Abstract
From Oscar Wilde’s earliest work through De Profundis, Hegelian influence is present not just in references but in Wilde’s use of form itself. This essay argues that in the literary fairy tale, Wilde reached for this unity in form and theme, melding art and philosophy. Paradox, reversal, and a tension between binaries open to possible resolution, reconciliation, or synthesis are present not just in Wilde’s recurring themes, but in the very structure of the genre: his fairy tales embody a Hegelian ternary movement or dialectical pattern. This framework of enacting philosophy in art may provide an illuminating way to re-examine Wilde’s aesthetic theories, his use of form, and indeed his own seemingly contradictory qualities.
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