Abstract
Oscar Wilde is renowned for the sharp wit of his pithy aphorisms, which are evident throughout his writing. In particular, his dramatic oeuvre demonstrates the enduring qualities of his skill as a playwright. However, one of his most enduring legacy comes from one of his critical writings: the effective separation between aesthetics and ethics. In Critic as Artist, one of the essays published in Intentions , in 1891, Wilde draws a distinction between Aesthetics and Ethics, arguing that they belong to different spheres. Wilde’s essay was of seminal importance in altering the way in which works of art were analysed: to this day, morality and utility are no longer considered valid criteria with which to judge the artistic qualities of any creative work. The aim of this article is to discuss Wilde’s plays in the light of his aesthetic criticism, focusing primarily on the separation between aesthetics and ethics, demonstrating that the very aesthetic principles Wilde helped to establish and disseminate are also present in the texts of his plays, since the first tragedy, Vera, or The Nihilists (1882) to his last play, The Importance of Being Earnest (1895).
Highlights
Oscar Wilde is renowned for the sharp wit of his pithy aphorisms, which are evident throughout his writing
In “The Critic as Artist”, one of the essays published in Intentions, Wilde draws a distinction between Aesthetics and Ethics, arguing that they belong to different spheres
Wilde’s tragedies were his first experiments in the field of drama, and they are the first works in which he incorporated the concepts Aestheticism into his plays, but the separation of aesthetics and ethics was to be a salient feature of his tragedies and comedies alike
Summary
Oscar Wilde is renowned for the sharp wit of his pithy aphorisms, which are evident throughout his writing In particular his dramatic oeuvre demonstrates the enduring qualities of his skill as a playwright and, more than a century after his death, Wilde’s plays remain in constant demand on the stages of London’s West End and in theatres around the world, captivating audiences just as they did when he was alive. Since the 1970s, academic interest in Wilde’s writing has grown exponentially, rescuing him from earlier charges that his work was immoral, shallow and frivolous This re-evaluation has extended to his critical writings, which were formerly considered to be derivative of Pater’s and Ruskin’s, Wilde often being referred to as their “disciple” rather than as an exponent of Aestheticism in his own right. Wilde’s tragedies were his first experiments in the field of drama, and they are the first works in which he incorporated the concepts Aestheticism into his plays, but the separation of aesthetics and ethics was to be a salient feature of his tragedies and comedies alike
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