Oscar Wilde And His Fairy Tales example essay topic

Oscar Wilde And His Fairy Tales. Introduction Wilde, Oscar (Fingal O'Flahertie Wills) (b. Oct. 16, 1854, Dublin, Ire? d. Nov. 30, 1900, Paris, Fr.) Irish wit, poet and dramatist whose reputation rests on his comic masterpieces Lady Windermere's Fan (1893) and The Importance of Being Earnest (1899).

He was a spokesman for Aestheticism, the late 19th-century movement in England that advocated art for art's sake. However, Oscar Wilde's takeoff of his enterprise and, his shaping of his characteristic style of works could be both considered originating from his fairy tales. It was not until his first collection of fairy tales had come out that he was regarded as an influential author. The British magazine Elegance, in which his The Selfish Giant is said to be adequately regarded as "the perfect works? and, his complete collection of fairy tales are even said to be the quintessence of the pure English language, equates him with the famous Danish writer of fairy tales Hans Christian Anderson. In order to explore and study the fact why Oscar Wilde's takeoff of his enterprise and, his shaping of his characteristic style of works could be both considered originating from his fairy tales, and the social, religious and aesthetic aspects of Oscar Wilde's fairy tales, in this essay, I try to analyze from the angles of sociology and religion three of Oscar Wilde's fairy tales, namely The Happy Prince, The Selfish Giant and The Young King, which personally I regard as the most typical characteristic style of Oscar Wilde's works. In this essay, the first chapter gives a brief introduction and background of Oscar Wilde and his fairy tales; the second chapter summarizes the three fairy tales which I have chosen to study, namely The Happy Prince, The Selfish Giant and The Young King; the third chapter expounds from the angles of sociology and religion my personal in-depth study and analysis of the three fairy tales of Oscar Wilde; the last chapter gives a personal brief conclusion of the value of Oscar Wilde's fairy tales.

II. A Brief Introduction and Background of Oscar Wilde and His Fairy tales Once upon a time there was a boy named Oscar Wilde. Oscar lived on a far way land called Ireland with his mother and father. His parents loved him very much.

They would often tell him folklore of their native land that greatly interested Oscar. One day, Oscar decided he too would like to become a writer so he could tell stories like those he grew up with. He told his parents his dream and although they were very sad to see their son go, they realized he must go into the world to seek his fortune. They sent his far across the sea to a distant land called Great Britain where he learned to write and eventually succeeded in becoming very famous. He studied and wrote many stories, tales, and plays that made the British people very happy. He was rewarded for his good work with a beautiful maiden and two sons as well as the acceptance of society.

Oscar was very happy with his life and his ability to please the people, but he soon became very confused. Many of his opinion and ideas were not what the people wanted to hear and some of his work was not accepted as other pieces had been. Yet Oscar felt he must be true to himself and continued to express his beliefs. Sadly, while h was still a young man, he angered some of the people so much that they made sure he would be imprisoned in a terrible dungeon for many years. The people in Britain who once enjoyed his work became frightened because they did not understand what was happening to Oscar nor did they agree with many of his ideas and assumed he must be awfully bad for such a strict punishment. They soon stopped being interested in his work and shunned him from the life he worked so hard to achieve.

Even after escaping from the dreadful dungeon, Oscar could never again find the happiness he had lost. Instead, he felt this world in sadness just a few years later, leaving only his work by which to be remembered. Oscar Wilde may not have lived happily ever after, but much of the work he left us reveals a side to his story that was and is often ignored. Any well-educated individual knows Wilde the extravagant and flamboyant homosexual, however few ever look past this facade to uncover his deeply spiritual and moral side. A great deal of his work does not simply make sneaky comments on homosexuality and the Aesthetic British society of the late Victorian era, much of it instead illustrates Christian values, spiritual well-being, and a hope for the good of humanity. His two volumes of fairy tales, The Happy Prince, 1888, and A House of Pomegranates, 1891, in particular clearly critique many aspects of nineteenth century British society such as the government and religious systems, but never stray from promoting moral decency and social ethics.

