Oscar Wilde: Art and Morality Part 2

As for the critical question, Mr. Wilde is beating the air when he defends idealism and "romantic art" in literature. In the words of Mrs.

Harris to Mrs. Gamp, "Who's deniging of it?"

Heaven forbid that we should refuse to an author the supreme pleasure of realising the non-existent; or that we should judge the "aesthetic" from the purely ethical standpoint.

No; our criticism starts from lower ground. Mr. Wilde says that his story is a moral tale, because the wicked persons in it come to a bad end. We will not be so rude as to quote a certain remark about morality which one Mr. Charles Surface made to Mr. Joseph Surface. We simply say that every critic has the right to point out that a work of art or literature is dull and incompetent in its treatment--as "The Picture of Dorian Gray" is, and that its dulness and incompetence are not redeemed because it constantly hints, not obscurely, at disgusting sins and abominable crimes--as "The Picture of Dorian Gray" does.

[8] June 26th.

_A true artist takes no notice whatever of the public. The public is to him non-existent. He has no poppied or honeyed cakes through which to give the monster sleep or sustenance. He leaves that to the popular novelist._

MR. OSCAR WILDE'S DEFENCE.

To the Editor of the _St. James's Gazette_.[9]

Sir,--As you still keep up, though in a somewhat milder form than before, your attacks on me and my book you not only confer upon me the right, but you impose on me the duty of reply.

You state, in your issue of to-day, that I misrepresented you when I said that you suggested that a book so wicked as mine should be "suppressed and coerced by a Tory Government." Now, you did not propose this, but you did suggest it. When you declare that you do not know whether or not the Government will take action about my book, and remark that the authors of books much less wicked have been proceeded against in law, the suggestion is quite obvious.

In your complaint of misrepresentation you seem to me, Sir, to have been not quite candid.

However, as far as I am concerned, this suggestion is of no importance.

What is of importance is that the editor of a paper like yours should appear to countenance the monstrous theory that the Government of a country should exercise a censors.h.i.+p over imaginative literature. This is a theory against which I, and all men of letters of my acquaintance, protest most strongly; and any critic who admits the reasonableness of such a theory shows at once that he is quite incapable of understanding what literature is, and what are the rights that literature possesses. A Government might just as well try to teach painters how to paint, or sculptors how to model, as attempt to interfere with the style, treatment and subject-matter of the literary artist, and no writer, however eminent or obscure, should ever give his sanction to a theory that would degrade literature far more than any didactic or so-called immoral book could possibly do.

You then express your surprise that "so experienced a literary gentleman" as myself should imagine that your critic was animated by any feeling of personal malice towards him. The phrase "literary gentleman"

is a vile phrase, but let that pa.s.s.

I accept quite readily your a.s.surance that your critic was simply criticising a work of art in the best way that he could, but I feel that I was fully justified in forming the opinion of him that I did. He opened his article by a gross personal attack on myself. This, I need hardly say, was an absolutely unpardonable error of critical taste.

There is no excuse for it except personal malice; and you, Sir, should not have sanctioned it. A critic should be taught to criticise a work of art without making any reference to the personality of the author. This, in fact, is the beginning of criticism. However, it was not merely his personal attack on me that made me imagine that he was actuated by malice. What really confirmed me in my first impression was his reiterated a.s.sertion that my book was tedious and dull.

Now, if I were criticising my book, which I have some thoughts of doing, I think I would consider it my duty to point out that it is far too crowded with sensational incident, and far too paradoxical in style, as far, at any rate, as the dialogue goes. I feel that from a standpoint of art there are true defects in the book. But tedious and dull the book is not.

Your critic has cleared himself of the charge of personal malice, his denial and yours being quite sufficient in the matter; but he has done so only by a tacit admission that he has really no critical instinct about literature and literary work, which, in one who writes about literature is, I need hardly say, a much graver fault than malice of any kind.

Finally, Sir, allow me to say this. Such an article as you have published really makes me despair of the possibility of any general culture in England. Were I a French author, and my book brought out in Paris, there is not a single literary critic in France on any paper of high standing who would think for a moment of criticising it from an ethical standpoint. If he did so he would stultify himself, not merely in the eyes of all men of letters, but in the eyes of the majority of the public.

