Historical Context
The Dandy
Dandies, a prominent feature in Wilde’s play, emerged as a notable aspect of nineteenth- to early twentieth-century European society. These were men celebrated for their dedication to fashion, often extravagant, and their appreciation for beauty in all forms. In bustling new cities like Paris, London, and New York, nineteenth-century dandies would gracefully wander along bustling boulevards and visit trendy spots. It is believed that their refined sensibilities and aversion to anything coarse or vulgar arose from their discontent with a rapidly changing world. Specifically, these urban dandies observed the industrial transformation of their surroundings. This shift marked a transition from a predominantly rural lifestyle to one dominated by rapidly constructed factories in burgeoning urban areas, characterized by smoke-belching pollution and the harsh exploitation of workers (with grueling ten- to twelve-hour workdays, woefully low wages, and six or seven-day work weeks). They perceived this as a world of ugliness and greed, valuing wealth over environmental and human welfare. Thus, they rejected practicality, advocating instead for the fleeting, delicate, and beautiful, asserting that wealth creation was evil if it compromised the quality of human life.
Wilde himself embraced the dandy style in his attire for a period. After completing his studies at Oxford, he spent a few years donning what was then considered exquisite evening wear. However, he refrained from adopting unusual styles during the daytime.
Numerous photographs capture Wilde in his ‘‘exquisite’’ ensembles, which at the time were considered outrageous. His outfits included knee breeches, a velvet waistcoat, a flowing cloak, and slightly longer hair.
Wilde’s penchant for distinctive evening attire was short-lived; once he gained fame, he aligned with the more conservative fashion trends of the era, albeit always maintaining a fashionable edge.
Aestheticism
Aestheticism emerged as an artistic movement in England during the late nineteenth century, although it had earlier origins in other countries like France, where its roots were established. The core principle of aestheticism is "art for art's sake," which suggests that a piece of art only needs to be beautiful, or well-crafted, to deserve admiration. This means a piece of art doesn't need any explicit social relevance to be considered significant. For instance, if an artist chose to portray the life of a criminal, as long as it was done skillfully and with accuracy, the artwork held value. Similarly, an artist could create art on any subject, even if it didn't uplift its audience, as long as the work was executed well. While this might seem like a sensible approach to art, followers of aestheticism, known as aesthetes, created a stir in England at the time. This was during the Victorian era when the English favored art with a strong social message. They preferred art that was evidently uplifting, morally instructive, clearly distinguishing good from bad, where bad was punished, and good was rewarded.
Traditional, more conservative Victorians had further issues with aestheticism because aesthetes took their beliefs very seriously, sometimes to an extreme, and openly displayed them. For instance, Walter Pater, the scholar most responsible for spreading aestheticist ideas in England, wrote about how the appreciation, cultivation, and experience of beauty and exquisite sensations were among the most important human endeavors. He expressed these somewhat lavish ideas, most notably, in the conclusion of his book titled The Renaissance. Pater's followers, the aesthetes, were typically dandies. They dressed impeccably, spoke eloquently, and relished discussions about the finest art and decoration from both past and present.
Pater, an Oxford academic, had an influence on Oscar Wilde while Wilde was a student at Oxford. Although Wilde's interests and life cannot be solely attributed to dandyism...
(This entire section contains 613 words.)
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and Aestheticism, these movements did indeed leave a lasting impression on him.
Style and Technique
Wit
Wit is a hallmark of Wilde's humor, evident in both his personal interactions and his works, such as An Ideal Husband. This type of humor is intelligent and sharp, rather than crude, vulgar, goofy, or reliant on visual gags. Wit involves delivering an unexpected insight or cleverly overturning expectations. For instance, in the play, Mrs. Cheveley remarks, "a woman's first duty in life is to her dressmaker, isn't it? What the second duty is, no one has yet discovered." This line would have drawn laughs as it twists the familiar saying, "A woman's first duty is to her husband." The Victorian audience, known for their sense of duty, would have been very familiar with this common saying.
Epigram and Aphorism
Epigrams are concise, often surprising or clever, and Wilde's characters frequently employ this form of wit. For instance, Mrs. Cheveley quips, "Oh! I don't care about the London season! It is too matrimonial. People are either hunting for husbands, or hiding from them." Her stated reason for disliking the London social season is humorous, especially since it suggests the season is "matrimonial" not just because people are searching for husbands.
An aphorism is a short expression of a general truth or opinion, which may or may not be humorous. Wilde was particularly skilled at crafting witty aphorisms. In An Ideal Husband, Lady Cheveley offers several such statements. For instance, she asserts, "Morality is simply the attitude we take toward people whom we personally dislike." In another instance, she notes, "Questions are never indiscreet. Answers sometimes are." Lord Goring also shares his view on advice. When Mabel Chiltern questions his suggestion that it's past her bedtime, he replies, "My father told me to go to bed an hour ago. I don't see why I shouldn't give you the same advice. I always pass on good advice. It is the only thing to do with it. It is never any use to oneself."
Comedy of Manners
An Ideal Husband by Wilde is primarily a comedic play, despite its serious storyline and message. It closely aligns with a genre of dramatic comedy called the comedy of manners. This style is largely linked to eighteenth-century European theater, although its roots trace back to the dawn of European drama. A comedy of manners aims to critique human quirks, focusing on a specific social class and mocking their trivialities, hypocrisies, vanities, and flaws. In Wilde’s play, for instance, the English upper class's hypocrisy is humorously depicted through the character of Sir Robert Chiltern. These comedies are also marked by their clever dialogue, characterized by witty and humorous exchanges between characters, which likely attracted Wilde to this format.