A close investigation of a few examples from Wilde's tales depicts not a lost soul, decadent and depraved, but rather a virtuous man hoping for the utopian society he envisions. Wilde creates an appropriate arena to voice this somewhat objectionable hope for humanity in a socially accepted manner within his fairy tales through the use of rhetorical devices such as genre, persona, tone, and allusion. Readers are given the chance to identify with his characters and moreover, learn from the hardly the immoral lesson of which he is so often accused.. The Summaries of the Three Fairy Tales of Oscar Wilde-The Happy Prince, The Selfish Giant and The Young King Possibly all of Wilde's tales illustrate his use of rhetorical devices in order to comment on aspects of society, including the three I have chosen to look at "The Happy Prince? and "The Selfish Giant? from The Happy Prince and "The Young King? from A House of Pomegranates. "The Happy Prince? is perhaps his most famous fairy tale. The story centers on the happy prince, once a sheltered and ignorant young man, realizing for the first time truths he never suspected while living but is exposed to now from his current position "high above the city?

A swallow on his way to a warmer climate for the winter befriends him and together they strip the Happy Prince of his valuables and distribute them to the needy inhabitants of the city. The two develop a close and loving friendship. When the swallow dies due to exposure to the cold winter, the Prince's leaden heart breaks and the two are carelessly disposed of by the city officials and then taken to heaven by an angel as "the two most precious things in the city?" The Selfish Giant? ends on a very similar note. In this tale, a Giant returns to his home after a trip to discover many children playing in his garden. He is angered by their trespassing and banishes then all by constructing a large wall to keep them out.

Winter comes to the garden and remains until the children sneak through the wall. When the Giant awakes to find them playing happily in his garden that has finally become spring, he realizes how selfish he has been. He notices one little boy crying because he is too small to climb the trees like the other children and goes to help him. The other children are frightened and run away, but the tiny child kisses him and gains the Giant's love. The Giant tears down the wall and makes his garden a permanent play area for the children, but much to his dismay, his favorite little boy who kissed him never reappears.

Many years goby and the child finally returns one morning when the Giant is very old. He reveals himself as Christ and brings the Giant to his "garden, which is Paradise? The other children return that afternoon to find the dead Giant covered with white flowers. Again, the protagonist of Wilde's "The Young King? meets a similar fate. This tale revolves around the life of a young man, once a simple goatherd, recently discovered to be the heir to a large kingdom. The material beauty of his new world immediately entices him and he eagerly indulges in the wealth and power offered to him.

The night before he is to be crowned, he is visited by three dreams that show "him the misery his subjects must endure for his sake? He is deeply affected by the things he sees in these visions and refuses to wear the robe, crown and scepter designed for him and instead goes to the ceremony in his old tunic and cloak from his days as a peasant. The people and Bishop scorn him for his choice, but he maintains his position. As he stands at the church's altar, the "Glory of God? enters the room and the Young King's clothes are transformed into the beautiful garments he previously shunned. All his subjects observe the divine scene in awe and none "dared look upon his face, for it was like the face of an angel?

IV. An In-depth Study and Analysis on the Three Fairy Tales of Oscar Wilde 4.1 An Overlook of the Connotation of Oscar Wilde's Fairy Tales Before analyzing specific aspects of these tales in depth, it is important to understand the way Wilde takes on the persona of storyteller (as opposed to his more typical role as social critic, politician, or a esthetician) and uses the fairy tale genre for his fairy tale genre for his own purposes in comparison to its traditional usage. Foremost, the fairy tale is generally assumed to be a child's medium, often used to support religious ideas and teach children appropriate behavior. Wilde, however, was quick to point out that his tales were instead "written, not for children, but for childlike people from eighteen to eighty? and avoided "making the moral of the tale too blatant or sententious?