You have yourself often spoken against Puritanism. Believe me, Sir, Puritanism is never so offensive and destructive as when it deals with art matters. It is there that it is radically wrong. It is this Puritanism, to which your critic has given expression, that is always marring the artistic instinct of the English. So far from encouraging it, you should set yourself against it, and should try to teach your critics to recognise the essential difference between art and life.

The gentleman who criticised my book is in a perfectly hopeless confusion about it, and your attempt to help him out by proposing that the subject-matter of art should be limited does not mend matters. It is proper that limitation should be placed on action. It is not proper that limitation should be placed on art. To art belong all things that are and all things that are not, and even the editor of a London paper has no right to restrain the freedom of art in the selection of subject-matter.

I now trust, Sir, that these attacks on me and my book will cease. There are forms of advertis.e.m.e.nt that are unwarranted and unwarrantable.

I am, Sir, your obedient servant,

OSCAR WILDE.

16, t.i.te Street, S.W., June 27th.

[9] June 28th.

_The public ... is always asking a writer why he does not write like somebody else ... quite oblivious of the fact that if he did anything of the kind he would cease to be an artist._

Once more the Editor attempted to justify his reviewer's trenchant criticism:--

Mr. Oscar Wilde makes his third and, we presume, his final reply to the criticism which we published on "The Picture of Dorian Gray." Somewhat grudgingly, but in sufficiently explicit terms, he withdraws the charge of "personal malice" which he brought against the critic, and which, we may again a.s.sure him, is absolutely unfounded.

But he adheres to the other charge of critical incapacity. Mr. Wilde a.s.sures us that his book, so far from being dull and tedious, is full of interest; an opinion which is shared (see the letter we print on another page to-day) by his publishers' advertising agent-in-advance.

Well, we can only repeat that we disagree with Mr. Wilde and his publishers' paragraphist.

Quite apart from "ethical" considerations, the book seems to us a feeble and ineffective attempt at a kind of allegory which, in the hands of abler writers (writers like Mr. Stevenson and Mr. Anstey, for instance) can be made striking or amusing.

Mr. Wilde also says that we suggested that the author and publishers of "The Picture of Dorian Gray" ought to be prosecuted by the Tory Government, by which we presume he means the Treasury. No; we consider that such prosecutions are ill-advised, and expressly suggested that such action ought not to be taken against a book which we believed to be rendered innocuous by the tedious and stupid qualities which the critic discovered and explained. Secondly, Mr. Wilde hints that the "rights of literature" include a right to say what it pleases, how it pleases and where it pleases. That is a right not only not recognised by the law of the land, but expressly denied by penalties which have been repeatedly enforced. Then what does Mr. Oscar Wilde mean by talking about the "rights of literature"? We will not insult an artist, who is by his own account un-moral or supra-moral by suggesting that he means "moral rights." But he tells us that limitations may be set on action but ought not to be set on art. Quite so. But art becomes action when the work of art is published. It is offensive publications that we object to, not the offensive imaginings of such minds as find their pleasure therein.

LETTER FROM "A LONDON EDITOR."

In the same issue of June 28th appeared the following letter:--

To the Editor of the _St. James's Gazette_.

Sir,--If Mr. Oscar Wilde is the last man in England (according to his own account) who requires advertis.e.m.e.nt, his friends and publishers do not seem to be of the same opinion. Otherwise it is difficult to account for the following audacious puff-postive which has been sent through the halfpenny post to newspaper editors and others:--

Mr. Oscar Wilde will contribute to the July number of _Lippincott's Magazine_ a complete novel, ent.i.tled "The Picture of Dorian Gray,"

which, as the first venture in fiction of one of the most prominent personalities and artistic influences of the day, will be everywhere read with wide interest and curiosity. But the story is in itself so strong and strange, and so picturesque and powerful in style, that it must inevitably have created a sensation in the literary world, even if published without Mr. Wilde's name on the t.i.tle page.

Viewed merely as a romance, it is from the opening paragraph down to the tragic and ghastly climax, full of strong and sustained interest; as a study in psychology it is phenomenal; judged even purely as a piece of literary workmans.h.i.+p it is one of the most brilliant and remarkable productions of the year.

Such, Sir, is the estimate of Mr. Wilde's publishers or paragraph writer. Note the adjectival exuberance of the puffer--complete, strong, strange, picturesque, powerful, tragic, ghastly, sustained, phenomenal, brilliant and remarkable. For a man who does not want advertis.e.m.e.nt this is not bad.