Oscar Wilde

Oscar Wilde

1854–1900 · lived 46 years IE IE

Oscar Wilde was an Irish poet and playwright, celebrated for his wit, flamboyant style, and epigrammatic brilliance. He became one of the most famous figures of the late Victorian era, known for his advocacy of aestheticism, the belief that art exists for beauty's sake. Despite his literary success, his personal life was marked by scandal and legal troubles, leading to imprisonment.

n. 1854-10-16, Dublin · m. 1900-11-30, Paris

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Madonna Mia

A lily-girl, not made for this world's pain,
With brown, soft hair close braided by her ears,
And longing eyes half veiled by slumberous tears
Like bluest water seen through mists of rain:
Pale cheeks whereon no love hath left its stain,
Red underlip drawn in for fear of love,
And white throat, whiter than the silvered dove,
Through whose wan marble creeps one purple vein.
Yet, though my lips shall praise her without cease,
Even to kiss her feet I am not bold,
Being o'ershadowed by the wings of awe,
Like Dante, when he stood with Beatrice
Beneath the flaming Lion's breast, and saw
The seventh Crystal, and the Stair of Gold.

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Bio

Identification and basic context

Oscar Wilde was an Irish poet, playwright, novelist, and critic. He is renowned for his sharp wit, flamboyant personality, and his advocacy of the aesthetic movement.

Childhood and education

Wilde was born into a prominent Anglo-Irish family. His father was a surgeon and his mother a poet and nationalist. He received a classical education at Trinity College, Dublin, and later at Magdalen College, Oxford, where he excelled in classical studies and developed his aesthetic theories.

Literary trajectory

Wilde's literary career began with poetry, notably his collection 'Poems' (1881). He gained significant fame as a playwright with works like 'The Importance of Being Earnest' and 'Salomé'. His novel 'The Picture of Dorian Gray' (1890) also garnered attention. He was a prominent figure in the Aesthetic and Decadent movements.

Works, style, and literary characteristics

Wilde's most famous works include 'The Picture of Dorian Gray', 'The Importance of Being Earnest', 'An Ideal Husband', and 'A Woman of No Importance'. His style is characterized by epigrammatic wit, paradox, lyrical beauty, and a focus on aestheticism. Themes explored include beauty, art, morality, hypocrisy, and the duality of human nature. He often used satire to critique Victorian society.

Cultural and historical context

Wilde lived during the late Victorian era in Britain, a period of great industrial change, social reform, and imperial expansion, but also of strict social codes and moral hypocrisy. He was a prominent voice of the Aesthetic movement, which challenged the utilitarian and moralistic views of art prevalent at the time. He was a contemporary of writers like Algernon Charles Swinburne and Walter Pater.

Personal life

Wilde's personal life was marked by his marriage to Constance Lloyd, with whom he had two sons. He also had a notorious relationship with Lord Alfred Douglas, which ultimately led to his downfall. His flamboyant lifestyle and outspoken views on art and morality set him apart from conventional society.

Recognition and reception

Wilde achieved considerable fame during his lifetime, becoming a celebrated figure in London society. However, his trial for gross indecency in 1895 led to his imprisonment and public disgrace, severely damaging his reputation. Posthumously, his work has been re-evaluated, and he is now recognized as a major literary figure of the 19th century.

Influences and legacy

Wilde was influenced by Romantic poets and French Symbolists. His emphasis on beauty and art for art's sake, his wit, and his critique of social conventions have influenced numerous writers and artists. He is considered a key figure in the development of modern drama and aesthetic theory.

Interpretation and critical analysis

Wilde's work is often analyzed through the lens of aestheticism, dandyism, and his critique of Victorian morality. His life and work continue to be debated, particularly concerning his persecution and the relationship between art and life.

Curiosities and lesser-known aspects

Wilde famously declared, "I have put my genius into my life; I have put only my talent into my works." He was known for his elaborate dress and his love of paradox. His famous green carnation became a symbol of the aesthetic movement.

