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Quixote of the Queer

February 17, 2018December 23, 2021 John Cooper3 Comments

Textual Analysis for Students

A verse parody appeared just three weeks after Oscar Wilde arrived in America. It was one many such newspaper items in 1882 that poked fun at Wilde and the aesthetic movement.

It was notable for its affected and satirical overuse of alliteration. Although Wilde was known for his occasional penchant for this verbal prose style (something that Whistler later parodied), it was probably not recognized by the author of this verse when it was written in January 1882.

It is more likely that its use was prompted by expressions such as “too-too” and “utterly utter” that were connected to the also alliterative Apostle of the Aesthetes.

As such, the text is instructional in understanding allusions to Wilde and the aesthetic movement. Let us examine the terminology:

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Article

Cello Encore

January 16, 2018December 22, 2021 John Cooper12 Comments

MORE OF THE MYSTERY SOLVED

—Corroborating Research—

In a recent article I established the literary source for the cello coat worn by Oscar Wilde at the Grosvenor Gallery. However, I left it open to interpretation whether Wilde actually did have such a coat tailored or, perhaps, just happened to have one like it. After all, there was only one report of the “cello” shape.

However, we can now be definitive.

Further research allows us to make the coat story complete—although, as we shall see, the archaic variant word compleat would make for a better fit.

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Article

Not A Joy Forever

December 27, 2014January 8, 2023 John CooperLeave a comment

A cartoon depicting Oscar Wilde at the end of his TWO visitS to America in contrasting poses

Oscar Wilde’s American visits resulted in mixed fortunes: he failed to make any material literary advance, and although his tour met with a mixed reception critically, it was a great commercial success. We can see these fortunes reflected in the above cartoon from Judge magazine of September 1883.

On the left, recognizing the commercial success of his 1882 lecture tour, Oscar is shown surrounded by lilies and sunflowers (the floral emblems of the aesthetic movement), and showered with gold. On the right we see him somewhat shabbier, and with his bags packed at Castle Garden, the receiving station at New York: under his arm is Vera, the play unsuccessfully staged in New York in August 1883.

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