Personal testimony in chronicles and memoirs has forever been the basis of recorded history. Like the legal status of eye witness testimony, accounts created during living memory have an immediacy that often frees them of taint or nuance. Not all of it is reliable, of course, so researchers should evaluate the source, the subject and the period before the facts. And we shall get to that.
But first we need to address the inadmissible hearsay of second-hand material which is often less well defined, and less reliable.
Take Columbus, for instance. And before you think this a characteristic segue into Ellmann getting the date wrong for Oscar Wilde’s lecture in Columbus, Ohio, it isn’t—although he did.
I mean that yesterday was Columbus Day here in the United States, and on the subject of unreliability I am reminded of Washington Irving‘s supposed history of Christopher Columbus’ first visit to the Americas. For it was Irving who popularized the myth that Columbus set sail thinking he would fall off the edge of the world, when, in reality, the intrepid Italian knew all along about the earth’s curvature—he just miscalculated the circumference. Read Darin Hayton’s salutary article on Irving’s fabrication.
Almost as damaging as intentionally false history is unintentionally false biography. Because all too often new biography is simply an echo chamber of old biography, in which successive viewpoints grow increasingly redundant and incoherent.
Such historiography may have been acceptable, or at least accepted, in the days when collective knowledge was indistinguishable from reflective guesswork. But in an age of digital access to archival newspapers, journals, records, and books, there is no longer any excuse for apocryphal scholarship, and nowhere is this discipline more acutely needed than in the study of Oscar Wilde.
Focused though I am on Oscar Wilde In America, I like to keep an eye on the bigger picture. However, I know that to see the brushstrokes up close it is sometimes necessary to depart from topical and geographical constraints and visit the works themselves.
So last weekend I attended the Oscar Wilde Festival in Galway, Ireland, where I discovered part of the canvas rendered in two books with contrasting techniques.