Like many other Victorian authors experimenting with the literary fairy tale during this period, Wilde was not trying to entertain or educate children but rather "to convey both individual and social protest and personal conceptions of alternatives... worlds? As Jack Zipes sums up in his Afterword to the Complete Fairy Tales of Oscar Wilde, "The fairy tale form enabled him to employ his elegant style and keen wit to give full expression both to his philosophy of art and his critique of English high society? Wilde was able to articulate his contentious attitudes masked by the innocent fairy tale writer's persona with its accompanying "protection offered by the conventions of fantasy... where nothing is 'real'". It is crucial to point out, however, that he used these tactics with the ultimate goal of displaying the ideal morality for the benefit of all his readers evident in the fact that his tales "clearly have ethical sympathies"-they are not simply vehicles of political propaganda. 4.2 A Social Analysis on the Three Fairy Tales of Oscar Wilde Nevertheless, in order to achieve this objective Wilde certainly does make several explicit critical evaluations of certain elements of society and capitalist authority within his tales. His tales show the audience that the current system may not be the best option by highlighting its vast array of deficiencies and limitations.

Doing this allows Wilde to display a more positive reality that hopes they will yearn for once the bitter truth is realized. In "The Happy Prince? he primarily comments on the selfishness and foolishness of contemporary authority and belief. In particular, Wilde does this through the characters of the mayor and town councilors. Zipes points out in his essay that, "These vain buffoons will certainly continue to rule for their own benefit? despite the suffering the prince and swallow have shown exist. The inanity of this group is illustrated throughout the tale. For example, upon seeing the dead swallow at the Prince's feet, the Mayor says, "We must really issue a proclamation that birds are not allowed to die here?

The absurdity of this comment is obvious, but Wilde ridicules it even further with the "Town Councilors, who always agreed with the Mayor? These men in charge of the well being of the entire city are not even able to think for themselves and repeatedly act in preposterous ways. Wilde's intention here certainly does not seem to insult the authority figures; counterparts in reality, but rather to show the Victorian audience that those who they follow with confidence may not be as reliable as they would like to believe. The selfish mayor and self-serving councilors are hardly models to look up to and are instead laughable caricatures of corrupt authority. Pointing this out with humor within this genre invites the reader to be entertained on one level and on a deeper level, as Wilde anticipates, to consider the implications toward his or her own life. Furthermore, this tale "Specifically condemns the Aesthetic Movement, a belief that was predominate at the time Wilde was writing in Britain of "art for art's sake?

At one point, one of the Town Councilors remarks of the statue, "He is as beautiful as a weathercock, ? but quickly adds, "only not quite so useful, fearing lest people should think him unpractical? Likewise, the "Art Professor from the University? later says, "As he is no longer beautiful, he is not longer useful? Sadly, the true beauty of the Happy Prince, evident in his generosity, kindness, and care for the poor and suffering, ? goes unnoticed because the town officials, a estheticians, and the general public are too accustomed to identifying beauty with material wealth and splendor? When the prince lacks his original jewels and gold, he is no longer an object of visual appeal and lacks a "use? unlike the weathercock, and is therefore destroyed and forgotten by rule of the authority and "experts? Again, Wilde is not aiming to abolish a group or system of belief. He simply is attempting to point out that superficial beauty and material fixation will lead to spiritual ruin and impenetrability, leaving humanity without its much needed moral and ethical side.

If art is only useful for its outward appearance, much personal expression will inevitably be ignored and rejected while lovely, but perhaps meaningless, works are celebrated". The Selfish Giant? is similarly used to express the breakdown of humanity within the current system. In this tale, Wilde specifically comments "on capitalist property relations and the need to restructure society along socialist lines? Wilde clearly states his opinion regarding the present form of government and society in his essay The Soul of Man Under Socialism: At present, in the consequence of the existence of private property, a great many people are enabled to develop a certain very limited amount of Individualism... The true perfection of man lies, not in what man has, but in what man is... What a man really has, is what is in him.

