25 pages • 50 minutes read
Oscar WildeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Concepts such as love and hate form the basis both for Wilde’s critique of Bosie’s character and his eventual argument positing Christ as the supreme individualist. Wilde writes that his relationship with Bosie was emotionally tumultuous, as Bosie would continuously lash out in anger. Bosie’s predisposition towards hatred potentially explains Wilde’s deliberate personification of emotions and his emphasis on the toxicity of hate. Bosie, Wilde asserts, indulged in hate far too often, ultimately corrupting his very soul. Hate is easily satisfied. More importantly, it renders one blind to the “real and ideal relations” of others.
Wilde uses this definition of love—the ability to understand the “real and ideal”—relations of another, into an ongoing motif. For instance, Wilde writes, “But Hate blinded you. The faculty ‘by which, and by which alone, we can understand others in their real as in their ideal relations’ was dead to you” (20). Later on, Wilde again repeats the definition when he states, “The faculty ‘by which, and by which alone, one can understand others in their real as in their ideal relations,’ your narrow egotism blunted, and long disuse had made of no avail” (24). Here he argues that hate and egotism slowly destroy love. This definition of love is not only a very formulated motif that presents love as the most important human faculty, but also allows for Wilde to venture into the nature of Christ.
Christ is the paragon of love, being able to share in the experience of another as if it were his own. Further, he shares such experiences with those whom society has rejected, such as the lepers or tax collectors. Wilde argues that Christ is capable of such love because his imagination is cultivated and strong. He states that it is out of his own imagination that Christ made himself incarnate. Wilde writes, “The fact that God loves man shows that in the divine order of ideal things it is written that eternal love is to be given to what is eternally unworthy” (38). The ideal for Wilde seems to represent a perfect world that only the imagination can grasp. In other words, it is the ability to look past the unworthiness of another and see in them infinite potential, as God does. Christ’s love therefore demonstrates to us how the experience of a singular individual encompasses the experience of all humanity. This conclusion may explain why Wilde still has hope for Bosie to become an ethical and kind man. Wilde pushes himself to see the ideal in Boise despite his abuse.
Wilde was not a particularly religious man before he was sentenced to prison, and his reflection on the life of Christ is arguably not an embrace of religion but rather a fascination with the poetic suffering of Christ’s Passion. Wilde seemingly contradicts his later engagement with Christ when he writes that religion does not help him and that he prefers to put his faith in what he can see and touch:
When I think about religion at all, I feel as if I would like to found an order for those who cannot believe: the Confraternity of the Fatherless one might call it, where on an altar, on which no taper burned, a priest, in whose heart peace had no dwelling, might celebrate with unblessed bread and a chalice empty of wine (30).
Wilde here directly references the act of holy communion which takes place in most Christian denominations. Wilde constructs a Christianity void of its most important ritual and tradition, the reenactment of the Last Supper—the very scene Wilde later portrays as evidence of the inherent pathos in Christ’s Passion. One could conclude that Wilde’s critique is not with Christ but with institutional religion.
The life of Christ is heavily related to Wilde’s definition of sorrow. He writes, “I now see that sorrow, being the supreme emotion of which man is capable, is at once the type and test of all great art” (32). Sorrow is the only truth for Wilde, as it completely unifies the soul with the body. It is the means through which we come to know our soul. Christ, as the perfect embodiment and incarnation of the “Sorrows of Man,” becomes the precursor of Romanticism, present in Romeo and Juliet, Les Misérables, and the like. Wilde states that Christ has a Romantic character and temperament: “He was the first person who ever said to people that they should live ‘flower-like’ lives” (38). Wilde continues, “He said that people should not be too serious over material, common interests: that to be unpractical was a great thing: that one should not bother too much over affairs” (38). The grounds for the Romantic movement were first the basis for Christ’s way of life. Wilde intends to express this idea in his future art once he is released. Wilde ultimately argues that the nature of Christ is the nature of the artist, insofar as the two share the same “intense and flamelike imagination” along with the same goal of unifying the body and soul (34).
Wilde composed “De Profundis” during his final year of imprisonment at Reading Gaol. Throughout the letter, he references the conditions he has been subjected to and how prison has forced him into the depths of sorrow, through which he has found humility. He recounts the immense loneliness and the inability to create art or take part in any small pleasures he used to indulge in. He describes the voices made rough through silence, the quick acknowledgments by the prison guards, and ultimately the overwhelming psychological effects of imprisonment.
Wilde recounts an instance where he fell so ill that a doctor prescribed him white bread. Wilde writes, “It is a great delicacy. To you it will sound strange that dry bread could possibly be a delicacy to anyone” (38). Wilde’s newfound gratitude for simple pleasures contrasts with Bosie’s lavish lifestyle. For Wilde, white bread has become a delicacy, whereas Bosie expects such a level of privilege whenever he dines.
Cuisine is only one area that prison has stripped of all its decadence. Wilde’s personal life has also suffered; he would become bankrupt, lose ownership of his art, and never see any of his personal belongings again. Losing custody of his eldest, Cyril, threw Wilde into a downward spiral, as he watched his family desert him and the prison system reduce him to nothing more than a number. Wilde at first resolved to end his life upon release, realizing that “behind Sorrow there is always Sorrow” (42). As time progressed, Wilde’s philosophy evolved, and he came to see the beauty within sorrow.
By Oscar Wilde