDE
e s eos10n to wnte
m g tly annquated beautiful language cannot plausibly be attributed
to a lack of understanding of contemporary trends and possibilities.
It might instead be linked to his sense that unlike Victorian drama a
~mmerdal genre that he helped to turn once again into an an for:n.
Vtctonan poetry was in fact highly accomplished and varied- it was the
public that needed to be reinvented and taught to appreciate beauty of
form and design, as Wilde undertook to do through his poetry and his
lectures. Wilde's choices are more fully explained in his review of
William Henley's poetry where he asserts: 'If English Poetry is in danger
what she has to fear is not the fascination of dainty metre or delicate
form, but the predominance of the intellectual spirit over the spirit of
beauty'" What Wilde calls here 'the intellectual spirit' is related to the
'unimaginative realism' that threatens art in 'The Decay of Lying', to the
'brute reason ... hitting below the intellect' and to the' creeping common
sense' that kills most people, which he condemns in The Picture of Dorian
Gray." Or, as he put it in one of his poems: 'the crimson flower of our life
is eaten by the cankerworm of truth, I And no hand can gather up the
fallen withered petals of the rose of youth'; mere rationality without
artistic empathy makes the appreciation and writing of poetry (almost)
impossible ('rAYKYIIIPOS EPOl: ''Bittersweet Love', ll. 19-20)." He
also insists that poets should not give up formal verse:
Rhyme gives architecture as well as melody to verse; it gives that
delightful sense of limitation which in all the arts is so pleasurable,
and is, indeed, one of the secrets of perfection; it will whisper, as
a French critic has said, 'things unexpected and charming, things
with strange and remote relations to each other', and bind them
together in indissoluble bonds of beauty."
By privileging craft rather than self-expression and trusting
aesthetic instinct above time- and place-bound ethics, the poet could
hope to become possessed by 'the andent gods of Gredan poesy' ('The
Burden ofltys' [1881 )), inspired in the pre-Romantic sense of the word
in which genius was not individual, but a gift from the gods." Long
before the Oulipo group, who realized that artistic creativity can be
60
.
EO-CLASSICAL POETRY
THE SCANDAL OF OSCAR WILDE S N
. .
traints Wilde agreed to
released by collaborative pl."y and by Jingmsnc
limi~ that the master
Goethe's observation that it IS m working Wl
.
f
"By
concentrating
on
Beauty
and
the
perfecnon
verse,
reveals himself
.
th
d from all too
one can avoid falling into discursive habtts and free e mm
mes posstble to move
obvious associations and biases. It then beeo
f di alverse"
experience' and might be stimulated by the practtce 0 tra non
.1d .
th
tic
poems
it
is
possible
to
Within the space of one ofWt e s aes e
..
pre1udices and knowbe free from our everyday person almes, emonons,
ledge, and even to free ourselves from what one might call ~e tenden;
towards useless and ultimately self-desrrucnve emononal tnVOlvemen
Wilde is capable of writing a poem that is a sheer celebration of movement
and colour such as 'Fantaisies necoratives Il: Les Ballons' ( 1887}; or else he
can write poems such as 'Symphony in Yellow' ( 1889} or 'Impression du
elements
Matin' (1881) in which human subjects appear as mmor
of the overall design. Even those poems that feanrre a famous human
subject quickly move towards vague reverie. A glimpse of the beau~
actress Lily Langtry, whom Wilde called 'Helen ofTroy, now of London
is enough to inspire verses such as these:
1
Into the clamorous crintson waves of war! ('The New e en
[1879), 11. 1-10}
!iment to a living beauty
What perhaps begins as an extravagant comp
b"ect
tunts into a dream of the beautiful past, the poem's lith~gFsuust~
mned in Goe es a
replaced by an apparition o f Helen, as re- irna.,Alas, alas, thou wilt not tarty here,
61
OSCAR WILDE
ne old delight
And the red lips of
'
young Euphorion. (11. 6 1_ 6)
Yet the ultimate revelation of this
.
of Ouist and th.u of the mythi~ which provocatively fuses the image
en, IS only the flimsiest of images
Lily of love, pure and inviolate!
.
Tower of ivory! red rose of fire!
Thou hast come down our darkness to illume:
: r we, close-caught in the wide nets of Fate,
eaned WJth waiting for the World's Desire
Aimless!
d
.
Y wan ered in the House of gloom
Aimlessly sought some slumberous anodyn;
:wasted lives, for lingering wretchedness,
we beheld thy re-arisen shrine
And the white glory of thy lovelin~ss (11. 91-100)."
The subjects ofWilde
an poems are often so slight as to make them
easy target for parody Thi Wild ,
s ls
e s Impression II La Fuite de )a
Lune 1877):
an
'.