What is outside of him should be a matter of no importance. This passage echoes the earlier stated arguments regarding the importance of personal art as well as make precise comments on the existing arrangement of British society. In the tale, the Giant represents the capitalist system with his illustrated sign: TRESSPASSERSWILL BE PROSECUTED An overtly realistic symbol shown in its actual form that fails to fit in to the world of giants, ogres, and talking trees. As Wilde makes clear here, although the Giant may not have realized that he was lacking previously, he only discovers his true happiness, his perfection, when he finally releases his property for all to enjoy and begins to feel love for the young boy-"the humane compassion which Wilde felt was necessary for the building of socialism?

The Giant embodies the ideal individual Wilde illustrates in the above passage when he gives up his material wealth and focuses on interior qualities such as generosity and love". The Young King? continues to comment on the state of society and its inhabitant in Wilde's time in a somewhat similar way. With a tone akin to the callousness of "The Happy Prince? and the eternal winter of "The Selfish Giant? Wilde maintains a dark, sad, and depressing tone throughout the story. This is especially evident in the Young King's three poignant visions. Each dream is filled with pain, suffering, and often ends in the death of at least one innocent individual.

In the case of "The Young King? especially, instead of reading this as the critical commentary it may be on capitalist systems, the audience more readily relates to the guilt and misery the Young King feels. Wilde himself stated in his previously cited essay, "The emotions of man are stirred more quickly than man's intelligence... it is much more easy to have sympathy with suffering than it is to have sympathy with thought? His manipulation of emotions is clearly evident in the power of the Young King's visions to move the audience. The proper reaction to these feelings, as envisioned by Wilde, is played out in the King's actions. As Jack Zipes states, the title character in this tale, epitomizes the individual who refuses to compromise until the people learn that society must change...

The beauty of his deed derives from a compassion for humankind and a realization that his own potential depends on whether people are truly free. In other words, the Young King, like the previously mentioned protagonists, represents Wilde's ideal individual: he who can and does think for himself despite the norms of society and does so in a way that yearns for the pleasure of all humanity. It can be assumed that again, Wilde's hope is that readers will explore the uncomfortable feelings created by the text and behave similarly to the Young King. His handing of the audience's emotions is not meant to function for the sake of mere mind control, but rather as a way to reach the audience and show the true advantage of a perfect individual.

If it is indeed the mind he is trying to control, it is only for the good of humanity. Upon first glance, these three tales readily fit into the classic fairy tale genre. Typical fairy tale conventions such as repetition in threes, explicit contrasts between good and bad minimal characters, and predictable patterns are all in abundance in the tales. However, important differences from the traditional standard arise in nearly all Wilde's tales. Most importantly, as Monaghan in his study of Wilde's tales and their relation to Axel Oric's "thirteen main recurring compositional elements in the fairy tale? points out: "Wilde breaks with fairy tale conventions and "introduces references to the world beyond that of his story... he locates his story's selfish characters specifically within the nineteenth century? This refers specifically to Wilde's portrayal in "The Happy Prince? of the government as Utilitarians and the art critics as A estheticians, the Giant's blatant tie to his wealth of personal property and the King's crowning ceremony within the portrayal of the church.

Wilde's original audience would be quite familiar with all of these realistic elements and be able to relate to them based on their own experience and knowledge. By remaining within the genre for the most part, he can mask this connection to reality and make the "explicit social commentary? that would otherwise be negatively received by society. They are read primarily as simple, fairy tale stories-not as concrete relations to their own society. The slight associations to reality enable a more adaptable message for the audience while maintaining a slight cover over what may be considered objectionable. Regardless though, it must be recalled that Wilde's primary purpose is not to make offensive statements, but rather to illustrate to his audience why the current system must change in order for its inhabitants to live in his personal ideal of true peace and happiness. By adapting the genre just slightly, he seems to achieve this goal by making the message relevant and therefore easily accessible without overtly attacking of offending.

