Oscar Wilde Miscellaneous

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OSCAR WILDE MISCELLANEOUS

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Oscar Wilde Miscellaneous

By Oscar Wilde

Get any book for free on: www.Abika.com

OSCAR WILDE MISCELLANEOUS

Get any book for free on: www.Abika.com

Contents:

Preface by Robert Ross

A Florentine Tragedy--A Fragment

La Sainte Courtisane--A Fragment

OSCAR WILDE MISCELLANEOUS

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PREFACE BY ROBERT ROSS

'As to my personal attitude towards criticism, I confess in brief

the following:- "If my works are good and of any importance whatever

for the further development of art, they will maintain their place

in spite of all adverse criticism and in spite of all hateful

suspicions attached to my artistic intentions. If my works are of

no account, the most gratifying success of the moment and the most

enthusiastic approval of as augurs cannot make them endure. The

waste-paper press can devour them as it has devoured many others,

and I will not shed a tear . . . and the world will move on just the

same."'--RICHARD STRAUSS.

The contents of this volume require some explanation of an

historical nature. It is scarcely realised by the present

generation that Wilde's works on their first appearance, with the

exception of De Profundis, were met with almost general condemnation

and ridicule. The plays on their first production were grudgingly

praised because their obvious success could not be ignored; but on

their subsequent publication in book form they were violently

assailed. That nearly all of them have held the stage is still a

source of irritation among certain journalists. Salome however

enjoys a singular career. As every one knows, it was prohibited by

the Censor when in rehearsal by Madame Bernhardt at the Palace

Theatre in 1892. On its publication in 1893 it was greeted with

greater abuse than any other of Wilde's works, and was consigned to

the usual irrevocable oblivion. The accuracy of the French was

freely canvassed, and of course it is obvious that the French is not

that of a Frenchman. The play was passed for press, however, by no

less a writer than Marcel Schwob whose letter to the Paris

publisher, returning the proofs and mentioning two or three slight

alterations, is still in my possession. Marcel Schwob told me some

years afterwards that he thought it would have spoiled the

spontaneity and character of Wilde's style if he had tried to

harmonise it with the diction demanded by the French Academy. It

was never composed with any idea of presentation. Madame Bernhardt

happened to say she wished Wilde would write a play for her; he

replied in jest that he had done so. She insisted on seeing the

manuscript, and decided on its immediate production, ignorant or

forgetful of the English law which prohibits the introduction of

Scriptural characters on the stage. With his keen sense of the

theatre Wilde would never have contrived the long speech of Salome

at the end in a drama intended for the stage, even in the days of

long speeches. His threat to change his nationality shortly after

the Censor's interference called forth a most delightful and good-

natured caricature of him by Mr. Bernard Partridge in Punch.

Wilde was still in prison in 1896 when Salome was produced by Lugne

Poe at the Theatre de L'OEuvre in Paris, but except for an account

in the Daily Telegraph the incident was hardly mentioned in England.

I gather that the performance was only a qualified success, though

Lugne Poe's triumph as Herod was generally acknowledged. In 1901,

within a year of the author's death, it was produced in Berlin; from

that moment it has held the European stage. It has run for a longer

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