Death and memory

Oscar Wilde died in exile in Paris in 1900. His tomb in Père Lachaise Cemetery is a popular tourist destination. His literary and cultural significance has endured, and he remains a celebrated figure for his wit and artistic contributions.

Poems

112

Taedium Vitae

Taedium Vitae
To stab my youth with desperate knives, to wear
This paltry age's gaudy livery,
To let each base hand filch my treasury,
To mesh my soul within a woman's hair,
And be mere Fortune's lackeyed groom, - I swear
I love it not! these things are less to me
Than the thin foam that frets upon the sea,
Less than the thistledown of summer air
Which hath no seed: better to stand aloof
Far from these slanderous fools who mock my life
Knowing me not, better the lowliest roof
Fit for the meanest hind to sojourn in,
Than to go back to that hoarse cave of strife
Where my white soul first kissed the mouth of sin.
324

Symphony in Yellow

Symphony in Yellow
An omnibus across the bridge
Crawls like a yellow butterfly,
And, here and therem a passer-by
Shows like a little restless midge.
Big barges full of yellow hay
Are moored against the shadowy wharf,
And, like a yellow silken scarf,
The thick fog hangs along the quay.
The yellow leaves begin to fade
And flutter from the temple elms,
And at my feet the pale green Thames
Lies like a rod of rippled jade.
192

Sonnet To Liberty

Sonnet To Liberty
NOT that I love thy children, whose dull eyes
See nothing save their own unlovely woe,
Whose minds know nothing, nothing care to know,--
But that the roar of thy Democracies,
Thy reigns of Terror, thy great Anarchies,
Mirror my wildest passions like the sea,--
And give my rage a brother----! Liberty!
For this sake only do thy dissonant cries
Delight my discreet soul, else might all kings
By bloody knout or treacherous cannonades
Rob nations of their rights inviolate
And I remain unmoved--and yet, and yet,
These Christs that die upon the barricades,
God knows it I am with them, in some things.
208

Sonnet

Sonnet
CHRIST, dost thou live indeed? or are thy bones
Still straightened in their rock-hewn sepulchre?
And was thy Rising only dreamed by Her
Whose love of thee for all her sin atones?
For here the air is horrid with men's groans,
The priests who call upon thy name are slain,
Dost thou not hear the bitter wail of pain
From those whose children lie upon the stones?
Come down, O Son of God! incestuous gloom
Curtains the land, and through the starless night
Over thy Cross the Crescent moon I see!
If thou in very truth didst burst the tomb
Come down, O Son of Man! and show thy might,
Lest Mahomet be crowned instead of Thee!
214

Sonnet On Hearing The Dies Ira Sung In The Sistine Chapel

Sonnet On Hearing The Dies Ira Sung In The Sistine Chapel
NAY, Lord, not thus! white lilies in the spring,
Sad olive-groves, or silver-breasted dove,
Teach me more clearly of Thy life and love
Than terrors of red flame and thundering.
The empurpled vines dear memories of Thee bring:
A bird at evening flying to its nest,
Tells me of One who had no place of rest:
I think it is of Thee the sparrows sing.
Come rather on some autumn afternoon,
When red and brown are burnished on the leaves,
And the fields echo to the gleaner's song,
Come when the splendid fulness of the moon
Looks down upon the rows of golden sheaves,
And reap Thy harvest: we have waited long.
226

Serenade

Serenade
THE western wind is blowing fair
Across the dark Ægean sea,
And at the secret marble stair
My Tyrian galley waits for thee.
Come down! the purple sail is spread,
The watchman sleeps within the town,
O leave thy lily-flowered bed,
O Lady mine come down, come down!
She will not come, I know her well,
Of lover's vows she hath no care,
And little good a man can tell
Of one so cruel and so fair.
True love is but a woman's toy,
They never know the lover's pain,
And I who loved as loves a boy
Must love in vain, must love in vain.
O noble pilot tell me true
Is that the sheen of golden hair?
Or is it but the tangled dew
That binds the passion-flowers there?
Good sailor come and tell me now
Is that my Lady's lily hand?
Or is it but the gleaming prow,
Or is it but the silver sand?
No! no! 'tis not the tangled dew,
'Tis not the silver-fretted sand,
It is my own dear Lady true
With golden hair and lily hand!
O noble pilot steer for Troy,
Good sailor ply the labouring oar,
This is the Queen of life and joy
Whom we must bear from Grecian shore!
The waning sky grows faint and blue,
It wants an hour still of day,
Aboard! aboard! my gallant crew,
O Lady mine away! away!
O noble pilot steer for Troy,
Good sailor ply the labouring oar,
O loved as only loves a boy!
O loved for ever evermore!
230