4.3 A Religious Analysis on the Three Fairy Tales of Oscar Wilde Wilde works primarily within the fairy tale genre, but often depends more heavily on religious allusion than traditional tales. Undoubtedly, and even closer analysis of the tales and the messages Wilde is attempting to relate requires an examination of them as sorts of Biblical parables. "The Selfish Giant? is an excellent example of this. Wilde significantly "depicts Christ as a child whose innocence is captivating even to gruff old giants?

This particular characterization, when looked at in relation to what has been previously stated regarding Wilde's views of the capitalist system and its esteem of private property, mirrors what Wilde said clearly in his socialism essay regarding Christ and individual perfection: Under socialism, the personality of man will be very wonderful. It will be as wonderful as the personality of a child. In its development it will be assisted by Christianity, if men desire that... it will love those who sought to intensify it, and speak often to them. And of these Christ was one... And the message of Christ to man was simply "Be Thyself?

That is the secret of Christ. The objections the Victorian audience, as well as many members of a modern Christian audience, would have to this statement are rather obvious. Wilde is asserting that he can interpret Christ's message and in doing so reveals a message contrary to what the majority of Christians believe. He even points out that Christianity is not even necessary for this perfect soul-it is only there for those who "desire? it. Although this has serious limitations for many members of his audience, his message remains clear: it is only through a development of self that is based on childlike innocence, freedom, love (for yourself, others, and the world), and truthfulness to the inner soul of oneself that one can truly become Chris-like in the sense that Christ himself intended. Therefore, the Giant can only realize the boy as "the incarnation of Christ? after releasing his attachment to his private property and feeling love for the child and kindness towards all.

However, it is this characterization of Christ and the ideal individual as a child that is arguably more important here. Jesus tells his disciples in Matthew 18: 3-5: I tell you the truth, unless you change and become like little children, you will never enter the kingdom of heaven. Therefore, whoever humbles himself like this child is the greatest in the kingdom of heaven. And whoever welcomes a little child like this in my name welcomes me. Again, in Mark 10: 14 Jesus says, "Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these.? Wilde clearly had these passages in mind in "The Selfish Giant? and he intentionally uses them to form his characters.

For example, Wilde alludes to the crucifixion in "the prints of two nails? on the boy's hands and feet and also in the child's speech. When se tells the Giant "to-day you shall come with me to my garden, which is Paradise? the Biblically well-versed reader immediately conjures Jesus? response to the criminal directly before their deaths: "Today you will be with me in paradise? (Luke 23: 43). In short, Wilde shows that it is only once the Giant embraces the child, the embodiment of Christ, and becomes childlike himself (in his sharing property and his unselfish inner peace) that he has a place in the "kingdom of heaven? The people's disregard of "The Happy Prince? also depends on the comprehension of Christian allusions for a true understanding of Wilde's meaning. David Monaghan argues in his essay that Wilde uses "Christian symbolism? such as, "the Prince... as a traditional symbol for Christ and the swallow for the incarnation of Christ in order to "subvert the traditional Christian message? of Christ as the original redeemer and savior.

Although it is clear in his fairy tales and explicit in his socialism essay that Wilde sees and agrees with the power and morality of Christ, he believes that society wants something else and cannot be saved so simply. The Happy Prince tells the swallow, "I am covered in fine gold... You must take it off, leaf by leaf, and give it to my poor; the living always think gold can make them happy? As Monaghan says of this statement, The Prince gives poignant expression to the gap existing between himself and his society by rather than offering the poor people the spiritual help they need so desperately, but which he knows they would reject, giving them the material relief for which the yearn.

Zipes sums up this regrettable truth envisioned by Wilde: "The individual actions of a Christ-like person are not enough to put an end to poverty, injustice, and exploitation... the philanthropic actions of the prince will go for naught? The prince and the swallow may exemplify the ideals of Christ, but society values the material world and as a result, their benevolent actions are received with indifference and disregard. It is crucial to realize that the actions of the Prince and swallow recall those of Christ within the New Testament. As Jesus travels and preaches His Message, He offers spiritual and moral teachings while still feeling the need to address the people's material wishes. As He tells His disciples regarding His followers in Matthew 15: 32, : I have compassion for these people; they have already been with me three days and have nothing to eat. I do not want to send them away hungry, or they may collapse along the way.?

