Oscar Wilde Part 28

The more Catholic the conception of religion and of art becomes, the more surely the socialistic idea obtains. Certainly our Lord taught that individual character can only be developed through community. The great socialistic organ of England attempted the value and weight of Oscar Wilde's defence of Socialism in the following words:--

"Christ taught that individual character could only be developed through community. Some say he opposed Socialism because, when two young capitalists came to him wrangling about their private property, he ignored them, saying, 'Who made me a divider among you?' I suppose these objectors still think that Socialism means dividing up. When his enemies were closing in upon him, and his life hung in the balance, a woman came and anointed his feet, and wiped them with her hair, and the good people were shocked, and complained of the waste. Might not the ointment have been sold, and the money doled out to the poor? Christ defended her generous impulse, and remarked: 'The poor you have always with you. You have plenty of opportunities of helping them. Me you have not always.'

This is erected into a great p.r.o.nouncement that we must not attempt to abolish poverty! To such amusing shifts are Christian Individualists driven!

"But our contention is that although Christ was not a State Socialist, his spirit, embodied in the Christian Church, inevitably urges men to Socialism; that the political development of the Catholic Faith is along the lines of Socialism; and that, as the State captured the Church in the past, so now it is the business of the Church to recapture the State, and through it to establish G.o.d's Kingdom on earth."

I quote them here in order to show what sympathy the essay awakened, even though that sympathy is utterly alien to the belief of the chronicler. And now let us finally bid farewell to Oscar Wilde as aesthete, or, rather, as prophet and expounder of the aesthetic.

I have placed on record not only my own small opinion of his teachings, but a very solid and weighty consensus of condemnation of his att.i.tude.

And I hope, from the purely literary point of view, I have made obeisance and given every credit to one of the greatest literary artists of our time.

PART VIII

"DE PROFUNDIS"

"DE PROFUNDIS"

"I Have entered on a performance which is without example, whose accomplishments will have no imitator. I mean to present my fellow-mortals with a man in all the integrity of nature; and this man shall be myself.

"I know my heart, and have studied mankind; I am not made like anyone I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work.

"Whenever the last trumpet shall sound, I will present myself before the sovereign Judge with this book in my hand, and loudly proclaim, Thus have I acted; these were my thoughts; such was I.

With equal freedom and veracity have I related what was laudable or wicked, I have concealed no crimes, added no virtues; and if I have sometimes introduced superfluous ornament, it was merely to occupy a void occasioned by defect of memory. I may have supposed that certain, which I only knew to be probable, but have never a.s.serted as truth a conscious falsehood. Such as I was, I have declared myself; sometimes vile and despicable, at others, virtuous, generous, and sublime. Even as thou hast read my inmost soul, Power eternal! a.s.semble round thy throne an innumerable throng of my fellow-mortals, let them listen to my confessions, let them blush at my depravity, let them tremble at my sufferings; let each in his turn expose with equal sincerity the failings, the wanderings of his heart, and, if he dare, aver, _I was better than that man_."

These are the first words in that book which it was supposed would always stand as a type of real self-revelation and confession and which now is thought of by all the world as merely a brilliant piece of literature and an amazing tissue of misrepresentations.

Jean Jacques Rousseau never gave his real self to the world despite the loud Gallic boast of the paragraphs above.

Did De Quincey? Did St Augustine? Did anyone ever tell the truth about himself from the very beginnings of literature? Newman's "Apologia"; Bunyan's "Grace Abounding"; the Journals of Wesley; the Memoirs of Madame de Stael de Launay; the diary of Madame D'Arblay; the "Ausmeinem Leben" of Goethe, the "Lavengro" of Borrow--how much in all these and in the hundred other works of like nature which crowd to the mind, how much is self-deception, how much picturesque fiction?

Who can say?

There is only one way of determining the value of an autobiographical statement--by a comparison of internal evidence with external historic fact. In the case of people whose generation has pa.s.sed away this task is beset with difficulties, though not impossible. In the case of one who has but recently died, whose friends and contemporaries are living still, about whom doc.u.mentary and oral evidence abounds, the task is more easy, though still a hard and, possibly, a thankless one.

In a consideration and criticism, however, of Oscar Wilde's greatest work, "De Profundis," such an attempt must undoubtedly be made.

Yet, this question of sincerity or reality is not the only one to be determined, and it will be well, therefore, to treat of "De Profundis"

with the a.s.sistance of a definite plan of criticism.

Let us then divide this part of the book into several sections.

There are, undoubtedly, a great many people who have heard the name of the book and read the extraordinarily copious reviews of it in the public press, but have no further acquaintance with it than just that.

It will be necessary, therefore, in the first instance, to give an account of the actual subject-matter in order to make the following criticism intelligible and, it is to be hoped, to induce them to purchase and read this marvellous monograph, which is one of the world's minor masterpieces, for themselves.

Secondly, a purely literary criticism will not be out of place, a criticism which treats of the book as a consummate work of art and a piece of prose almost unparalleled for its splendour and beauty in modern literature.

Thirdly, the vexed question of its conscious or unconscious sincerity must be dealt with, while the fourth consideration should surely be devoted to the philosophy and teaching, especially in its regard to the Christian Faith, which is definitely promulgated within the book.

