This too I know—and wise it were If each could know the same— That every prison that men build Is built with bricks of shame, And bound with bars, lest Christ should see How men their brothers maim.

Indeed, is it not clear that the man who, in his own wretchedness, wrote that letter to the warder which I have reproduced, and was eager to bring about the freeing of the little children at his own cost, is far above the judge who condemned him or the society which sanctions such punishments? "The Ballad of Reading Gaol," I repeat, and some pages of "De Profundis," and, above all, the tragic fate of which these were the outcome, render Oscar Wilde more interesting to men than any of his peers.

He has been indeed well served by the malice and cruelty of his enemies; in this sense his word in "De Profundis" that he stood in symbolic relation to the art and life of his time is justified.

The English drove Byron and Shelley and Keats into exile and allowed Chatterton, Davidson and Middleton to die of misery and destitution; but they treated none of their artists and seers with the malevolent cruelty they showed to Oscar Wilde. His fate in England is symbolic of the fate of all artists; in some degree they will all be punished as he was punished by a grossly materialised people who prefer to go in blinkers and accept idiotic conventions because they distrust the intellect and have no taste for mental virtues.

All English artists will be judged by their inferiors and condemned, as Dante's master was condemned, for their good deeds (per tuo ben far): for it must not be thought that Oscar Wilde was punished solely or even chiefly for the evil he wrought: he was punished for his popularity and his preeminence, for the superiority of his mind and wit; he was punished by the envy of journalists, and by the malignant pedantry of half-civilised judges. Envy in his case overleaped itself: the hate of his justicers was so diabolic that they have given him to the pity of mankind forever; they it is who have made him eternally interesting to humanity, a tragic figure of imperishable renown.

THE END.



APPENDIX

Here are the two poems of Lord Alfred Douglas which were read out in Court, on account of which the prosecution sought to incriminate Oscar Wilde. My readers can judge for themselves the value of any inference to be drawn from such work by another hand. To me, I must confess, the poems themselves seem harmless and pretty—I had almost said, academic and unimportant.

TWO LOVES

TO "THE SPHINX"

Two loves I have of comfort and despair That like two spirits do suggest me still, My better angel is a man right fair, My worse a woman tempting me to ill.—Shakespeare.

I dreamed I stood upon a little hill, And at my feet there lay a ground, that seemed Like a waste garden, flowering at its will With flowers and blossoms. There were pools that dreamed Black and unruffled; there were white lilies A few, and crocuses, and violets Purple or pale, snake-like fritillaries Scarce seen for the rank grass, and through green nets Blue eyes of shy pervenche winked in the sun. And there were curious flowers, before unknown, Flowers that were stained with moonlight, or with shades Of Nature's wilful moods; and here a one That had drunk in the transitory tone Of one brief moment in a sunset; blades Of grass that in an hundred springs had been Slowly but exquisitely nurtured by the stars, And watered with the scented dew long cupped In lilies, that for rays of sun had seen Only God's glory, for never a sunrise mars The luminous air of heaven. Beyond, abrupt, A gray stone wall, o'ergrown with velvet moss Uprose. And gazing I stood long, all mazed To see a place so strange, so sweet, so fair. And as I stood and marvelled, lo! across The garden came a youth, one hand he raised To shield him from the sun, his wind-tossed hair Was twined with flowers, and in his hand he bore A purple bunch of bursting grapes, his eyes Were clear as crystal, naked all was he, White as the snow on pathless mountains frore, Red were his lips as red wine-spilth that dyes A marble floor, his brow chalcedony. And he came near me, with his lips uncurled And kind, and caught my hand and kissed my mouth, And gave me grapes to eat, and said, "Sweet friend, Come, I will show thee shadows of the world And images of life. See, from the south Comes the pale pageant that hath never an end." And lo! within the garden of my dream I saw two walking on a shining plain Of golden light. The one did joyous seem And fair and blooming, and a sweet refrain Came from his lips; he sang of pretty maids And joyous love of comely girl and boy; His eyes were bright, and 'mid the dancing blades Of golden grass his feet did trip for joy. And in his hands he held an ivory lute, With strings of gold that were as maidens' hair, And sang with voice as tuneful as a flute, And round his neck three chains of roses were. But he that was his comrade walked aside; He was full sad and sweet, and his large eyes Were strange with wondrous brightness, staring wide With gazing; and he sighed with many sighs That moved me, and his cheeks were wan and white Like pallid lilies, and his lips were red Like poppies, and his hands he clenched tight, And yet again unclenched, and his head Was wreathed with moon-flowers pale as lips of death. A purple robe he wore, o'erwrought in gold With the device of a great snake, whose breath Was fiery flame: which when I did behold I fell a-weeping and I cried, "Sweet youth Tell me why, sad and sighing, thou dost rove These pleasant realms? I pray thee speak me sooth What is thy name?" He said, "My name is Love." Then straight the first did turn himself to me And cried, "He lieth, for his name is Shame, But I am Love, and I was wont to be Alone in this fair garden, till he came Unasked by night; I am true Love, I fill The hearts of boy and girl with mutual flame." Then sighing said the other, "Have thy will, I am the Love that dare not speak its name."

