oscar wilde essay the decay of lying

The Decay of Lying

By oscar wilde.

The final revelation is that Lying, the telling of beautiful untrue things, is the proper aim of Art. But of this I think I have spoken at sufficient length. And now let us go out on the terrace, where 'droops the milk-white peacock like a ghost,' while the evening star 'washes the dusk with silver.' At twilight nature becomes a wonderfully suggestive effect, and is not without loveliness, though perhaps its chief use is to illustrate quotations from the poets. Come! We have talked long enough.

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The decay of lying.

by Oscar Wilde

A DIALOGUE. Persons: Cyril and Vivian. Scene: the Library of a country house in Nottinghamshire.

CYRIL (coming in through the open window from the terrace). My dear Vivian, don’t coop yourself up all day in the library. It is a perfectly lovely afternoon. The air is exquisite. There is a mist upon the woods, like the purple bloom upon a plum. Let us go and lie on the grass and smoke cigarettes and enjoy Nature.

VIVIAN. Enjoy Nature! I am glad to say that I have entirely lost that faculty. People tell us that Art makes us love Nature more than we loved her before; that it reveals her secrets to us; and that after a careful study of Corot and Constable we see things in her that had escaped our observation. My own experience is that the more we study Art, the less we care for Nature. What Art really reveals to us is Nature’s lack of design, her curious crudities, her extraordinary monotony, her absolutely unfinished condition. Nature has good intentions, of course, but, as Aristotle once said, she cannot carry them out. When I look at a landscape I cannot help seeing all its defects. It is fortunate for us, however, that Nature is so imperfect, as otherwise we should have no art at all. Art is our spirited protest, our gallant attempt to teach Nature her proper place. As for the infinite variety of Nature, that is a pure myth. It is not to be found in Nature herself. It resides in the imagination, or fancy, or cultivated blindness of the man who looks at her.

CYRIL. Well, you need not look at the landscape. You can lie on the grass and smoke and talk.

VIVIAN. But Nature is so uncomfortable. Grass is hard and lumpy and damp, and full of dreadful black insects. Why, even Morris’s poorest workman could make you a more comfortable seat than the whole of Nature can. Nature pales before the furniture of ‘the street which from Oxford has borrowed its name,’ as the poet you love so much once vilely phrased it. I don’t complain. If Nature had been comfortable, mankind would never have invented architecture, and I prefer houses to the open air. In a house we all feel of the proper proportions. Everything is subordinated to us, fashioned for our use and our pleasure. Egotism itself, which is so necessary to a proper sense of human dignity, is entirely the result of indoor life. Out of doors one becomes abstract and impersonal. One’s individuality absolutely leaves one. And then Nature is so indifferent, so unappreciative. Whenever I am walking in the park here, I always feel that I am no more to her than the cattle that browse on the slope, or the burdock that blooms in the ditch. Nothing is more evident than that Nature hates Mind. Thinking is the most unhealthy thing in the world, and people die of it just as they die of any other disease. Fortunately, in England at any rate, thought is not catching. Our splendid physique as a people is entirely due to our national stupidity. I only hope we shall be able to keep this great historic bulwark of our happiness for many years to come; but I am afraid that we are beginning to be over-educated; at least everybody who is incapable of learning has taken to teaching—that is really what our enthusiasm for education has come to. In the meantime, you had better go back to your wearisome uncomfortable Nature, and leave me to correct my proofs.

The Decay of Lying

From wikipedia, the free encyclopedia.

" The Decay of Lying – An Observation " is an essay by Oscar Wilde included in his collection of essays titled Intentions , published in 1891. This is a significantly revised version of the article that first appeared in the January 1889 issue of The Nineteenth Century .

Wilde presents the essay in a Socratic dialogue between Vivian and Cyril, two characters named after his own sons. [1] Their conversation, though playful and whimsical, promotes Wilde's view of Aestheticism over Realism . [2] [3] Vivian tells Cyril of an article he has been writing called "The Decay of Lying: A Protest". According to Vivian, the decay of Lying "as an art, a science, and a social pleasure" is responsible for the decline of modern literature, which is excessively concerned with the representation of facts and social reality. He writes, "if something cannot be done to check, or at least to modify, our monstrous worship of facts, Art will become sterile and beauty will pass away from the land." Moreover, Vivian defends the idea that Life imitates Art far more than vice versa. Nature, he argues, is no less an imitation of Art than Life. Vivian also contends that Art is never representative of a time or place: rather, "the highest art rejects the burden of the human spirit [...] She develops purely on her own lines. She is not symbolic of any age." Vivian thus defends Aestheticism and the concept of " art for art's sake ". At Cyril's behest, Vivian briefly summarizes the doctrines of the "new aesthetics" in the following terms:

• Art never expresses anything but itself.
• All bad art comes from returning to Life and Nature, and elevating them into ideals.
• Life imitates Art far more than Art imitates Life. It follows as a corollary that external Nature also imitates Art.
• Lying, the telling of beautiful untrue things, is the proper aim of Art.

The essay ends with the two characters going outside, as Cyril asked Vivian to do at the beginning of the essay. Vivian finally complies, saying that twilight nature's "chief use" may be to "illustrate quotations from the poets."

As Michèle Mendelssohn points out, "in an era when sociology was still in its infancy, psychology wasn’t yet a discipline, and theories of performativity were still a long way off, Wilde's essay touched on a profound truth about human behaviour in social situations. The laws of etiquette governing polite society were, in fact, a mask. Tact was merely an elaborate art of impression management." [1]

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Oscar wilde's "the decay of lying".

In 1891, Oscar Wilde (1854-1900) published a collection of four essays titled  Intentions  contained his most elaborate defense of his aesthetic philosophy. among the essays was  The Decay of Lying , a piece he had since revised yet had published two years prior in The Nineteenth Century , a British monthly literary magazine. The essay contains a Socratic dialogue between two characters, Vivian and Cyril, in which Vivian puts forth his aesthetic philosophy that reflects Wilde’s and pronounces that the decline in the literature of the time is due to the decay of artists’ ability to lie about the world. Vivian’s “final revelation is that Lying, the telling of beautiful untrue things, is the proper aim of art”. Wilde’s essay preceded modern scholarship in psychology and neuroscience which provided evidence for his claim that the world is inevitably shaped by our own perception. With this realization, all art of conceptualization is based off of a lie, and thus this lie should be embraced.

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The Decay of Lying Summary & Analysis

Summary of oscar wilde's the decay of lying.

The Decay of Lying  by Oscar Wilde is a thought-provoking  exploration of the relationship between art and nature, using his characteristic wit and paradoxical style . The essay presents Wilde’s belief in the superiority of art over nature, arguing that art should not merely mimic reality but should create an idealized version of it.

The Decay of Lying | Summary 

Wilde presents his ideas in the essay through a dialogue between  Cyril and Vivian in Nottinghamshire, England. Vivian shares a text from an article he is writing called ‘The Decay of Lying: A Protest’. Wilde’s key idea is what he calls “lying in art”; that art begins with a purely pleasurable intention that deals with what is unreal . The proper aim of art is lying, or constructing beautiful untrue things for pleasure. He claims that this method is on the decline when it comes to the novel. Vivian explains in Cyril’s questioning that  creativity and imagination are threatened in fiction when facts take the place of creative fiction. 

