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- W340580016 abstract "The sincerity of Wilde's De Profundis, put into doubt by trains of thought in the letter that are uncharacteristic of Wilde's earlier writing, is challenged further by contemporary literary theory in its rejection of the autobiographical subject as coherent entity. One can assess the sincerity of De Profundis by locating what we can know of its subject in a dialogue between the identity Wilde intends to convey and the implications of the literary forms he uses to convey it. Doing so foregrounds in the text three borrowed identities that Wilde assumes in order to help define his own. Even though they reveal inconsistencies in his intended persona, we must include that persona in our sense of him, giving some credence to his claim that he has found a higher self. ********** Oscar Wilde's thinking changed while he was in prison. His recent biographer, Richard Ellmann, (1) tells us that after he was released, [Wilde] did not mind contradicting his earlier work (531), in which he had disparaged such subjects as social improvement, by writing two letters to the Daily Chronicle about the state of England's prisons and the mistreatment of prisoners therein. Indeed, many of the standard themes of his earlier aestheticism fall by the way in De Profundis, the long letter he wrote in prison to his friend and lover Lord Alfred Douglas, his connection with whom lay behind his imprisonment. Douglas' self-centeredness and Wilde's inability to extricate himself from their relationship regardless of Douglas' behavior had proven troublesome from the start. Finally, was Douglas' father, the hostility between him and his son, and Wilde's bad legal judgement that resulted in his imprisonment for homosexual acts and his consequent ruin. In De Profundis, he recites his grievances against the young man incident by incident, and expounds, in the posture of teacher, on larger themes of life and art. By the time he wrote the letter, over a three-month period toward the end of his two years in prison, he had suffered a great deal. He had lost his wife, children, financial solvency, and reputation. His health had broken down early in his term, and, though he recovered, continuing isolation, silence, physical discomfort, and manual labor did much to break his spirit. (2) In De Profundis, Wilde attributes to his suffering a profound change of heart. Referring to his earlier days, he writes I treated Art as the supreme reality, and life as a mere mode of fiction.... I amused myself with being a flaneur, a dandy, a man of fashion. I became the spendthrift of my own genius.... I grew careless of the lives of others. I took pleasure where pleased me and passed on. I have lain in prison for nearly two years.... I have passed through every possible mood of suffering.... Now I find hidden away in my nature something that tells me that nothing in the whole world is meaningless, and suffering least of all.... My nature is seeking a fresh mode of realisation. (580-582) Such a dramatic evolution would be likely to produce new ways of thinking, and those who know Wilde's earlier work notice many inconsistencies with its premises when reading De Profundis. In the letter, he allows life, while never leaving art behind, to take on a new importance in itself, to be more than simply the context in which art takes place. Furthermore, once the realities of his own life became painful enough, he could no longer trivialize the importance of suffering; once he had reevaluated it, many of his other values shifted accordingly. The fulfillment of one's nature through disguise (Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth. (3)) and through Bunburying (a form of role-playing enacted in The Importance of Being Earnest) becomes the evolution of the soul by finding out one's inherent nature (581) and accepting all that has happened to [one] to make [one's self] worthy of it (624). …" @default.
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- W340580016 title "Sincerity and the Subject in Wilde's De Profundis" @default.
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