LORD ALFRED DOUGLAS.

September, 1892.

IN PRAISE OF SHAME

Unto my bed last night, methought there came Our lady of strange dreams, and from an urn She poured live fire, so that mine eyes did burn At sight of it. Anon the floating flame Took many shapes, and one cried, "I am Shame That walks with Love, I am most wise to turn Cold lips and limbs to fire; therefore discern And see my loveliness, and praise my name."

And afterward, in radiant garments dressed, With sound of flutes and laughing of glad lips, A pomp of all the passions passed along, All the night through; till the white phantom ships Of dawn sailed in. Whereat I said this song, "Of all sweet passions Shame is loveliest."

LORD ALFRED DOUGLAS.

THE UNPUBLISHED PORTION OF "DE PROFUNDIS"

This is not the whole of the unpublished portion of "De Profundis"; but that part only which was read out in Court and used for the purpose of discrediting Lord Alfred Douglas; still, it is more than half of the whole in length and absolutely more than the whole in importance: nothing of any moment is omitted, except the reiteration of accusations and just this repetition weakens the effect of the argument and strengthens the impression of querulous nagging instead of dispassionate statement. If the whole were printed Oscar Wilde would stand worse; somewhat more selfish and more vindictive.

I have commented the document as it stands mainly for the sake of clearness and because it justifies in every particular and almost in every epithet the shadows of the portrait which I have endeavoured to paint in this book. Curiously enough Oscar Wilde depicts himself unconsciously in this part of "De Profundis" in a more unfavourable light than that accorded him in my memory. I believe mine is the more faithful portrait of him, but that is for my readers to determine.

FRANK HARRIS.

NEW YORK, December, 1915.

H.M. Prison, Reading.

DEAR BOSIE,

After long and fruitless waiting I have determined to write to you myself, as much for your sake as for mine, as I would not like to think that I had passed through two long years of imprisonment without ever having received a single line from you, or any news or message even, except such as gave me pain.

Our ill-fated and most lamentable friendship has ended in ruin and public infamy for me, yet the memory of our ancient affection is often with me, and the thought that loathing, bitterness and contempt should for ever take the place in my heart once held by love is very sad to me; and you yourself will, I think, feel in your heart that to write to me as I lie in the loneliness of prison life is better than to publish my letters without my permission, or to dedicate poems to me unasked, though the world will know nothing of whatever words of grief or passion, of remorse or indifference, you may choose to send as your answer or your appeal.