Vivian goes on to explain that the decay of lying, as the title suggests, is the erosion of imagination in fiction and substituting it with facts, which  hinders the production of pleasurable art. The modern novel leans more anymore towards realism and thus is quite “unreadable”.  Vivian critiques several prominent authors of the time, including Robert Louis Stevenson, who is “tainted with a modern vice”.  By making a story “too true”, one robs it of any joy . Vivian also criticizes novelists Sir Henry Rider Haggard, Henry James, Sir Hall Caine, William Black, Francis Marion Crawford, and Guy de Maupassant. He is more complimentary of Balzac. 

Talking about the historicity of lying in art, Vivian tells Cyril that ancient Greeks indeed objected to realism claiming that it makes people ugly.  Lying in art has thus always existed, and it must make a return to the same. Wilde argues that  art should not aim to imitate nature but should instead create its own reality, which is more beautiful and idealized than the natural world. He suggests that lying, or the imaginative fabrication of artistic elements, actually leads to a higher form of truth in art.  Work produced under the influence of nature is antiquated and never up to date. He says that nature is humanity’s creation because it “is in our brain that she quickens to life,” and what people see “depends on the Arts that have influenced us.” “This,” he insists, “is the secret of Nature’s charm, as well as the explanation of Nature’s weakness.”

Vivian also claims that life imitates art far more than art imitates life.  Wilde notes that all of life is a desire for expression and art provides the various forms through which this expression can be obtained. Life merely attempts to initiate what has already been expressed in art.  Vivian then turns to literature, saying literature always anticipates life.  He cites anecdotes from Thakeray’s Vanity Fair, and what happened to the real Mr. Hyde from Stevenson’s novel The Strange Case of Dr. Jekyll and Mr. Hyde. Vivian concludes by saying that art does not reflect society, but in fact, creates it. 

The Decay of Lying | Analysis 

Wilde employs the personas of two characters, Vivian and Cyril, to  engage in a fictional dialogue that delves into the themes of aesthetics, creativity, and the purpose of art.  Vivian, representing Wilde’s perspective, champions the idea that lying, or imaginative invention, in  art, is not only justifiable but also essential. He argues that the artist’s duty is to present life as it should be rather than as it is, crafting a realm more beautiful and captivating than reality.

By contrasting the “lying” of art with the “truth” of nature,  Wilde challenges conventional norms and prompts readers to reconsider their understanding of reality . He criticizes the mundane and banal nature of reality, suggesting that it lacks the vividness and creativity of art.  Wilde’s essay encourages readers to see beyond the literal and embrace the transformative power of art.

Wilde’s  analysis of the relationship between art and nature can be interpreted as a critique of the prevailing realism of his time. He laments the tendency to prioritize accuracy over imagination and to view art as a mere reflection of the world.  Instead, Wilde champions the idea that art has the potential to shape reality, guiding society toward an enhanced and more aesthetically pleasing existence.

About the Author 

Oscar Wilde, a literary luminary of the late 19th century, captivated the world with his eloquent prose, biting wit, and unapologetic individuality.  As an Irish playwright, poet, and essayist, he masterfully blended social critique with artistic innovation, challenging the norms of Victorian society.  Wilde’s works, such as “ The Picture of Dorian Gray”  and  “The Importance of Being Earnest,”   deftly examined the dualities of human nature and the facades society often presents . With his trademark epigrams and sharp observations, he unveiled the absurdities of societal  conventions and celebrated the pursuit of aesthetic ideals.  Wilde’s tumultuous personal life, marked by his open defiance of social norms and subsequent imprisonment, adds a layer of complexity to his legacy.  His enduring influence as a wordsmith and a symbol of individual expression ensures that his brilliance continues to shine in the literary firmament.

In conclusion, “ The Decay of Lying ” is a captivating essay that challenges conventional ideas about art, reality, and truth.  Oscar Wilde uses his characteristic wit and paradox to advocate for the importance of artistic invention and the creation of an idealized world that surpasses the limitations of nature.  The essay continues to provoke discussions about the role of art in society and the boundaries between truth and imagination.

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The Decay of Lying: A Comprehensive Literary Analysis by Oscar Wilde

• Oscar Wilde

“The Decay of Lying: A Comprehensive Literary Analysis by Oscar Wilde” is an insightful article that delves into the art of lying and its role in literature. Oscar Wilde, a renowned playwright and novelist of the late 19th century, explores the decay of truth and the rise of artificiality in artistic expression. Through a series of witty and thought-provoking arguments, Wilde challenges the conventional notions of realism and champions the importance of imagination, beauty, and aestheticism in literature. This article offers readers a profound examination of the power of lies and the transformative potential of art, making it a must-read for those interested in the intersection of literature and philosophy.

Overview of Oscar Wilde’s “The Decay of Lying”

In “The Decay of Lying,” Oscar Wilde presents a scathing critique of the art of lying and its impact on society. Published in 1889, this essay explores the decline of truth and the rise of realism in literature, arguing that the pursuit of truth has led to the death of imagination and creativity. Wilde challenges the notion that art should imitate life, asserting that life imitates art instead. Through witty dialogue and clever paradoxes, he exposes the hypocrisy of those who champion realism while indulging in the artifice of their own lives. With his characteristic wit and charm, Wilde invites readers to question the boundaries between truth and fiction, and to embrace the power of imagination in shaping our perception of reality.

The Importance of Artistic Lying in Wilde’s Work

In Oscar Wilde’s literary masterpiece, “The Decay of Lying,” the concept of artistic lying takes center stage, highlighting its profound significance in the author’s work. Wilde, known for his wit and satire, explores the idea that lying, when employed artistically, can be a powerful tool for revealing deeper truths about society and human nature.

Artistic lying, as Wilde defines it, goes beyond mere deception. It is a deliberate and creative act, where the artist uses falsehoods to convey a higher truth or to challenge conventional wisdom. In his essay, Wilde argues that the decay of lying in society has led to a decline in art and literature, as truth has become the sole measure of value. He contends that art should not be bound by the constraints of reality but should instead embrace the imaginative and fantastical.

Wilde’s own works exemplify the importance of artistic lying. In his play “The Importance of Being Earnest,” he employs witty wordplay and absurd situations to expose the hypocrisy and superficiality of Victorian society. By creating fictional characters and situations, Wilde is able to satirize the social norms and conventions of his time, revealing the underlying truths that lie beneath the surface.

Furthermore, Wilde’s use of artistic lying allows him to explore complex themes and ideas that may be difficult to convey through straightforward storytelling. By employing irony, paradox, and exaggeration, he is able to challenge societal norms and provoke thought in his readers. Through his artful lies, Wilde encourages his audience to question the status quo and to consider alternative perspectives.