Like the Prince, rather than trying to save people by the truth of his being and his supreme morality, he can only maintain them with food and health because he knows they will ultimately reject him and his message. By alluding to this well-known Biblical image, Wilde gains moral credibility. He is obviously knowledgeable of Christian ideas and interpretation. Wilde's supposed intention was that his audience would read "The Happy Prince? in this way and realize the message they may have missed in the Bible". The Young King? proves Wilde's true morality in a similar fashion. In this tale, the Young King is clearly a Christ-like figure.

His crossing through the town and disdain from the people is familiar allusions to any practicing Christian of Christ's own journeys. Wilde makes an especially apparent reference to the image of Christ in Mark 15: 17 when the soldiers "twisted together a crown of thorns and set in on him? in the circlet of brains the Young King places on his head. Here, the Young King as Christ "epitomizes the individual who refuses to compromise until the people learn that society must Change? He rejects the carefully prepared garments and instead "forswears his kingly pomp and demonstrates to his subjects the importance of spiritual integrity? quite similar to the way Jesus died on the cross in order to save man. Wilde comments on the contemporary church's inability to truly understand and relate Christ's message through the character of the Bishop.

The Bishop tells the King in his worn tunic and crown of briars, "My son, is this a king's appeal? And with what crown shall I crown thee, and what scepter shall I place in thy hand? Surely this should be to thee a day of joy, and not a day of abasement.? Like Christ in His refusal to respond to the mocking of the disbelievers, the Young King in undaunted by his remarks and simply replies "Shall Joy wear what Grief has fashioned?? Contrary to the word of the Pharisees, he, like Jesus, is rewarded for his dedication and belief by the "Glory of God?

This tale, while up to the end somewhat similar to "The Happy Prince? in its Christian associations, has a much more optimistic ending for the protagonist. Wilde characteristically sets the reader up to see an event and his vision of the ideal response. Although the Happy Prince and swallow are ultimately rewarded in Heaven, the Young King receives his reward on Earth and can share his message to the masses. As Jack Zipes puts it in contrast to the happy prince who was ultimately crucified despite (or perhaps because of) his philanthropic measures, the young king points a way to utopia by setting a model of behavior he hopes everyone will recognize and follow... Wilde went beyond the Young King truly had an effect on his subjects and will rule justly and kindly. Wilde's vision of the true Christian individual and leader, whereas the Prince's actions, and perhaps the Giant's as well, were ignored and forgotten.

It is this vision of hope that truly depicts Wilde's goal within his tales. As he says himself in his essay on socialism, "A map of the world that does not include Utopia is not worth even glancing at, for it leaves out the place at which Humanity is always landing. And when Humanity lands there, it looks out, and, seeing a better country, sets sail. Progress is the realization of Utopia.? Throughout his tales, Wilde attempts to show his audience an alternative future that he hopes they will see as more fulfilling and beneficial. Rather than simply progress towards a capitalist machine, he "constantly reminds his audience of the importance of the soul?

Whether his tales focus on something as fantastical as a cranky old giant or as realistic as a town mayor or bishop, Wilde urges his readers to consider their actions and those of the people they trust. As a result, he repeatedly shows Christian salvation as the reward for kindness, generosity, and love-not the morally decadent message British society in the 1890's feared so much. V. Conclusion This is not to say that Wilde is not making attacks on the aspects of society he finds abhorrent-it is obvious that Wilde makes assaults on capitalism, art, and religion, among many other aspects of society. However, through the use of rhetorical strategies such as manipulation of genre and persona, tone, and allusion he creates a means of expression that goes beyond overt social commentary to speak these beliefs to many, including those who may otherwise disagree with him. By making his views and creating stories immersed in fairy tales and Christianity, Wilde reveals his hope for the future of society and, more importantly, humankind. VI.

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