I have no doubt that in this letter which I have to write of your life and mine, of the past and of the future, of sweet things changed to bitterness and of bitter things that may be turned to joy, there will be much that will wound your vanity to the quick. If it prove so, read the letter over and over again till it kills your vanity. If you find in it something of which you feel that you are unjustly accused, remember that one should be thankful that there is any fault of which one can be unjustly accused. If there be in it one single passage that brings tears to your eyes, weep as we weep in prison, where the day no less than the night is set apart for tears. It is the only thing that can save you. If you go complaining to your mother, as you did with reference to the scorn of you I displayed in my letter to Robbie, so that she may flatter and soothe you back into self-complacency or conceit, you will be completely lost. If you find one false excuse for yourself you will soon find a hundred, and be just what you were before. Do you still say, as you said to Robbie in your answer, that I "attribute unworthy motives" to you? Ah! you had no motives in life. You had appetites merely. A motive is an intellectual aim. That you were "very young" when our friendship began? Your defect was not that you knew so little about life, but that you knew so much. The morning dawn of boyhood with its delicate bloom, its clear pure light, its joy of innocence and expectation, you had left far behind you. With very swift and running feet you had passed from Romance to Realism. The gutter and the things that live in it had begun to fascinate you. That was the origin of the trouble[39] in which you sought my aid, and I, unwisely, according to the wisdom of this world, out of pity and kindness, gave it to you. You must read this letter right through, though each word may become to you as the fire or knife of the surgeon that makes the delicate flesh burn or bleed. Remember that the fool to the eyes of the gods and the fool to the eyes of man are very different. One who is entirely ignorant[40] of the modes of Art in its revelation or the moods of thought in its progress, of the pomp of the Latin line or the richer music of the vowelled Greek, of Tuscan sculpture or Elizabethan song, may yet be full of the very sweetest wisdom. The real fool, such as the gods mock or mar, is he who does not know himself. I was such a one too long. You have been such a one too long. Be so no more. Do not be afraid. The supreme vice is shallowness. Everything that is realised is right. Remember also that whatever is misery to you to read, is still greater misery to me to set down. They have permitted you to see the strange and tragic shapes of life as one sees shadows in a crystal. The head of Medusa that turns living men to stone, you have been allowed to look at in a mirror merely. You yourself have walked free among the flowers. From me the beautiful world of colour and motion has been taken away.

I will begin by telling you that I blame myself terribly. As I sit in this dark cell in convict clothes, a disgraced and ruined man, I blame myself. In the perturbed and fitful nights of anguish, in the long monotonous days of pain, it is myself I blame. I blame myself for allowing an intellectual friendship, a friendship whose primary aim was not the creation and contemplation of beautiful things, entirely to dominate my life. From the very first there was too wide a gap between us. You had been idle at your school, worse than idle[41] at your university. You did not realise that an artist, and especially such an artist as I am, one, that is to say, the quality of whose work depends on the intensification of personality, requires an intellectual atmosphere, quiet, peace, and solitude. You admired my work when it was finished: you enjoyed the brilliant successes of my first nights, and the brilliant banquets that followed them: you were proud, and quite naturally so, of being the intimate friend of an artist so distinguished: but you could not understand the conditions requisite for the production of artistic work. I am not speaking in phrases of rhetorical exaggeration, but in terms of absolute truth to actual fact when I remind you that during the whole time we were together I never wrote one single line. Whether at Torquay, Goring, London, Florence, or elsewhere, my life, as long as you were by my side, was entirely sterile and uncreative. And with but few intervals, you were, I regret to say, by my side always.

