excess, and written in a pure literary language. In these plays, Wilde brings together the social intrigues and the witticism. “Salome”, which was not presented in London and which “Theatre De L’Oeuvre” mounted deplorably in Paris, is especially a marvellous poem, which has nothing in common with the modern pieces of the author.
These first four plays are what one could call society plays, picture of fashionable life in which au unmistakable air of reality is happily wedded to playful satire. The greatest merit is their dialogue. In other words, Oscar Wilde did not dive very deeply below the surface of human nature. But found to a certain extent rightly, that there is more on the surface of life then is seen by the eyes of most people. He believed as much in veneer as in deep untarnishable colour. And as in the drama veneer is likely to please while depth of colour is often productive of dullness, he preferred to concentrate his acumen of the language rather then on the underline humanity of his place. In this he proved he knew himself for lightness of touch, not to say a certain flippancy, was a paramount feature of his gifted nature; and when he was all gaiety, sardonism, and persiflage, as in “The Importance of Being Earnest”, he was the happiest. The Aristophanic vein1 sparkled in it, and it is scarcely an exaggeration to say that this last English play of the unfortunate author was the wittiest comedy of the nineteenth century.
Wilde was spoken of as an aspiring dramatist long before any peers sighed by his name was acted. In the theatre the writing of society comedies, within the framework of a well-made play, was to provide him with his most stunning successes.
The first of these, “Lady Windermere’s Fan”, opened on 20 February 1892, to generally enthusiastic reviews, though to some critics Wilde’s paradoxical wit seemed a facile, easily constructed device.
Of the critical reviews, the most enthusiastic was by A.B.Walkley, one of the most respected and influential drama critics of his day, who found the play and its “brilliant talk” entirely successful. “Black and White”, a literary critical review, thought that the play, despite the obvious formula of the well-made play was very amusing, and the “Westminster Review”, another critical journal, opened its review with the observation that “Mr. Oscar Wilde is nothing unless brilliant and witty”2. Both of these journals questioned whether “Lady Windermere’s Fan” was a play or a series of brilliant paradoxes and epigrams, but concluded that if someone was interested in plays he should go at once to see it.
O.Wilde’s plays were written in a light satirical vein, cultured and refined, and in good taste. His characters served as the mouths to enunciate the author’s exquisitely funny remarks on society. The remarks of the cynical young men about life, love and society and the garrulous Duchess of Berwick, may show a keen appreciation of the vices of the upper-class society.
Surely a good moral woman, such as Lady Windermere is made out to be, would not desert her husband because of the mere gossip of a scandal-mongering old lady. Lord Windermere also would never have allowed matters to come to a crisis without taking his wife into confidence and explaining to her a little sooner his relationship with Mrs. Erlynne. But this is not Mr. Wilde’s idea. He was anxious to express to the world his reflections on things in general, to lash the pretty vices of people of fashion, and did not, in the least, wish to tell a good story. So, the plot does not matter, as the whole interest lies in the conversation, which is as if many Wildes, male and female, were talking together. The dialogue is exquisitely funny and successful. It is satirical without being aggravating to audience. It is beating, and at the same time genial and good-humoured. It is an original, clever and ridiculous piece portraying London society as it is seen through the spectacles of Mr. Oscar Wilde.
However, some reviewers were less impressed. The sullen Clement Scott (whom B.Shaw caricatured in his play “The Philanderer”, 1893) devoted much of his review in the “Illustrated London News” to chastising Wilde for bad manners in appearing before the curtain, after the play had concluded, with a cigarette in his hand and for the cynicism which he detected in his play.
Justin McCarthy’s signed notice in “Gentleman’s Magazine” was also concerned more with Wilde than with the play – an indication that, to these critics, Wilde, not the play, was the thing.
“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