In conclusion, the importance of artistic lying in Wilde’s work cannot be overstated. It serves as a vehicle for social critique, a means of exploring profound ideas, and a way to reveal deeper truths about the human condition. By embracing the power of imagination and challenging the boundaries of reality, Wilde’s artistic lies continue to captivate and inspire readers to this day.

The Role of Sincerity in “The Decay of Lying”

In Oscar Wilde’s essay “The Decay of Lying,” the role of sincerity is explored as a fundamental aspect of art and literature. Wilde argues that sincerity, far from being a virtue, is actually detrimental to the creative process and the enjoyment of art. He believes that the artist should not be bound by the constraints of reality or the need to accurately represent it. Instead, Wilde champions the idea of art as a form of lying, where the artist is free to create their own world and manipulate it as they see fit.

According to Wilde, sincerity limits the imagination and stifles creativity. He asserts that the artist should not be concerned with depicting reality as it is, but rather with creating a more beautiful and idealized version of it. By embracing the art of lying, the artist is able to transcend the limitations of the real world and transport the audience to a realm of pure imagination and aesthetic pleasure.

Wilde’s argument challenges the prevailing notion that sincerity is a moral imperative in art. He argues that the pursuit of truth and authenticity in literature and other art forms is misguided and ultimately leads to the decay of creativity. Instead, he proposes that art should be seen as a form of escapism, a means of transcending the mundane and embracing the fantastical.

In “The Decay of Lying,” Wilde presents a thought-provoking critique of the role of sincerity in art. He encourages readers to question the notion that art should be a reflection of reality, and instead advocates for the power of imagination and the freedom to create one’s own truth. By challenging the conventional wisdom surrounding sincerity, Wilde invites us to reconsider our understanding of art and the ways in which it can enrich our lives.

Exploring the Concept of “Nature” in the Essay

In his essay “The Decay of Lying,” Oscar Wilde delves into the concept of “nature” and its role in art and literature. Wilde challenges the traditional notion of nature as something pure and untamed, arguing that it is merely a construct created by artists and writers. He asserts that nature is not an objective reality but rather a subjective interpretation, shaped by the artist’s imagination and personal experiences. By exploring this concept, Wilde invites readers to question the authenticity of nature and encourages them to embrace the power of artistic creation in shaping their perception of the world.

The Influence of Aestheticism on Wilde’s Writing

Oscar Wilde, the renowned Irish playwright and novelist, was a prominent figure in the Aesthetic movement of the late 19th century. Aestheticism, also known as the “art for art’s sake” movement, emphasized the importance of beauty and the pursuit of pleasure in art and life. This philosophy had a profound impact on Wilde’s writing, as he incorporated its principles into his works, including his essay “The Decay of Lying.”

In “The Decay of Lying,” Wilde explores the concept of lying as an essential element of art. He argues that the artist’s primary duty is not to depict reality but to create a world of beauty and imagination. This aligns with the Aesthetic movement’s belief that art should not be burdened by moral or social responsibilities but should exist solely for its own sake.

Wilde’s writing style in “The Decay of Lying” reflects the influence of Aestheticism. He employs witty and paradoxical language, using clever wordplay and extravagant metaphors to convey his ideas. This flamboyant and ornate prose mirrors the Aesthetic movement’s emphasis on the aesthetic qualities of language and its ability to evoke emotions and sensations.

Furthermore, Wilde’s exploration of the relationship between art and nature in “The Decay of Lying” is another manifestation of Aestheticism’s influence on his writing. He argues that art should not imitate nature but should surpass it, creating a more idealized and beautiful version of reality. This rejection of realism and the celebration of artifice and artificiality are central tenets of Aestheticism.

Overall, the influence of Aestheticism on Wilde’s writing is evident in “The Decay of Lying.” His embrace of beauty, his rejection of moral and social constraints on art, and his ornate writing style all reflect the principles of the Aesthetic movement. Through this essay, Wilde not only explores the nature of art but also champions the importance of aesthetic pleasure and the pursuit of beauty in both art and life.

Wilde’s Critique of Realism in “The Decay of Lying”

In “The Decay of Lying,” Oscar Wilde presents a scathing critique of realism, challenging the prevailing literary movement of his time. Wilde argues that realism, with its obsession for depicting the mundane and the ordinary, has led to the decay of art and the loss of imagination. He asserts that art should not be a mere reflection of reality but rather a creation of beauty and fantasy. Wilde’s critique of realism in “The Decay of Lying” serves as a call to embrace the power of imagination and the transformative nature of art.

The Relationship Between Art and Morality

In his renowned essay, “The Decay of Lying,” Oscar Wilde delves into the intricate relationship between art and morality. Wilde argues that art should not be bound by the constraints of morality, as it is through the exploration of the immoral and the fantastical that true artistic beauty can be achieved. He challenges the conventional belief that art should serve as a moral guide, asserting that it is the duty of art to create a world that is more vivid, more vibrant, and ultimately more truthful than reality itself. By divorcing art from morality, Wilde suggests that artists are free to express their deepest desires, their darkest thoughts, and their most audacious fantasies, without fear of judgment or condemnation. In doing so, they are able to tap into the limitless potential of their imagination, creating works that transcend the boundaries of societal norms and expectations. Wilde’s thought-provoking analysis invites readers to question the traditional link between art and morality, urging them to embrace the power of artistic expression in all its unapologetic and provocative glory.

Wilde’s Satirical Tone in “The Decay of Lying”

In “The Decay of Lying,” Oscar Wilde employs a satirical tone to critique the prevailing attitudes towards art and literature in his time. Through his witty and ironic language, Wilde exposes the hypocrisy and shallowness of the Victorian society’s obsession with realism and the rejection of imagination.

Wilde begins his essay by presenting the character of Vivian, who argues that lying, or the art of creating beautiful and imaginative stories, is far superior to the dull and mundane reality. He mocks the society’s obsession with facts and truth, suggesting that it leads to a decay in creativity and imagination. Wilde’s satirical tone is evident as he playfully challenges the notion that art should imitate life, asserting that life is often dull and uninspiring, while art has the power to transport us to a world of beauty and wonder.

Throughout the essay, Wilde uses exaggerated and absurd examples to highlight the absurdity of the society’s obsession with realism. He humorously suggests that the sunsets painted by Turner are far more beautiful and captivating than the actual sunsets, and that the characters in Shakespeare’s plays are more real and alive than the people we encounter in our everyday lives. By employing such exaggeration, Wilde exposes the narrow-mindedness of those who dismiss art as mere fabrication and highlights the transformative power of imagination.

Wilde’s satirical tone in “The Decay of Lying” serves as a powerful tool to challenge the prevailing attitudes towards art and literature. Through his sharp wit and clever wordplay, he forces his readers to question the limitations imposed by society and encourages them to embrace the beauty and freedom of imagination. In doing so, Wilde not only critiques the decay of lying but also offers a compelling argument for the importance of art in enriching our lives.

The Use of Wit and Humor in the Essay

In “The Decay of Lying,” Oscar Wilde masterfully employs wit and humor to captivate his readers and convey his insightful observations on the art of lying. Through his clever use of irony and satire, Wilde challenges conventional notions of truth and encourages his audience to embrace the beauty of deception.