I remember, for instance, in September, '93, to select merely one instance out of many, taking a set of chambers, purely in order to work undisturbed, as I had broken my contract with John Hare, for whom I had promised to write a play, and who was pressing me on the subject. During the first week you kept away. We had, not unnaturally indeed, differed on the question of the artistic value[42] of your translation of Salome. So you contented yourself with sending me foolish letters on the subject. In that week I wrote and completed in every detail, as it was ultimately performed, the first act of an An Ideal Husband. The second week you returned, and my work practically had to be given up. I arrived at St. James's Place every morning at 11.30 in order to have the opportunity of thinking and writing without the interruption inseparable from my own household, quiet and peaceful as that household was. But the attempt was vain. At 12 o'clock you drove up and stayed smoking cigarettes and chattering till 1.30, when I had to take you out to luncheon at the Cafe Royal or the Berkeley. Luncheon with its liqueurs lasted usually till 3.30. For an hour you retired to White's. At tea time you appeared again and stayed till it was time to dress for dinner. You dined with me either at the Savoy or at Tite Street. We did not separate as a rule till after midnight, as supper at Willis' had to wind up the entrancing day. That was my life for those three months, every single day, except during the four days when you went abroad. I then, of course, had to go over to Calais to fetch you back. For one of my nature and temperament it was a position at once grotesque and tragic.

You surely must realise that now. You must see now that your incapacity of being alone: your nature so exigent in its persistent claim on the attention and time of others: your lack of any power of sustained intellectual concentration: the unfortunate accident—for I like to think it was no more—that you had not been able to acquire the "Oxford temper" in intellectual matters, never, I mean, been one who could play gracefully with ideas, but had arrived at violence of opinion merely—that all these things, combined with the fact that your desires and your interests were in Life, not in Art, were as destructive to your own progress in culture as they were to my work as an artist. When I compare my friendship with you to my friendship with still younger men, as John Gray and Pierre Louys, I feel ashamed. My real life, my higher life, was with them and such as they.

Of the appalling results of my friendship with you I don't speak at present. I am thinking merely of its quality while it lasted. It was intellectually degrading to me. You had the rudiments[43] of an artistic temperament in its germ. But I met you either too late or too soon. I don't know which. When you were away I was all right. The moment, in the early December of the year to which I have been alluding, I had succeeded in inducing your mother to send you out of England, I collected again the torn and ravelled web of my imagination, got my life back into my own hands, and not merely finished the three remaining acts of the Ideal Husband, but conceived and had almost completed two other plays of a completely different type, the Florentine Tragedy and La Sainte Courtesane, when suddenly, unbidden, unwelcome, and under circumstances fatal to my happiness, you returned. The two works left then imperfect I was unable to take up again. The mood that created them I could never recover. You now, having yourself published a volume of verse, will be able to recognise the truth of everything I have said here. Whether you can or not it remains as a hideous truth in the very heart of our friendship. While you were with me you were the absolute ruin of my art, and in allowing you to stand persistently between Art and myself, I give to myself shame and blame in the fullest degree. You couldn't appreciate, you couldn't know, you couldn't understand. I had no right to expect it of you at all. Your interests were merely in your meals and moods. Your desires were simply for amusements, for ordinary or less ordinary pleasures. They were what your temperament needed, or thought it needed for the moment. I should have forbidden you my house and my chambers except when I specially invited you. I blame myself without reserve for my weakness. It was merely weakness. One half-hour with Art was always more to me than a cycle with you. Nothing really at any period of my life was ever of the smallest importance[44] to me compared with Art. But in the case of an artist, weakness is nothing less than a crime when it is a weakness that paralyses the imagination.

