“Lady Windermere’s Fan” ran for five months before it was taken on tour of the provinces. An early indication that Wilde’s fame as a dramatist was known on the Continent occurs in a letter, dated 5 September 1892, to Wilde from J.T.Grein, a founder of the Independent Theatre, who drew up on Wilde’s behalf a contract with a Doctor O.Blumenthal for the sole right of production of “Lady Windermere’s Fan” in Austria and Germany, half of his fees and other royalties to go to Wilde33 “The Critical Heritage” by K.Beckson, Great Britain, 1970, p.301. Publication of the play occurred in November 1892, by the Bodley Head. The play was first translated into French in 1913.

When the New York production of the play opened on February 6, 1893, the drama critics of the leading dailies were generally restrained in their judgements. Despite the lack of critical enthusiasm, the play had a highly successful run of several months.

Following Wilde’s death revivals of the play at the St. James’s Theatre were given in 1902, 1904, 1911. Clearly, “Lady Windermere’s Fan” was a stunning recovery from Wilde’s two previous theatrical failures, and since this was his first play, produced in England. The triumph was of singularly greater significance.

His next venture, “Salome”, rehearsals for which were proceeding with Sarah Bernhardt in the leading role, encountered the displeasure of the Examiner of Plays for the Lord Chamberlain, who refused to license it since it contained Biblical characters.

This time, however, Wilde, who was perhaps the most talked-about writer in England, though not the most widely read, expressed his anger with less then his usual restraint, no longer concerned with merely humouring his detractors with witticisms. Wilde complained bitterly that the ordinary English newspapers were trying to harm “Salome” in every way, though they have not read it.

The play was published in French in 1893. In its review of the play “The Pall Mall Gazette” concludes that “Salome” lacks freshness in both idea and presentation, conceding, however, that it does have “cleverness” – that fatal word which reviewers relied upon in discussing Wilde’s works. “Salome” was first given in Paris in 1896. The play was not produced in England until 1905, when Max Beerbohm, reviewing it, found the staging faulty. Indeed, he was convinced that the play was read better than acted for the “tragic thrill” of the action had to be imaginatively experienced. On the Continent, “Salome” was performed in most of the major cities between 1902 and 1912, where it was widely regarded as Wilde’s masterpiece. But in America its first production in 1905 by an avant-garde group was poorly received.

“A Woman of No Importance”, Wilde’s second play produced in London, attracted a glittering first-night audience. Despite enthusiasm of some critics, the play ran until only 16 August, a month less then that enjoyed by “Lady Windermere’s Fan”. The reviews, as Max Beerbohm ironically indicates, were surprisingly good, considering the fact that the play was weaker than “Lady Windermere’s Fan”.

William Archer, contending that Wilde’s dramatic work “stands alone… on the very highest plane of modern English drama”, praised the play but lamented that Wilde’s “pyrotechnic wit” was one of the defects of his qualities. He added that he looked forward to the day when Wilde would “take himself seriously as a dramatic artist” – which for Archer would presumably mean that Wilde should become a disciple of Ibsen. Archer’s praise of Wilde brought such adverse criticism from various quarters that he had compelled to defend himself in a review of Pinero’s “The Second Mrs. Tanqueray”, in which he reaffirmed his contention that Wilde was a writer of the first rank44 “Oscar Wilde” by R.Keith Miller, New York 1984, p.256

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Walkley’s review praises Wilde’s “true dramatic instinct”, but he confesses that witty paradoxes begin to tire him by their sheer number. But the majority of critics were disappointed by it. Despite the minority opinion, the play was widely regarded as a success.

The purpose of Wilde’s idea is to show the decomposition of English society. It can be really seen in the words of Hester, an American young lady:

“You rich people in England, you do not know how you are living. You shut out from your society the gentle and the good. You laugh at the simple and the pure. With all your pomp and wealth and art you do not know how to live – you don’t even know that. You love the beauty that you can see and touch and handle, the beauty that you can destroy and do destroy, but of the unseen beauty of life, of the unseen beauty of a higher life, you know nothing. You have lost life’s secret. Oh, your English Society seems to me shallow, selfish and