Wilde’s wit shines through his witty wordplay and clever turns of phrase. He effortlessly weaves together humorous anecdotes and amusing anecdotes to engage his readers and keep them entertained. His sharp wit not only adds a lighthearted tone to the essay but also serves as a powerful tool to convey his underlying message.

Furthermore, Wilde’s use of humor serves as a means to critique societal norms and expose the hypocrisy of the Victorian era. By employing satire, he exposes the absurdity of the prevailing belief that truth is inherently virtuous. Through his humorous jabs, Wilde challenges his readers to question the rigid moral standards of their time and embrace the liberating power of artifice.

Moreover, Wilde’s use of wit and humor allows him to navigate sensitive topics with finesse. He tackles controversial subjects such as the role of women in society and the limitations of realism in art, all while maintaining a light and humorous tone. This approach not only makes his arguments more accessible but also encourages readers to consider alternative perspectives without feeling attacked or overwhelmed.

In conclusion, Oscar Wilde’s skillful use of wit and humor in “The Decay of Lying” adds depth and charm to his essay. Through his clever wordplay, satirical jabs, and humorous anecdotes, Wilde engages his readers and challenges them to question societal norms and embrace the art of deception. His wit serves as a powerful tool to convey his insightful observations and encourages readers to explore the boundaries of truth and fiction.

Wilde’s Views on the Importance of Imagination

In his essay “The Decay of Lying,” Oscar Wilde expounds on the significance of imagination in the realm of art and literature. According to Wilde, imagination is not merely a frivolous indulgence, but rather a vital force that breathes life into creative works. He argues that the decline of imagination leads to the decay of art, as it is through imagination that artists are able to transcend the limitations of reality and create something truly extraordinary. Wilde’s views on the importance of imagination challenge the prevailing notion that art should be a mere reflection of reality, and instead advocate for the power of imagination to shape and transform the world of literature.

The Role of Fiction and Storytelling in “The Decay of Lying”

In “The Decay of Lying,” Oscar Wilde explores the role of fiction and storytelling in society. He argues that art should not imitate life, but rather, life should imitate art. According to Wilde, fiction has the power to create a more beautiful and idealized version of reality, which can inspire individuals to strive for greatness.

Wilde believes that the art of storytelling has been corrupted by the obsession with realism and the desire to depict life as it truly is. He criticizes the notion that art should be a mere reflection of reality, stating that it is the duty of the artist to create something more imaginative and extraordinary. He argues that fiction has the ability to transport us to a world where the mundane is transformed into the extraordinary, where beauty and perfection reign supreme.

By rejecting the idea of art as a mirror to reality, Wilde suggests that fiction has the power to shape and influence society. He believes that through storytelling, we can create a world that is more ideal, more beautiful, and more inspiring than the one we currently inhabit. In this way, fiction becomes a tool for social change, as it encourages individuals to strive for a better version of themselves and the world around them.

Wilde’s ideas about the role of fiction and storytelling in “The Decay of Lying” challenge conventional notions of art and its purpose. He argues for the importance of imagination and the power of fiction to inspire and transform. By embracing the fantastical and the idealized, Wilde suggests that we can create a more vibrant and meaningful existence.

Wilde’s Criticism of the Victorian Society

In “The Decay of Lying,” Oscar Wilde presents a scathing critique of the Victorian society that dominated his era. Through his witty and satirical writing style, Wilde exposes the hypocrisy and shallowness of the society that prided itself on its moral values and strict adherence to social norms.

One of the main targets of Wilde’s criticism is the Victorian obsession with realism in art and literature. He argues that the emphasis on depicting life as it is, rather than as it could be, stifles creativity and imagination. According to Wilde, the Victorian society’s insistence on portraying reality accurately leads to a dull and uninspiring artistic landscape.

Wilde also takes aim at the Victorian notion of morality, which he believes is superficial and hypocritical. He suggests that the society’s strict moral code is merely a façade, used to maintain a respectable image in public. Behind closed doors, however, Wilde suggests that the same individuals who preach morality engage in immoral and scandalous behavior.

Furthermore, Wilde criticizes the Victorian society’s obsession with materialism and social status. He argues that the pursuit of wealth and social standing has led to a shallow and materialistic culture, where individuals are judged solely based on their possessions and social connections. This emphasis on external appearances, according to Wilde, hinders genuine human connection and prevents individuals from living authentically.

Overall, Wilde’s criticism of the Victorian society in “The Decay of Lying” is a scathing indictment of its values and ideals. Through his sharp wit and clever wordplay, he exposes the hypocrisy, shallowness, and lack of imagination that he believes permeate the society. Wilde’s critique serves as a call for a more authentic and imaginative approach to life and art, one that transcends the constraints of Victorian society.

The Influence of Walter Pater on Wilde’s Ideas

One of the most significant influences on Oscar Wilde’s ideas can be attributed to the renowned critic and essayist, Walter Pater. Pater’s philosophy of “art for art’s sake” greatly shaped Wilde’s own views on aesthetics and the role of art in society. In his seminal work, “The Renaissance: Studies in Art and Poetry,” Pater emphasized the importance of individualism and the pursuit of beauty as the ultimate goal of life. This notion resonated deeply with Wilde, who believed that art should not be burdened with moral or didactic purposes, but rather exist solely for its own sake.

Wilde’s admiration for Pater’s ideas is evident in his essay, “The Decay of Lying,” where he explores the concept of lying as an essential component of art. Drawing from Pater’s belief in the power of imagination and the need for art to transcend reality, Wilde argues that lying, or the creation of fictional narratives, is a necessary tool for artists to express their true selves and to escape the constraints of a mundane existence.

Furthermore, Pater’s influence on Wilde can also be seen in their shared appreciation for the aesthetic movement and the rejection of Victorian moralism. Both writers championed the idea of art as a means of self-expression and advocated for the freedom of artists to explore their desires and passions without societal judgment. Pater’s influence on Wilde’s ideas is not only evident in his writings but also in his personal life, as Wilde embraced a lifestyle that celebrated beauty, pleasure, and individualism.

In conclusion, Walter Pater’s philosophy of “art for art’s sake” had a profound impact on Oscar Wilde’s ideas and writings. Pater’s emphasis on individualism, the pursuit of beauty, and the rejection of moral constraints greatly influenced Wilde’s views on aesthetics and the role of art in society. Through his essay “The Decay of Lying,” Wilde further developed Pater’s ideas, arguing for the necessity of lying in art and the freedom of artists to express their true selves. The influence of Pater on Wilde’s ideas is a testament to the enduring legacy of Pater’s philosophy and its impact on the development of aestheticism in the late 19th century.

Wilde’s Exploration of the Concept of Beauty

In his essay “The Decay of Lying,” Oscar Wilde delves into the concept of beauty and its significance in art and literature. Wilde challenges the conventional notions of beauty, arguing that it is not an objective quality but rather a subjective experience. He asserts that true beauty lies in the imagination and the ability to create and appreciate art that transcends reality. Through his witty and thought-provoking prose, Wilde invites readers to question the traditional standards of beauty and embrace the power of imagination in shaping our perception of the world. As he explores this concept, Wilde encourages us to break free from the constraints of societal norms and embrace the beauty that lies within our own unique perspectives.