In a parody, 'La Fuite des Oies' in the 28 May 1881 edition of Puncb
62
63
OSCAR WILDE
'yoUR LOVERS ARE NOT DEAD, I KNOW, I THEYWILI ARISE AND HEAR YOUR
VOICE I AND CL\SH1HEIR CYMBAlS AND REJOICE', OR WHY INFLUENCE
IS ALWAYS A VERY DANGEROUS TIUNG
I think it extremely likely that Wilde 's influence on poetry and poets has so
far been underestimated."The impact of his critical theory. in particnlar of
his theoties of the mask and of artistic authenticity as necessitating a
multiplicity of selves, has been documented in relation to the works of
W.B. Yeats, T.S. Eliot and Fernando Pessoa. T.S. Eliot's early poetry is
haunted by the 'tired Sphinx of the physical' and by marionettes. His
remarkable 'The Love Song ofSt Sebastian' (written 1914) combines the
story of the favourite Uranian saint with Wilde's Salome and with the
leitmotif of The &!lad. 'The Love Song of J. Alfred Prufrock' ( 191 5) is
perhaps equally Wildean. This is a poem with a Speaker who wishes 'to
have squeezed me universe into a ball', a line which distincdy echoes
the words of Wilde's Ernest in 'The Critic as Artist' when he accuses
Gilbert of treating 'me world as if it were a crystal ball'." Prufrock even
presents his own head on a platter. Even the Four Quartets (1936-42) cannot help echoing Wilde and aestheticism. 'Burnt Norton' emphasizes the
uncanny potential ofWilde's 'Jardin de 1\illeries' and uses the Wildean ttick
of making the artist's sense of alienation and unreality seem universal.
Go, said the bird, for me leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality. (11. 42-5)"
64
65
OSCAR WILDE
'
I fear that the scholarly criticism ofWilde's poems (my own included)
has not yet reached this level of creativity and remains too close to the various clues, sources and the 'textual evidence' - it seldom reaches the level
of independence and independent value from its artistic source that Wilde
envisaged for it. This may have something to do with the transformation
of English literature into an academic subject around the time that
Wilde's poetry was published and to the expectations of objectivity and
pseudo-scientific jargon that have crippled literary criticism since.
Instead of academic criticism being contaminated by the boldness and
WILDE'S NE
ClASSICAL pOETRY
h.,.,
poets
becom full-time
imaginativeness of art, many contemporary
wr 800 unh-ersity le'o-el
all whtch boasts 0
.
academics, in the US espeo y.
b'ect of a different arncle ...
courses in creative writing. But that is the su )
NOTES
udienc<S- Tbe
.
.
th wUde's oont<IDponnes;
.
based
on mte.rvt~S W1
1
oollectionofreconstructed vt=ons
~---I~dy ignored by scho >r
.d ,
~,
thoriry wd have l~~ - 6
the stories lack Wll e s textu<U au
.
ules is Table Talk edited byThorms
ship. The fullest English collection ofWilde s oral
od
erse drama in F.Dglish.
ountofm em v
Wright (London: Cassell, 2000). For an ace
. Vast Dramcl (Princeton,
see Denis Donoghue, The Third Voice: Modem British and .Amawm
oem Y
es wi!de.hanl.
.
10. )orge Luis Borges,
http://www.themodernword.com/borges/borg fr gment first published ID
Wilde' mwuserlpt a
PreSS
.
d Zenith (New York: Grove
RMewW.
66
ct.~SSIC A L
THE SCANDAL OF
os CAR
poETRY
W!LDf'S NEO
.
OSCAR WILDE
~~-.
~-
p 2~05) p-167.
.
( 1 S42) p.H9.
Grabam's lAdy's and Gentleman s MagaziD<. 20
Uni~.,.;~
few oth~ ~ in this coll~on that focuses on Uranian love are dedic:ated to
Oscar Wude such os 'In Memory of S.M.' and A Dead Poet'; Wilde. 'The Critic as
n.
Artist, Pan
p.I9S.
22. Femando Pessoa, Antinou< {llibon: Monteiro, 1918), www.gutenberg.org/etenl
24262.
23. See Pattici>. Pullwn, 'Tinted and T.linted Love: The Sculptural Body In Olive
Cusunce'sPoetry', YoubookofEnglishStudie<, 37,1 (2007),p.174.
H. Hart Crane, 'C. 3. 3.' (1916), In La.ngdon Ha.nuner (ed.), Complm PO<mS and Sdectt<l
www.independcnt.co.uk...
17. Donald E. Hall, 'An Introductory Dialogue: "Is !here a Queer Ethics?"', Victorian
Poaty, 38,4 (Wmter 2000), p.467.
18. John Sisnon, 'Wilde !he Poet', in Dremnas of DrOIIDS: Essays on Poets and Poaty (London:
!van R. Dee, 2001), p.66.
29. Ibid., p.65.
30. Pattici>. Flanagm Behrendt, Os= Wdde: Eros and Atsthetia (New York: St Martin's Press,
1991).
ll. Melissa Knox, A Long and Lovely Suicide (New Haven, CT and London: Yale University
Press, 1994).