I blame myself for having allowed you to bring me to utter and discreditable financial ruin. I remember one morning in the early October of '92, sitting in the yellowing woods at Bracknell with your mother. At that time I knew very little of your real nature. I had stayed from a Saturday to Monday with you at Oxford. You had stayed with me at Cromer for ten days and played golf. The conversation turned on you, and your mother began to speak to me about your character. She told me of your two chief faults, your vanity, and your being, as she termed it, "all wrong about money." I have a distinct recollection of how I laughed. I had no idea that the first would bring me to prison and the second to bankruptcy. I thought vanity a sort of graceful flower for a young man to wear, as for extravagance—the virtues of prudence and thrift were not in my own nature or my own race. But before our friendship was one month older I began to see what your mother really meant. Your insistence on a life of reckless profusion: your incessant demands for money: your claim that all your pleasures should be paid for by me, whether I was with you or not, brought me, after some time, into serious monetary difficulties, and what made the extravagance to me, at any rate, so monotonously uninteresting, as your persistent grasp on my life grew stronger and stronger, was that the money was spent on little more than the pleasures of eating, drinking and the like. Now and then it is a joy to have one's table red with wine and roses, but you outstripped all taste and temperance. You demanded without grace and received without thanks. You grew to think that you had a sort of right to live at my expense, and in a profuse luxury to which you had never been accustomed, and which, for that reason, made your appetites all the more keen, and at the end, if you lost money gambling in some Algiers Casino, you simply telegraphed next morning to me in London to lodge the amount of your losses to your account at your bank, and gave the matter no further thought of any kind.

When I tell you that between the autumn of 1892 and the date of my imprisonment, I spent with you and on you, more than L5,000 in actual money, irrespective of the bills I incurred, you will have some idea of the sort of life on which you insisted. Do you think I exaggerate? My ordinary expenses with you for an ordinary day in London—for luncheon, dinner, supper, amusements, hansoms, and the rest of it—ranged from L12 to L20, and the week's expenses were naturally in proportion and ranged from L80 to L130. For our three months at Goring my expenses (rent, of course, included) were L1,340. Step by step with the Bankruptcy Receiver I had to go over every item of my life. It was horrible. "Plain living and high thinking," was, of course, an ideal you could not at that time have appreciated, but such an extravagance was a disgrace to both of us. One of the most delightful dinners I remember ever having had is one Robbie and I had together in a little Soho Cafe, which cost about as many shillings as my dinners to you used to cost pounds. Out of my dinner with Robbie came the first and best of all my dialogues. Idea, title, treatment, mode, everything was struck out at a 3 franc 50c. table d'hote. Out of the reckless dinners with you nothing remains but the memory that too much was eaten and too much was drunk. And my yielding to your demands was bad for you. You know that now. It made you grasping often: at times not a little unscrupulous: ungracious always. There was, on far too many occasions, too little joy or privilege in being your host. You forgot—I will not say the formal courtesy of thanks, for formal courtesies will strain a close friendship—but simply the grace of sweet companionship, the charm of pleasant conversation, and all those gentle humanities that make life lovely, and are an accompaniment to life as music might be, keeping things in tune and filling with melody the harsh or silent places. And though it may seem strange to you that one in the terrible position in which I am situated, should find a difference between one disgrace and another, still I frankly admit that the folly of throwing away all this money on you, and letting you squander my fortune to your own hurt as well as to mine, gives to me and in my eyes a note of common profligacy to my bankruptcy that makes me doubly ashamed of it. I was made for other things.

But most of all I blame myself for the entire ethical degradation I allowed you to bring on me. The basis of character is will power, and my will power became absolutely subject[45] to yours. It sounds a grotesque thing to say, but it is none the less true. Those incessant scenes that seemed to be almost physically necessary to you, and in which your mind and body grew distorted, and you became a thing as terrible to look at as to listen to: that dreadful mania you inherit from your father, the mania for writing revolting and loathsome letters: your entire lack of any control over your emotions as displayed in your long resentful moods of sullen silence, no less than in the sudden fits of almost epileptic rage: all these things in reference to which one of my letters to you, left by you lying about in the Savoy or some other hotel, and so produced in court by your father's counsel, contained an entreaty not devoid of pathos, had you at that time been able to recognise pathos either in its elements or its expression—these, I say, were the origin and causes of my fatal yielding to you in your daily increasing demands. You wore me out. It was the triumph of the smaller over the bigger nature. It was the case of that tyranny of the weak over the strong which somewhere in one of my plays I describe as being "the only tyranny that lasts." And it was inevitable. In every relation of life with others one has to find some moyen de vivre.