The Connection Between Art and Life in “The Decay of Lying”

In his essay “The Decay of Lying,” Oscar Wilde explores the intricate relationship between art and life. He argues that art should not imitate life, but rather, life should imitate art. Wilde challenges the conventional notion that art should be a reflection of reality, asserting that it is through art that we can truly experience the essence of life.

Wilde begins by critiquing the prevailing belief that art should strive for accuracy and truthfulness. He suggests that this approach leads to the decay of art, as it limits the imagination and creativity of the artist. Instead, Wilde proposes that art should be a form of self-expression, a means to escape the mundane and ordinary aspects of life.

According to Wilde, life is often dull and monotonous, filled with banalities and trivialities. Art, on the other hand, has the power to transcend these limitations and transport us to a realm of beauty and imagination. By creating a world that is more vivid and vibrant than reality, art allows us to experience life in its purest form.

Wilde argues that art should not be confined to the boundaries of reality, but rather, it should be a reflection of our desires and aspirations. He believes that art has the ability to shape our lives, inspiring us to strive for greatness and to break free from the constraints of society. In this way, art becomes a catalyst for change and a source of inspiration.

“The Decay of Lying” challenges our preconceived notions about the relationship between art and life. Wilde encourages us to embrace the power of art, to see beyond the limitations of reality, and to allow our imaginations to soar. By doing so, we can truly appreciate the connection between art and life, and the profound impact that art can have on our existence.

Wilde’s Views on the Relationship Between Art and Truth

In his renowned essay “The Decay of Lying,” Oscar Wilde delves into his unique perspective on the relationship between art and truth. Wilde challenges the conventional notion that art should imitate reality, arguing instead that art should be a realm of pure imagination and creativity. According to Wilde, the purpose of art is not to reflect the world as it is, but rather to create a world as it should be. He believes that the artist’s primary duty is to create beauty, not to depict the mundane and ordinary. Wilde asserts that truth is often dull and uninspiring, while art has the power to elevate and transform reality into something extraordinary. By divorcing art from truth, Wilde advocates for the liberation of the artist’s imagination, allowing them to explore new realms and challenge societal norms. In this way, Wilde’s views on the relationship between art and truth challenge the traditional boundaries of artistic expression and invite readers to question the very nature of reality itself.

The Use of Paradox and Contradiction in the Essay

In his essay “The Decay of Lying,” Oscar Wilde employs the use of paradox and contradiction to challenge conventional notions of art and reality. Through the clever manipulation of language and ideas, Wilde invites readers to question the very foundations of truth and beauty.

One of the most striking examples of paradox in the essay is Wilde’s assertion that “Life imitates Art far more than Art imitates Life.” This seemingly contradictory statement challenges the prevailing belief that art is a mere reflection of reality. Instead, Wilde argues that art has the power to shape and influence life, suggesting that the world we inhabit is, in fact, a product of artistic creation.

Wilde further explores the theme of paradox by presenting the character of Vivian, who embodies the idea of the “New Hedonism.” Vivian’s philosophy revolves around the idea that lying, rather than truth, is the ultimate form of artistic expression. He argues that lying allows for the creation of a more beautiful and idealized reality, one that surpasses the limitations of the mundane world.

Through these paradoxical ideas, Wilde challenges the traditional understanding of art as a mere imitation of reality. He suggests that art has the potential to transcend reality and create a more vibrant and meaningful existence. By embracing contradiction and paradox, Wilde encourages readers to question their preconceived notions and explore the limitless possibilities of artistic expression.

Wilde’s Reflections on the Role of the Artist

In “The Decay of Lying,” Oscar Wilde offers profound insights into the role of the artist in society. He challenges the conventional notion that art should imitate life, arguing instead for the importance of art as a means of creating a more beautiful and idealized reality. Wilde believes that the artist has a responsibility to transcend the limitations of the mundane world and to present a heightened version of life that is more truthful than reality itself.

According to Wilde, the artist is not bound by the constraints of truth and should not be limited by the need to accurately depict the world as it is. Instead, the artist should strive to create a world that is more imaginative, more vibrant, and more enchanting than reality. By doing so, the artist can reveal deeper truths about the human condition and offer a respite from the banality of everyday life.

Wilde argues that art should not be a mere reflection of reality, but rather a reflection of the artist’s own unique vision and interpretation of the world. He believes that art has the power to transform and elevate the human spirit, and that it is through art that we can truly understand and appreciate the beauty and complexity of life.

In this way, Wilde challenges the traditional role of the artist as a mere observer or commentator on society. Instead, he sees the artist as a creator, a visionary, and a provocateur. The artist, in Wilde’s view, has the ability to shape and redefine reality, to challenge the status quo, and to inspire others to see the world in a new and more meaningful way.

Wilde’s reflections on the role of the artist are not only thought-provoking but also serve as a call to action for artists to embrace their creative power and to use it to challenge and transform the world around them. By rejecting the notion of art as a mere imitation of life, Wilde encourages artists to push the boundaries of their imagination and to create works that are not only aesthetically pleasing but also intellectually stimulating and emotionally resonant.

In conclusion, Wilde’s reflections on the role of the artist in “The Decay of Lying” offer a compelling argument for the importance of art as a means of transcending reality and creating a more beautiful and idealized world. By challenging the conventional notions of truth and reality, Wilde encourages artists to embrace their creative power and to use it to inspire, provoke, and transform.

The Legacy of “The Decay of Lying” in Wilde’s Literary Career

In examining the literary career of Oscar Wilde, one cannot overlook the profound impact of his seminal essay, “The Decay of Lying.” Published in 1889, this thought-provoking piece not only challenged the prevailing notions of art and literature but also laid the foundation for Wilde’s subsequent works.

“The Decay of Lying” is a scathing critique of the Victorian society’s obsession with realism and the mundane. Wilde argues that art should not imitate life but rather create a world more beautiful and ideal than reality itself. He champions the importance of imagination and aestheticism, urging writers to embrace the power of lies and fiction in their works.

This essay marked a turning point in Wilde’s literary career, as it showcased his distinctive style and wit. His razor-sharp wit and clever wordplay are evident throughout the essay, making it a delightful read. Wilde’s ability to blend satire and social commentary with his unique brand of humor captivated readers and established him as a prominent figure in the literary world.

Moreover, “The Decay of Lying” served as a manifesto for Wilde’s subsequent works, particularly his plays. In plays like “The Importance of Being Earnest” and “Lady Windermere’s Fan,” Wilde continued to explore the themes of artifice and the power of imagination. His characters often engage in witty banter and employ elaborate deceptions, mirroring the ideas presented in his essay.

Furthermore, Wilde’s essay challenged the traditional notions of morality and propriety, which were deeply ingrained in Victorian society. By advocating for the importance of lies and artifice, Wilde pushed the boundaries of societal norms and provoked a strong reaction from his contemporaries. This controversy only added to his notoriety and cemented his status as a rebel and provocateur.

