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• W2023531311 abstract "Roman Catholicism in the Oscar Wilde-R-Ness H. Wendell Howard (bio) In the late 1990s the imminent beginning of the new millennium gave almost everyone pause for one reason or another, although the major preoccupation seemed not to be serious social and political stocktaking but a concern with whether our computers could handle the double zeros of the year 2000. The 1880s and 90s, on the other hand, anticipating the arrival of only a new century, centered on what appeared to the artists as the obvious influence of the date itself. They believed, as Robert Stange and Walter Houghton so admirably state, that they lived in a definable, unique period, making them a generation doomed to extinction, flashing briefly and, perhaps, vividly across the mirror of eternity.1 Consequently, as Stange and Houghton go on to point out, artists in all fields began to search for new modes of expression, new sensations, new poses to confront a disagreeable society that still held the Victorian moral attitude toward art, even though in literature by the beginning of the 1890s almost every one of the giants of poetry was gone. The resulting fascination with exotic cultures, the bizarre, the out-of-the-way and obscure arts, manners, and beliefs led to such silliness as young men dragging live lobsters down Picadilly on silk leashes. [End Page 107] More important, though, it also led to a belief in Beaudelaire's idea that decadence was an honorific concept. Using the French word décadence to sum up most of the artistic qualities and attitudes of the time was merely one more example of the age's addiction to nineteenth-century French writers with their catchwords that so precisely labeled English thought and feeling: Gautier's l'art pour l'art, art for art's sake; maladie fin de siecle, end-of-century sickness; le frisson nouveau, the new thrill, to make life full and different2 ; and épater le bourgeois, the obligation to shock the middle class. This last conviction the Aesthetes demonstrated by posing as dandies or Bohemians. All of these concepts characterize the Aesthetic Movement and can be applied at least in part and in varying degrees to Arthur Symons, Dante Gabriel Rossetti, William Morris, Algernon Swinburne, and others, but it is Oscar Wilde who incorporates them all to their fullest meaning. To the historian, Albert Baugh says in his A Literary History of England, Wilde is already the symbol of a period.3 Baugh held that a symbol was almost all that Oscar Wilde was because oblivion, the penalty for [his] fundamental insincerity, had overtaken most of his writings within just a few years of his death. One hundred years after his death, though, a changed perspective on Oscar Wilde exists. His homosexuality that caused the catastrophic fall from the dizzying heights of fame that he had reached is not remarkable. The fame that was based on his dazzling virtuosity and grace of improvisation as a conversationalist—reported by William Butler Yeats as well as others—is now beyond immediate appreciation, for such fame can endure only so long as the longest memory within a generation, as Kevin Sullivan observes.4 Wilde's role as a dilettante was what he called his Oxford temper, as he tried to eat of the fruit of all the trees in the garden of the world, although he confessed much later that he had mistakenly confined himself too exclusively to the sungilt side of the garden. His willingness to be the satirist's dream—giving point to Gilbert and Sullivan's Patience or to DuMaurier's thrusts in Punch at velveteen [End Page 108] knickers and the sunflower—as well as his being the first of the flower people we recognize as determinedly shocking then but not now. To be sure, Oscar Wilde was all of the aforementioned, but he was in total always something more. It is that something that prompts Terry Castle, author of The Female Thermometer, Masquerade and Civilization, and several other books of note, to include Oscar Wilde in the list of literary figures who have taught her that life itself [is] not all unmitigated misery and loss and disappointment..." @default.
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• W2023531311 title "Roman Catholicism in the Oscar Wilde-R-Ness" @default.
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