Melodrama
Melodramas narrate their tales using sensational and unlikely characters and plot twists. In this genre, villains are completely evil, while heroes and heroines are paragons of virtue. Items like rings, letters, and gloves are often misplaced and recovered, leading to various plot revelations and complications. Typically, heroines find themselves in grave danger, only for the hero to appear at the last minute to rescue them. Wilde incorporates some typical melodramatic scenarios and events in An Ideal Husband. For example, the plot revolves around a past incriminating letter and a blackmail scheme, both features of melodramatic storytelling.
Problem Play
The concept of problem plays emerged in Europe during the late nineteenth century, named so because they address significant social issues of their time. Henrik Ibsen, credited with pioneering this genre in its purest form, tackled feminism in A Doll’s House, highlighting the challenges faced by Europe’s ‘‘new’’ women and their families. Some critics find it difficult to classify An Ideal Husband strictly as a comedy of manners, often opting for the term ‘‘social comedy’’ instead, due to its serious undertone. This serious aspect showcases Wilde’s appreciation for the problem play.
Compare and Contrast
• 1890s: Dandies adorn themselves in attire reminiscent of bygone eras, often accessorizing with a single flower.
Today: A diverse array of unique clothing styles associated with specific subcultures, like punk, Goth, and hip-hop, can be observed on the streets of a typical American city.
• 1890s: Conservative Victorian values continue to dominate, even as a new generation begins to feel it is becoming "modern."
Today: The United States features a variety of alternative lifestyles and a general acceptance of diversity.
• 1890s: Oscar Wilde’s career was ruined by accusations of same-sex relationships.
Today: Same-sex marriage is legal in some countries, such as Canada, while debates about legalizing same-sex marriage continue in the United States.
• 1890s: Queen Victoria, the namesake of the Victorian era, is known as the Imperial Queen; she proclaims herself Empress of India, and Britain’s global empire expands significantly.
Today: The remnants of the British Empire dissolve in the mid-20th century, and major British cities, like London, evolve into post-colonial, multiethnic urban centers.
Adaptations
• In 1947, a British production turned An Ideal Husband into a film. Directed by Alexander Korda, this adaptation featured Paulette Goddard as Mrs. Cheveley and Michael Wilding as Lord Goring.
• In 1969, An Ideal Husband was adapted for British television as part of the "Play of the Month" series.
• In 1998, another British production released a film version of An Ideal Husband. Directed by William Cartlidge, this adaptation starred James Wilby as Sir Robert Chiltern, Sadie Frost as Mrs. Cheveley, and Jonathan Firth as Lord Goring.
• A collaborative production between the United States and Great Britain brought An Ideal Husband to the screen in 1999. Directed by Oliver Parker, this highly praised version included an impressive cast: Cate Blanchett as Lady Gertrude Chiltern, Minnie Driver as Mabel Chiltern, Julianne Moore as Mrs. Cheveley, Jeremy Northam as Sir Robert Chiltern, and Rupert Everett as Lord Goring.
Bibliography
SOURCES
Belford, Barbara, "A Broken Line," in Oscar Wilde: A Certain Genius, Random House, 2000, p. 233.
Eagleton, Terry, Introduction, in Saint Oscar, and Other Plays, Blackwell Publishers, 1997.
Hall, Peter, "A Warm, Impossible Love," in the Guardian, November 11, 1992, Features Page, p. 4.
Nichols, Mark, "An Ideal Husband—The Wit and The Legend," in The Importance of Being Oscar, St. Martin’s Press, 1983, pp. 91, 138.
Review of An Ideal Husband, in the Times (London), January 4, 1895, p. 7.
Wilde, Oscar, An Ideal Husband, in The Plays of Oscar Wilde, Random House, 1932.
FURTHER READING
Ellmann, Richard, Oscar Wilde, Alfred A. Knopf, 1988. This biography is currently the most comprehensive and authoritative account of Wilde's life. It offers students an in-depth look into the author's life and professional journey.
Holland, Vyvyan, Oscar Wilde, Thames and Hudson, 1960. This concise and informative book, written by Wilde's son, includes photographs of Wilde, his family, friends, and other significant figures. Holland addresses what he perceives as inaccuracies in major Wilde biographies, like those by Frank Harris and Richard Ellmann.
Raby, Peter, ed., The Cambridge Companion to Oscar Wilde, Cambridge University Press, 1997. This compilation features essays by various authors on different facets of Wilde's career and writings, offering many insightful and contemporary analyses. For instance, one essay examines Wilde's four comedic plays collectively, while another contrasts Wilde's dramatic methods with those of other major playwrights of his era.
Roditi, Edouard, Oscar Wilde, New Directions, 1986. Unlike many recent scholarly books on Wilde that focus on narrow, specialized topics, Roditi's work is a broad and general examination of Wilde's art. It serves as a valuable resource for students seeking an introductory overview of Wilde.
San Juan, Epifanio, Jr., The Art of Oscar Wilde, Princeton University Press, 1967. Similar to Roditi's study, this scholarly work provides a comprehensive and valuable introduction to Wilde's literary contributions.