I had always thought that my giving up to you in small things meant nothing: that when a great moment arrived I could myself re-assert my will power in its natural superiority. It was not so. At the great moment my will power completely failed me. In life there is really no great or small thing. All things are of equal value and of equal size. My habit—due to indifference chiefly at first—of giving up to you in everything had become insensibly a real part of my nature. Without my knowing it, it had stereotyped my temperament to one permanent and fatal mood. That is why, in the subtle epilogue to the first edition of his essays, Pater says that "Failure is to form habits." When he said it the dull Oxford people thought the phrase a mere wilful inversion of the somewhat wearisome text of Aristotelian Ethics, but there is a wonderful, a terrible truth hidden in it. I had allowed you to sap my strength of character, and to me the formation of a habit had proved to be not failure merely, but ruin. Ethically you had been even still more destructive to me than you had been artistically.

The warrant once granted, your will, of course, directed everything. At a time when I should have been in London taking wise counsel and calmly considering the hideous trap in which I had allowed myself to be caught—the booby trap, as your father calls it to the present day—you insisted on my taking you to Monte Carlo, of all revolting places on God's earth, that all day and all night as well, you might gamble as long as the casino remained open. As for me—baccarat[46] having no charms for me—I was left alone outside by myself. You refused to discuss even for five minutes the position to which you and your father had brought me. My business was merely to pay your hotel expenses and your losses. The slightest allusion to the ordeal awaiting me was regarded as a bore. A new brand of champagne that was recommended to us had more interest for you. On our return to London those of my friends who really desired my welfare implored me to retire abroad, and not to face an impossible trial. You imputed mean motives to them for giving such advice and cowardice to me for listening to it. You forced me to stay to brazen it out, if possible, in the box by absurd and silly perjuries. At the end, of course, I was arrested, and your father became the hero of the hour.

As far as I can make out, I ended my friendship with you every three months regularly. And each time that I did so you managed by means of entreaties, telegrams, letters, the interposition of your friends, the interposition of mine, and the like to induce me to allow you back.

But the froth and folly of our life grew often very wearisome to me: it was only in the mire that we met: and fascinating, terribly fascinating though the one[47] topic round which your talk invariably centered was, still at the end it became quite monotonous to me. I was often bored to death by it, and accepted it as I accepted your passion for music halls, or your mania for absurd extravagance in eating and drinking, or any other of your to me less attractive characteristics, as a thing that is to say, that one simply had to put up with, a part of the high price one had to pay for knowing you.

When you came one Monday evening to my rooms, accompanied by two[48] of your friends, I found myself actually flying abroad next morning to escape from you, giving my family some absurd reason for my sudden departure, and leaving a false address with my servant for fear you might follow me by the next train....

Our friendship had always been a source of distress to my wife: not merely because she had never liked you personally, but because she saw how your continual companionship altered me, and not for the better.