32. Theo McM.thon, 'The Tragic Dealhs in 1871 in County Monaghan of Emily and
MaryWude-Half-SistersofOscarWilde'
Record 18 I (2003) pp.ll9-4S.
33. Ibid.
........
Cl--
34 Manuscript ver.dorlll of poems are publilhed in Bobby Fang. 'The Poetry of Oscar
Wilde: A Critical Edition' (unpublished Ph.D. thesis, University of California, Los
r. p.l ss.
. p
(London: Arnold, 2000).
.,_
and oanyl )ones, Studymg o<UY
49. Stephen 1Vlcltterson
pp.S3-6.
Wilde 'The Critic as Artist: Part n. p.I30.
L
1912). Nicholas
'
d (London: Secer
'
5 I. Arlhur Ransome. Oscar Wllde: A cnucal Stu y
of Englishness' VirtoriOD
Frankel, '"Ave Imperatrtx": Oscar Wilde and !he
~.r--~mWartsof05<Gf
I S all 'introductlon ~.......,..
Poaty 35 2 (1997). pp.117-3 7 ; m m
'introduction.
so
Poe"":
~ d world's (Wsics.
OscarWtlde: Ccm;ku pomy, ed. Isobel Murray (Oxford:
artstn in Qscaf
'"U ary Petty LarcenY .
&'
dn
1998), pp.Ix-xvi; Averil Gar er,
ter
49~1.
1981
wllde's Early Poetry', Eoglish Studies in Canodo. 8, 1 (
)' pp. ._.1;,, Utadture in
d lh "NeW obscunrr .....Sl. Leslie White, 'Wilde, Browning 3D
e
10
Traosition,42 (1999),pp.4-22.
, Halifax MorninS Hanld.
53. Oscar Wilde, 'The Apostle of Beauty in Nova Scotla Wilde: A Biographical
O:.o~la
~~ ~!6.
4
). p B curesd. 1989). p.I0 ;
DlrnitrieAnghel,'OscarWild<',inV~~ozoN~ 1~91, In lett"' p.492;
e,
her 1891 in [.ett<l'. p.492.
Oscar Wilde, letter to Stepha.ne
Stephme Mallanne,Ietter to QscarWilde. 10 Novem W rld ~mber 1888). in
Mod
Poets'
woman s o \ ....... --
57.
"
od
Poets' p.H1
58. Wilde. 'A Note on Some M ern
'
6
59. 'The Burden ofltys'. Poons. P- 1.
69
68
CJassi.CS
'
OSCAR W!LDE
60. Wilde, 'The Decay of Lying', p.8S.
61. Wilde, 'The Critic as Artist: Part ll', p.l78.
62. 'The N<W Helen', Poems, pp.! 06-9.
63. 'lmprt-ssion: 11 La Fuit~ de la tune', Poems, p.lSS.
64. Quoted in full in Stum M.tson, Bibhogrophy of Oscar wade (London:T. Wemer Laurie,
1914), p.83.
6 S. T. S. Fliot, 'Tradition and the Individual Talent', in The Sacml Wood: Es!oys on Poetry and
Criticism (London: Methuen, 1920), p.S4.
66. Oscu Wilde, 'Lotus Leaves', Tbelrish Monthly, 5 (1877), p.l34.
67. Robert L P<:ters, 'Whistler and the English Poets of the 1890s', Modan Longnol!'
Qu4naly, 18 (1957). pp.251-61 (p.253).
68. 'Le )a.rdin desThileries', Pocms, p.159.
69. See Riclurd Ellmann, Yrots: The Moo ond the Masks (New York: Macrnillan, 1948) and
MmUla de D.stro, 'Oscar Wilde, Fernando Pessoa and the Art of Lying', Portuguese
Studies, 22, 2 (2006), pp.219--49. For Wilde's influence on T.S. Eliot's poetry and
critical theory, see Rona.ld Bush, 'In Pnrsuit ofWilde Posswn', Modernism/Modernity,
11, 3 (September 2004), pp.469-85 and T. S. Eliot, Inventions of The Mmch 114re: Poons
1909-1917, ed. Christopher Ricks (London: Faber, 1996).
70. Wilde, 'The Critic as Artist: Part!', p.l47.
71. T.S. Fliot, 'Burnt Norton', in Collected Poems 1909-1962 (London: Faher and Faber,
1963), p.190.
72. Auden, 'An Improbable Life', p.136.
73. Quoted in Karl Beckson, 'Introduction', Oscar Wilde: The Critiwl Haitoge (London:
Routledge, 1970), p.18.
74. OscarWilde,letter to StanleyV. Makower, 14 October 1897, in Lettas, p.960.
75. Govin Friday, Eocb Moo Kills the Thing He Loves (Island Records, 1989), Elaine Fine's
Thematic Catalog http:/ /thematiocatalog blogspot.com/; for the other interpretations
ofWilde's poetry, see www.youtube.com.
76. Wilde, 'The Critic as Artist: Part!', p.159.
70