Declaring nothing apropos (except astonishment) I send from America footage I recently discovered of Oscar Wilde’s son Vyvyan Holland.
It is in the form of a TV interview alongside Brian Reade, curator at the Victoria and Albert Museum, during a segment on the CBS TV arts program Camera Three about a V&A Aubrey Beardsley exhibition which had transferred to New York’s (then-named) Gallery of Modern Art.
The rare TV showing was a opportunity for Vyvyan to rival his more media savvy wife, Dorothy, who had made her latest appearance on American TV earlier in the month discussing fashion on the ABC show Girl Talk.
It provides a chance to see Vyvyan’s unassuming manner as he reveals personal experiences such as shooting moose and witnessing a bedridden bearded Beardsley.
Continue reading Vyvyan Holland
John Cooper expands on comments he made as a member of a panel discussion at the Oscar Wilde Festival in Galway, Ireland, in 2014, in which he appraised Wilde’s legacy and his personal response to it.
(I) RISE AND FALL
Finding Oscar Wilde during his lecture tour of America in 1882 presented few difficulties. Throughout the year he made hundreds of appearances in public and thousands in the press. But his transatlantic sojourn was not merely prolific, it was a surprisingly formative time that saw Wildean firsts in all aspects of his career. Professionally, he nurtured the art of public speaking, began lecturing, and conducted his first press interviews. In his personal life he entered a new sphere of poets, writers, and statesmen; and he embarked upon a lifelong pattern of occasionally earning, but of always spending, large sums of money. Creatively, he became increasingly familiar with formulating his thought into thesis, while socially he was gathering material and honing epigrams for use in his early essays, short stories, and dramatic dialogues. Perhaps most surprisingly, it was in America that he staged the first ever production of a Wilde play.1 And lastingly, it was in New York City that the predominant image we have of him was formed with a series of photographs taken by Napoleon Sarony. After America, one might say, Oscar had become famous for more than just being famous.
Not surprisingly, given this degree of exposure and experience, contemporary opinion was that America had made a greater impression on Wilde than vice-versa. Supporting this view is the fact that his audiences, although they had attended his lectures, came to see rather than to hear him; and even though he was often personally liked, he was more often publicly ridiculed. Wilde’s maligned persona was so widespread that the ability to locate him in the abstract sense, even for those who had not seen him, also presented few difficulties. In sum: the breadth of his presence made Wilde familiar in person, and the stereotype of his character provided the measure of him as a personality.
We now see that Wilde cannot be so easily pigeon-holed.
Continue reading Finding Oscar
The source of Oscar Wilde’s pun on Ernest/Earnest
In an earlier article I tried to show that in John Gambril Nicholson’s verse Of Boys’ Names (Wilde’s putative source of the Ernest/Earnest pun) there are other boys’ names with Wildean parallels.
Research now leads me to a further connection.
In a back issue of The Book Collector (Summer, 1978), there is chapter about Nicholson’s 1892 Love in Earnest: Sonnets, Ballades, and Lyrics (the anthology that includes the poem in question).
Continue reading More on Boys’ Names
Nicholas Frankel’s scholarly edition of The Annotated Importance of Being Earnest
I am fascinated by the editorial introduction and inter-leaf annotations in Nicholas Frankel’s new scholarly edition of The Annotated Importance of Being Earnest . The publisher, Harvard University Press, tells us that Frankel’s running commentary, “ties the play closely to Wilde’s personal life and sexual identity, illuminating literary, biographical, and historical allusions.”
Quite right. The book include not only insights into Wilde’s meaning, but also information about the chronology of Wilde’s textual changes, some of which were made four years after the play was first staged. All this is quite revelatory for those who, like me, appreciate the research that must have gone into it. Or, put another way, it’s the kind of thing you’ll like if you like that kind of thing.
However, this article is not a book review. I have something revelatory of my own.
Continue reading Frankel and Earnest (and other boys’ names)