In conclusion, “The Decay of Lying” left an indelible mark on Oscar Wilde’s literary career. Its bold ideas and witty prose not only captivated readers but also shaped the trajectory of his subsequent works. Wilde’s exploration of artifice, imagination, and the power of lies challenged societal norms and established him as a literary iconoclast. Even today, this essay continues to be celebrated for its enduring relevance and its contribution to the world of literature.

Summary and Application of an Argument in "The Decay of Lying"

Kathryn eshbaugh '09, english 171, sages, satirists, and new journalists , brown university 2006.

[ Victorian Web Home —> Authors —> Aesthetes and Decadents —> Oscar Wilde —> Works —> " Discussion Questions "]

"The Decay of Lying" delivers the complete text of an essay within a dialogue between two characters, Cyril and Vivian. Playful banter between the two men and Vivian's tongue-in-cheek "article" lend a whimsical tone to Wilde's promotion of Romanticism over Realism. Though teasingly provocative and mischievously impassioned, Vivian's essay has a clear, direct structure and concludes with a precise summary. Wilde ends Vivian's dialogue with quotes from poems by Alfred Lord Tennyson and William Blake. The quotations apply the third and fourth "doctrines" to the proposed action of the piece.

The second doctrine is this. All bad art comes from returning to Life and Nature, and elevating them into ideals. Life and Nature may sometimes be used as part of Art's rough material, but before they are of any real service to art they must be translated into artistic conventions. The moment Art surrenders its imaginative medium it surrenders everything. As a method Realism is a complete failure, and the two things that every artist should avoid are modernity of form and modernity of subject-matter. To us, who live in the nineteenth century, any century is a suitable subject for art except our own. The only beautiful things are the things that do not concern us. It is, to have the pleasure of quoting myself, exactly because Hecuba is nothing to us that her sorrows are so suitable a motive for a tragedy. Besides, it is only the modern that ever becomes old-fashioned. M. Zola sits down to give us a picture of the Second Empire. Who cares for the Second Empire now? It is out of date. Life goes faster than Realism, but Romanticism is always in front of Life.

The third doctrine is that Life imitates Art far more than Art imitates Life. This results not merely from Life's imitative instinct, but from the fact that the self-conscious aim of Life is to find expression, and that Art offers it certain beautiful forms through which it may realise that energy. It is a theory that has never been put forward before, but it is extremely fruitful, and throws an entirely new light upon the history of Art.

It follows, as a corollary from this, that external Nature also imitates Art. The only effects that she can show us are effects that we have already seen through poetry, or in paintings. This is the secret of Nature's charm, as well as the explanation of Nature's weakness.

The final revelation is that Lying, the telling of beautiful untrue things, is the proper aim of Art. But of this I think I have spoken at sufficient length. And now let us go out on the terrace, where "droops the milk-white peacock like a ghost," while the evening star "washes the dusk with silver." At twilight nature becomes a wonderfully suggestive effect, and is not without loveliness, though perhaps its chief use is to illustrate quotations from the poets. Come! We have talked long enough.

Wilde's character Vivian assumes authority through declarative statements. His command of the argument extends beyond his article to his friendship with Cyril. In the last paragraph of the story, Vivian, transitioning between the world of academic pursuits and the social sphere, commands "Come! We have talked long enough," closing the discussion and presumably taking Cyril outside for another cigarette and a long-awaited rest on the grass.

1. Why is the word "lying" important to the piece? Would the tone change if Wilde had chosen to call it "The Decay of Imagination?"

2. One might imagine "The Decay of Lying" to be performed on stage, but within the dialogue, the argument is structured as an essay. What effect do conversational elements have on the piece?

3. In his concluding paragraphs, Vivian makes declarative statements such as, "All bad art comes from returning to Life and Nature," and "As a method Realism is a complete failure." How do these declarations interact with the argument, especially with the way a liar is characterized?

4. In the last paragraph, Wilde finally presents his reader with a definition of lying, "the telling of beautiful untrue things." What is the effect of this direct proclamation so near the end of the piece?

Last modified 24 October 2007

The Decay of Lying

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Literary Context: The Aestheticism Movement

The argument Oscar Wilde lays out in this essay is rooted firmly in the principles of the Aestheticism movement. This artistic and philosophical movement emerged in response to the Realism movement and utilitarianism, both of which characterized much of the thought and art during the 19th century when Wilde was writing. Aestheticism proposes that art should be dedicated to creating beauty alone, without concern for politics, morality, or any other external influences or aims. In his essay, Vivian references past and contemporary visual artists whom he feels exemplify these ideals, such as Anthony Van Dyck and Dante Gabriel Rossetti, as well as writers such as Honoré de Balzac and Thomas Carlyle.

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The Decay Of Lying

Oscar wilde.

48 pages, Paperback

First published January 1, 1889

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The final revelation is that Lying, the telling of beautiful untrue things, is the proper aim of Art.

CYRIL: Well, you need not look at the landscape. You can lie on the grass and smoke and talk.

VIVIAN: The only real people are the people who never existed, and if a novelist is base enough to go to life for his personages he should at least pretend that they are creations, and not boast of them as copies.

VIVIAN: And if something cannot be done to check, or at least to modify, our monstrous worship of facts, Art will become sterile and beauty will pass away from the land.

VIVIAN: To Art's subject-matter we should be more or less indifferent. We should, at any rate have no preferences, no prejudices, no partisan feeling of any kind. VIVIAN: Art finds her own perfection within, and not outside of, herself. She is not to be judged by any external standard of resemblance. She is a veil, rather than a mirror.

VIVIAN: My dear fellow, whatever you may say, it is merely a dramatic utterance, and no more represents Shakespeare's real views upon art than the speeches of Iago represent his real views upon morals.

CYRIL: Surely you would acknowledge that Art expresses the temper of its age, the spitit of its time, the moral and social conditions that surround it, and under whose influence it is produced. VIVIAN: Certainly not! Art never expresses anything but itself.

VIVIAN: Thinking is the most unhealthy thing in the world, and people die of it as they die of any other disease. Fortunately, in England at any rate, thought is not catching.

...Surely you don’t imagine that the people of the Middle Ages bore any resemblance at all to the figures on medieval stained glass, or in medieval stone and wood carving, or illuminated MSS. There were probably very ordinary-looking people, with nothing grotesque, or remarkable, or fantastic in their appearance. The Middle Ages, as we know them in art, are simply a definite form of style, and there is no reason at all why an artist with this style should not be produced in the nineteenth century.

But in the works of Herodotus, who, in spite of the shallow and ungenerous attempts of modern sciolists to verify his history, may justly be called the ‘Father of Lies’; in the published speeches of Cicero and the biographies of Suetonius; in Tacitus at his best; in Pliny’s Natural History ; in Hanno’s Periplus ; in all the early chronicles; in the Lives of the Saints; in Frossart and Sir Thomas Malory; in the travels of Marco Polo; in Olaus Magnus and Aldrovandus, and Conrad Lycosthenes, with his magnificent Prodigiorum et Ostentorum Chronicon ; in the autobiography of Benvenuto Cellini; in the memoirs of Casanova; in Defoe’s History of the Plague ; in Boswell’s Life of Johnson ; in Napoleon’s dispatches, and in the works of our own Carlyle, whose French Revolution is one of the most fascinating historical novels ever written, facts are either kept in the proper subordinate position, or else entirely excluded on the general ground of dullness. Now everything is changed. Facts are not merely finding a footing place in history, but they are usurping the domain of Fancy, and have invaded the kingdom of Romance. Their chilling touch is over everything. They are vulgarizing mankind.