San Miniato

San Miniato
SEE, I have climbed the mountain side
Up to this holy house of God,
Where once that Angel-Painter trod
Who saw the heavens opened wide,
And throned upon the crescent moon
The Virginal white Queen of Grace,--
Mary! could I but see thy face
Death could not come at all too soon.
O crowned by God with thorns and pain!
Mother of Christ! O mystic wife!
My heart is weary of this life
And over-sad to sing again.
O crowned by God with love and flame!
O crowned by Christ the Holy One!
O listen ere the searching sun
Show to the world my sin and shame.
189

Requiescat

Requiescat
TREAD lightly, she is near
Under the snow,
Speak gently, she can hear
The daisies grow.
All her bright golden hair
Tarnished with rust,
She that was young and fair
Fallen to dust.
Lily-like, white as snow,
She hardly knew
She was a woman, so
Sweetly she grew.
Coffin-board, heavy stone,
Lie on her breast,
I vex my heart alone
She is at rest.
Peace, Peace, she cannot hear
Lyre or sonnet,
All my life's buried here,
Heap earth upon it.
AVIGNON.
199

Roses and Rue

Roses and Rue
Could we dig up this long-buried treasure,
Were it worth the pleasure,
We never could learn love's song,
We are parted too long
Could the passionate past that is fled
Call back its dead,
Could we live it all over again,
Were it worth the pain!
I remember we used to meet
By an ivied seat,
And you warbled each pretty word
With the air of a bird;
And your voice had a quaver in it,
Just like a linnet,
And shook, as the blackbird's throat
With its last big note;
And your eyes, they were green and grey
Like an April day,
But lit into amethyst
When I stooped and kissed;
And your mouth, it would never smile
For a long, long while,
Then it rippled all over with laughter
Five minutes after.
You were always afraid of a shower,
Just like a flower:
I remember you started and ran
When the rain began.
I remember I never could catch you,
For no one could match you,
You had wonderful, luminous, fleet,
Little wings to your feet.
I remember your hair - did I tie it?
For it always ran riot -
Like a tangled sunbeam of gold:
These things are old.
I remember so well the room,
And the lilac bloom
That beat at the dripping pane
In the warm June rain;
And the colour of your gown,
It was amber-brown,


And two yellow satin bows
From the shoulders rose.
And the handkerchief of French lace
Which you held to your face-
Had a small tear left a stain?
Or was it the rain?
On your hand as it waved adieu
There were veins of blue;
In your voice as it said good-bye
Was a petulant cry,
"You have only wasted your life."
(Ah, that was the knife!)
When I rushed through the garden gate
It was all too late.
Could we live it over again,
Were it worth the pain,
Could the passionate past that is fled
Call back its dead!
Well, if my heart must break,
Dear love, for your sake,
It will break in music, I know,
Poets' hearts break so.
But strange that I was not told
That the brain can hold
In a tiny ivory cell
God's heaven and hell.
303

Quantum Mutata

Quantum Mutata
THERE was a time in Europe long ago
When no man died for freedom anywhere,
But England's lion leaping from its lair
Laid hands on the oppressor! it was so
While England could a great Republic show.
Witness the men of Piedmont, chiefest care
Of Cromwell, when with impotent despair
The Pontiff in his painted portico
Trembled before our stern ambassadors.
How comes it then that from such high estate
We have thus fallen, save that Luxury
With barren merchandise piles up the gate
Where nobler thoughts and deeds should enter by:
Else might we still be Milton's heritors.
231

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