Lastly, a few words about its actual legacy to the Europe of to-day should conclude this part of the Appreciation.

"De Profundis" was published by Messrs Methuen & Company on 23rd February 1905. It was written by Oscar Wilde when in prison, by special permission of the Home Secretary. A fuller account of these details will be found in Part I. of this book.

Directly "De Profundis" made its appearance the whole press of England, almost without exception, devoted a large s.p.a.ce to its consideration.

The sensation the book occasioned was extraordinary and almost without parallel in modern times. An enormous controversy arose about it immediately. Every possible aspect of the book was canva.s.sed and discussed, and, strange as it may seem, a vast amount of venom and bitterness was mingled with the bulk of eulogy. The student of contemporary literature, or perhaps, in view of what I am going to say, it would be better to call it contemporary book publishing, can find no parallel to the interest and excitement this book occasioned, save only in the case of a very different production called "When it was Dark," an over-rated sensational novel by a Mr "Guy Thorne," whose views excited the various religious parties in the Church of England to a sort of frenzy for and against them.

In pure literature I know of nothing which, upon its appearance, made such an immediate stir as "De Profundis."

With the various views of various sections of the community, I propose to deal later. With the doubts that were thrown on its authenticity as a genuine prison ma.n.u.script I have already dealt. I may here, however, quote a few words of a statement made by the editor of "De Profundis,"

Mr Robert Ross, to a representative of an evening paper. They will explain for the reader all that he will further find necessary to introduce him to the circ.u.mstances under which "De Profundis" appeared.

"My object," he said, "in publishing this book, as I have indicated in the preface and in my letter to _The St James's Gazette_, was that Mr Oscar Wilde might come to be regarded as a factor in English literature along with his distinguished contemporaries. The success of 'De Profundis' and the reviews lead me to believe that my object has been achieved.

"I cannot expect the world to share my admiration of Mr Oscar Wilde as a man of letters, at present, although that admiration is already shared by many distinguished men of letters in England, by the whole of Germany, and by a considerable portion of the literary cla.s.s in France.

"With regard to the authenticity of the ma.n.u.script, I may say that it was well known that during his incarceration at Reading Gaol he was granted the privileges of pen and paper, only permitted in exceptional cases, at the instance of influential people not his personal friends.

The ma.n.u.script of 'De Profundis,' about which he wrote to me very often during the last months of his imprisonment, was handed to me on the day of his release. The letters he had written to me in reference to it are published in the German edition of the work, and later on, perhaps, they may appear in England, if I think it desirable to publish them here.

"Contrary to general belief the ma.n.u.script contains nothing of a scandalous nature, and if there was another object in publishing the work it was to remove that false impression which had gained ground.

The portions which I have omitted in the English publication, apart from the letters to which I have already referred as appearing in the German edition, are all of a private character. There are one or two unimportant pa.s.sages which the English publisher--very wisely, I think--deemed unsuitable for immediate reproduction in England.

"In Germany Mr Oscar Wilde's place in English literature had already been accepted. 'Salome,' for instance, is now part of the repertoire, and Strauss, the great musician, is engaged on an opera based on Mr Wilde's work, which he selected out of many others because of its popularity in Germany, and also, no doubt, on account of the dramatic intensity of Mr Wilde's interpretation of the Biblical story.

"It is not for me to criticise or to appreciate 'De Profundis' on which many competent writers have given their opinions, but I should have imagined that it was sufficiently clear that Mr Oscar Wilde had not attempted to throw any blame for his misfortune on anyone but himself.

"The ma.n.u.script is written on blue prison foolscap. There are a few corrections. Although Mr Wilde gave me very full instructions with regard to those portions which he wished published he allowed me absolute discretion in the matter, which he did about all his other ma.n.u.script and letters."

THE SUBJECT-MATTER OF "DE PROFUNDIS"

I have said that for those who have not read the book, a short synopsis of its contents is necessary here. But I am immediately confronted with a difficulty because, probably, no book is more difficult to sum up, to make a _precis_ from, than this. However, I do all that is possible, and only ask my readers to remember that this bald catalogue will be elucidated further on in the article. In the preface to the book a letter of Oscar Wilde to the editor is quoted in which he says:

"I don't defend my conduct. I explain it. Also there is in my letter certain pa.s.sages which deal with my mental development in prison, and the inevitable evolution of my character and intellectual att.i.tude towards life that has taken place; and I want you and others who still stand by me and have affection for me to know exactly in what mood and manner I hope to face the world. Of course, from one point of view, I know that on the day of my release I shall be merely pa.s.sing from one prison into another....

Prison life makes one see people and things as they really are.

That is why it turns one to stone.... I have 'cleansed my bosom of much perilous stuff.' I need not remind you that mere expression is to an artist the supreme and only mode of life.... For nearly two years I have had within a growing burden of bitterness, of much of which I have now got rid."

This, in some sort of way, will give the reader an idea of what the book consists or, at anyrate, of its other view about it.

He begins the work by a statement of the terrible suffering he is undergoing in prison. The iron discipline, the paralysing immobility of a life which is as monotonous and regular as the movement of a great machine, are set forth subjectively by a presentment of the effects they are having upon the prisoner's brain. "It is always twilight in one's cell, as it is always twilight in one's heart."