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2 ‘The Decay of Lying’

• Published: October 1998
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This chapter analyses Oscar Wilde's essay The Decay of Living . It discusses Wilde's polemic against realism and his position on other elements of a binarized discourse that opposes imitation to creation, nature to form, and life to art. The chapter suggests that dinners and lovers figure largely in this essay and that it is similar in form to the Platonic dialogue. It also highlights the reception of the essay and explains the commentaries of Wilde's critics.

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The Decay of Lying

An observation.

Scene: The Library of a country house in Nottinghamshire.

Cyril (coming in through the open window from the terrace). My dear Vivian, don’t coop yourself up all day in the library. It is a perfectly lovely afternoon. The air is exquisite. There is a mist upon the woods, like the purple bloom upon a plum. Let us go and lie on the grass and smoke cigarettes and enjoy Nature.

Vivian. Enjoy Nature! I am glad to say that I have entirely lost that faculty. People tell us that Art makes us love Nature more than we loved her before; that it reveals her secrets to us; and that after a careful study of Corot and Constable we see things in her that had escaped our observation. My own experience is that the more we study Art, the less we care for Nature. What Art really reveals to us is Nature’s lack of design, her curious crudities, her extraordinary monotony, her absolutely unfinished condition. Nature has good intentions, of course, but, as Aristotle once said, she cannot carry them out. When I look at a landscape I cannot help seeing all its defects. It is fortunate for us, however, that Nature is so imperfect, as otherwise we should have no art at all. Art is our spirited protest, our gallant attempt to teach Nature her proper place. As for the infinite variety of Nature, that is a pure myth. It is not to be found in Nature herself. It resides in the imagination, or fancy, or cultivated blindness of the man who looks at her.

Oscar Wilde’s Art of Disobedience

Msn article rss.

Revisiting his critical writing, we learn a valuable lesson about the critic’s role in refusing bad taste and bad politics.

“Disobedience, in the eyes of anyone who has read history, is man’s original virtue,” Oscar Wilde declares in his 1891 essay, “The Soul of Man Under Socialism.” “It is through disobedience that progress has been made, through disobedience and through rebellion.”

Books in review

The critical writings of oscar wilde: an annotated selection.

“Classic Wilde,” you might think. Isn’t it like him to argue that the betterment of civilization depends upon misbehavior? Since his death in 1900, at the age of 46, the writer’s popular image as a provocateur has only strengthened, and not without cause. In Wilde’s oeuvre, contradiction is not merely a rhetorical attitude, but an implicit intellectual challenge. Yet as a critic and essayist, his commitment to insubordination is also entangled with a lifelong philosophical inquiry into the conundrum of creating art on one’s own terms, unburdened by the demands of public opinion or by a milieu’s prevailing aesthetic conventions. If yielding to authority was tantamount to degradation, as Wilde believed, beauty and art could flourish only in conditions of freedom, which by his own definition constituted a utopia of socialist hedonism. “Man is made for something better than disturbing dirt,” he writes. Rather than brute, “unintellectual” labor, human life ought to be occupied by the sorts of activities likely to draw accusations of idleness: creative pastimes of one’s choosing or absolute contemplative leisure.

His body of criticism, newly collected in The Critical Writings of Oscar Wilde , cultivates an aesthetic of disobedience. Its language—sly, limber, epigrammatic—models the same rebellious individualism that it so fiercely advocates. In this annotated volume, editor Nicholas Frankel assembles a selection of Wilde’s most famous nonfiction writing, largely devoted to the matters of how an artist creates art and how others should receive it. Frankel divides this collection into four chronologized groups: reviews, essays and dialogues, letters to the press, and epigrams and paradoxes. Together, they illuminate a swaggering intellectual career that spans not just the novel, the play, and the poem but also, to a prodigious degree, the periodical.

As Frankel suggests in his introduction, “Wilde approached the writing of criticism with wit, irony, and a consummate sense of style, so much so that his critical writing is often hardly recognizable as criticism .” This flouting of rhetorical custom may itself be understood as a subtle form of defiance: a commitment to submitting language to a laboratory experiment of Wilde’s own devising. Take, for example, the argument that human progress requires disobedience, in which he invokes the latter’s “virtue,” as if the point of his writing is to yoke opposites, arousing tension through their unexpected alliance.

Wilde was no stranger to tension, or to scandal. The chutzpah of his criticism issues from his enduring friction with the cultural habits and assumptions of late Victorian England, from his resistance to complacency within a context he found sorely wanting. Yet inside that raucous rebellion, one cannot but discern a yearning impulse: that to obey, or not, could finally diminish as relevant modes of sociality; that an individual—queer, Irish, aesthetically flamboyant—could commit himself to beauty amid the peril fomented by an anxious nation scouting out transgression on every page.

By the late 19th century, Great Britain’s literary ecosystem was populated by a roster of venerated critics: Thomas Carlyle loomed large in the field, his sway unhindered by his death in 1881. Matthew Arnold’s 1865 essay “The Function of Criticism at the Present Time”—which Wilde would take to task 25 years later—famously champions the work of critics as crucial to literature in the wake of much public disparagement. John Ruskin and Walter Pater played crucial roles in art history and aesthetics, and each was uniquely indispensable to Wilde’s own thinking. But whatever intellectual debts Wilde owed to his critical forebears, he would not compound them through stylistic mimicry. Even the most recreational readers of Wilde could not confuse him for the author of The Stones of Venice (written by Ruskin in 1851) or Studies in the History of the Renaissance (written by Pater in 1873, and often referred to by Wilde as “my golden book”). Nor did the figure of “the critic,” chiseled in the Victorian imagination as a Carlyle-like symbol of sober wisdom, appeal to Wilde’s puckishness.

While he delighted in the role of the critic, Wilde was the first to admit his own limits. A critic cannot confer truth to his readers, nor should he attempt to do so, Wilde argued. At most, a critic can propose the terms of conversation. He implies that the power of language is essentially dialogic; it draws significance through its summoning of oppositions. Frankel delineates this impulse in Wilde’s criticism, identifying it as a proto-Bakhtinian “dialectical understanding of the truth”—an understanding that renders proof and reliability as red herrings. “No artist desires to prove anything,” Wilde asserts in the preface to The Picture of Dorian Gray , for “even things that are true can be proved.”

To scout out the precise coordinates of Wilde’s critical inconsistencies would be to miss his greater rhetorical point. (“Who wants to be consistent?” asks Vivian in his 1889 dialogue, “The Decay of Lying: An Observation.”) Still, his mercurial tendencies were not always choreographed. Early in his career, Wilde argued that artistic self-sufficiency existed in autonomous relation to one’s milieu. “Such an expression as English art is a meaningless expression,” he told the Royal Academy’s art students in an 1883 lecture. “Nor is there any such thing as a school of art even. There are merely artists, that is all.” Like the Greek deities depicted in Wilde’s beloved Hellenistic sculpture, artistic sensibility is born unto the artist with inviolable sanctity; it is a tidy, closed system, he suggests, dependent only upon itself.

Yet within two years’ time, Wilde changed his mind and began to acknowledge, even to insist upon the significance of cultural context. “An artist is not an isolated fact,” he writes in “Mr. Whistler’s Ten O’Clock” (1885), a withering review of the American painter’s lecture on aestheticism; “he is the resultant of a certain milieu and a certain entourage, and can no more be born of a nation that is devoid of any sense of beauty than a fig can grow from a thorn or a rose blossom from a thistle.” Wilde had once counted James McNeil Whistler among his friends, but the affection between them soured as Wilde’s views shifted to an irreconcilably opposing position. One blistering point of contention regarded the critic’s role in artistic discourse. In his lecture, Whistler laments the scourge of criticism, condemning its practitioners as “the middleman in this matter on Art.” Criticism, in Whistler’s estimation, amounts to little more than static interference: “It has widened the gulf between the people and the painter, has brought about the most complete misunderstanding as to the aim of the picture.”

The Nation Weekly

Wilde saw the matter differently. He also knew that Whistler had long harbored a grudge against Victorian critics. In 1878, Whistler had filed a libel suit against Ruskin for a mean review. The artist won the case, although the jury conveyed its disdain for the proceedings by awarding him only a farthing in damages. Nonetheless, as Frankel writes in his introduction, the ruling in such a public case imperiled the critic’s “hitherto unquestioned authority.” The case implied the triumph of the artist over the critic, which is a constant conflict that still produces a thorny question: Why should critics possess the authority to critique art they did not create?

Wilde pokes at this question in “Mr. Whistler’s 10 O’Clock” and attempts to settle it through a shift in vocabulary: “I say that only an artist is a judge of art…. For there are not many arts, but one art merely: poem, picture and Parthenon, sonnet and statue…he who knows one knows all.” This statement foreshadows a more explicit moment of philosophical departure, in which Wilde demands criticism’s recognition as an aesthetic equivalent to other artistic forms. Even Matthew Arnold, one of criticism’s most famous defenders, had declined to make this leap: “The critical power is of lower rank than the inventive,” he admitted. Arnold’s critic does not create art but instead evaluates, assembles, organizes.

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Although an admirer of Arnold, Wilde could not abide what seemed to him a diminishing of the critic’s role. A critic was no mere lens by which to reflect a superior creation, nor a pale imitation of literary artistry. The cultural contributions made by critics warranted appreciation on their own terms. Wilde issued his own apologia in 1890 by way of his famous dialogue, “The Critic as Artist: With Some Remarks on the Importance of Doing Nothing.” Initially titled “The True Function and Value of Criticism,” it delivers a pointed refutation of Arnold’s thesis.

The conversation unfolds between Wilde’s slick, in-dialogue proxy, Gilbert, and his skeptical interlocutor, Ernest, who feeds Gilbert a handy supply of queries and protestations that incite his elaboration on the art of criticism. “You seem to me to be allowing your passion for criticism to lead you a great deal too far,” Ernest protests. “For, after all, even you must admit that it is much more difficult to do a thing than to talk about it.” Gilbert, who shares the author’s love of sly contradiction, is prepared for this moment, epigrams loaded in his quiver: “Not at all. That is a gross popular error…. Anybody can make history. Only a great man can write it…. [Action] is the last resource of those who know not how to dream.”

Here is a defense of criticism that refuses all prior terms and is shaped instead by Wilde’s own pleasure-centered metric. Loath to accommodate an industrializing empire’s fetish for productivity, he casts the writing of criticism in opposition to exertion of any sort. As Gilbert and Ernest debate, they gaze at the night sky, where “the moon…gleams like a lion’s eye”; Egyptian cigarettes dangle from their fingers. As Frankel notes in his introduction, “The critic is an artist, to be sure, but he is also a corporeal creature, whose thoughts and ideas are extensions of his physical life, not a repudiation of it.” In the domain of Wilde’s dialogues, his speakers are at liberty to enact the conditions that Wilde understands as central to creative work. If it is the critical instinct, not the creative one, that breeds innovation, then the critic requires the stillness afforded by “doing nothing”—by settling into one’s flesh and heeding one’s own impressions, wherever they meander.

Gilbert’s position in “The Critic as Artist” is seductive, but it courts disagreement. When I’ve read this dialogue in the past, my reactions have sometimes eked into Ernest territory. One could dispense with Arnold’s solemn distinction between critical and creative abilities without landing where Wilde does. But why would one read Wilde in pursuit of intellectual mitigations? Rather, one turns to him because the extravagance of his theories begets the most enthralling possibilities. Or as Gilbert concludes, “To the critic the work of art is simply a suggestion for a new work of his own, that need not necessarily bear any obvious resemblance to the thing it criticizes.”

There are a few peculiar lines at the conclusion of Wilde’s 1885 essay, “The Truth of Masks: A Note on Illusion,” in which he offers a sly disclaimer to the argument he would make five years later:

Not that I agree with everything that I have said in this essay. There is much with which I entirely disagree. The essay simply represents an artistic standpoint, and in aesthetic criticism attitude is everything.

The critic shoulders many artistic and intellectual responsibilities, but always saying precisely what one believes is not among them. As the essay’s title implies, a writerly posture—a linguistic mask—might signify more than any so-called authentic claim. Performance, Wilde knew, was a reliably tangible fact of existence; another person’s truth was a glint on the horizon, easily contested and endlessly deferred.

In April 1895, during Wilde’s failed libel case against the Marquess of Queensberry, he was questioned about a line in his series of epigrams, “Phrases and Philosophies for the Use of the Young” (1894): “A truth ceases to be true when more than one person believes it.” Wilde explained that according to his “philosophical definition,” truth was “something so personal…that in fact the same truth can never be apprehended by two minds.” The court could not abide such vast ideological diversity, particularly when posited by a man who, soon after, would be convicted of gross indecency for homosexuality. Wilde’s truth—and his adherence to it—yielded criminal condemnation and punishment: It signified an illicit, unpardonable refusal.

In “The Critic as Artist,” Wilde also invokes the matter of necessary disobedience, although he draws on more strident language than he does in “The Soul of Man Under Socialism.” “What is termed Sin is an essential element of progress,” Gilbert declares. But lest the reader misinterpret the remark as equivocal, he presses the point: “Without it the world would stagnate, or grow old, or become colourless…. In its rejection of the current notions about morality, it is one with the higher ethics.” Perhaps these lines comprise a kind of beatitude, uttered for those who, like Wilde, resisted impossible assimilatory demands. Or perhaps they’re a nudge to the docile reader: The only route to Utopia is illuminated by disobedience.