You started without delay for Paris, sending me passionate telegrams on the road to beg me to see you once, at any rate. I declined. You arrived in Paris late on a Saturday night and found a brief letter from me waiting for you at your hotel stating that I would not see you. Next morning I received in Tite Street a telegram of some ten or eleven pages in length from you. You stated in it that no matter what you had done to me you could not believe that I would absolutely decline to see you; you reminded me that for the sake of seeing me even for one hour you had travelled six days and six nights across Europe without stopping once on the way; you made what I must admit was a most pathetic appeal, and ended with what seemed to me a threat of suicide and one not thinly veiled. You had yourself often told me how many of your race there had been who had stained their hands in their own blood: your uncle certainly, your grandfather possibly; many others in the mad bad line from which you come. Pity, my old affection for you, regard for your mother, to whom your death under such dreadful circumstances would have been a blow almost too great for her to bear, the horror of the idea that so young a life, and one that amidst all its ugly faults had still promise of beauty in it, should come to so revolting an end, mere humanity itself—all these, if excuses be necessary, must serve as an excuse for consenting to accord you one last interview. When I arrived in Paris, your tears breaking out again and again all through the evening, and falling over your cheeks like rain as we sat at dinner first at Voisin's, at supper at Paillard's afterwards, the unfeigned joy you evinced at seeing me, holding my hand whenever you could, as though you were a gentle and penitent child; your contrition, so simple and sincere at the moment made me consent to renew our friendship. Two days after we had returned to London, your father saw you having luncheon with me at the Cafe Royal, joined my table, drank of my wine, and that afternoon, through a letter addressed to you, began his first attack on me.... It may be strange, but I had once again, I will not say the chance, but the duty, of separating from you forced on me. I need hardly remind you that I refer to your conduct to me at Brighton from October 10th to 13th, 1894. Three years is a long time for you to go back. But we who live in prison, and in whose lives there is no event but sorrow, have to measure time by throbs of pain, and the record of bitter moments. We have nothing else to think of. Suffering, curious as it may sound to you, is the means by which we exist, because it is the only means by which we become conscious of existing; and the remembrance of suffering in the past is necessary to us as the warrant, the evidence, of our continued identity. Between myself and the memory of joy lies a gulf no less deep than that between myself and joy in its actuality. Had our life together been as the world fancied it to be, one simply of pleasure, profligacies and laughter, I would not be able to recall a single passage in it. It is because it was full of moments and days tragic, bitter, sinister in their warnings, dull or dreadful in their monotonous scenes and unseemly violences, that I can see or hear each separate incident in its detail, can indeed see or hear little else. So much in this place do men live by pain that my friendship with you, in the way through which I am forced to remember it, appears to me always as a prelude consonant with those varying modes of anguish which each day I have to realise, nay more, to necessitate them even; as though my life, whatever it had seemed to myself and others, had all the while been a real symphony of sorrow, passing through its rhythmically linked movements to its certain resolution, with that inevitableness that in Art characterises the treatment of every great theme.... I spoke of your conduct to me on three successive days three years ago, did I not?

I entertained you, of course, I had no option in the matter; but elsewhere, and not in my own home. The next day, Monday, your companion returned to the duties[49] of his profession, and you stayed with me. Bored with Worthing, and still more, I have no doubt, with my fruitless efforts to concentrate my attention on my play, the only thing that really interested me at the moment, you insist on being taken to the Grand Hotel at Brighton.

The night we arrive you fall ill with that dreadful low fever that is foolishly called the influenza, your second, if not your third, attack. I need not remind you how I waited on you, and tended you, not merely with every luxury of fruit, flowers, presents, books and the like that money can procure, but with that affection, tenderness and love that, whatever you may think, is not to be procured for money. Except for an hour's walk in the morning, an hour's drive in the afternoon, I never left the hotel. I got special grapes from London for you as you did not care for those the hotel supplied; invented things to please you; remained either with you or in the room next to yours; sat with you every evening to quiet or amuse you.

After four or five days you recover, and I take lodgings in order to try and finish my play. You, of course, accompany me. The morning after the day on which we were installed I feel extremely ill.

The doctor finds I have caught the influenza from you.

There is no manservant to wait on me, not even any one to send out on a message, or to get what the doctor orders. But you are there. I feel no alarm. The next two days you leave me entirely alone without care, without attendance, without anything. It was not a question of grapes, flowers and charming gifts: it was a question of mere necessities.

And when I was left all day without anything to read, you calmly tell me that you bought the book I wanted, and that they had promised to send it down, a statement which I found by chance afterwards to have been entirely untrue, from beginning to end. All the while you are, of course, living at my expense, driving about, dining at the Grand Hotel, and indeed only appearing in my room for money. On the Saturday night, you having completely left me unattended and alone since the morning, I asked you to come back after dinner, and sit with me for a little. With irritable voice and ungracious manner you promise to do so. I wait till 11 o'clock, and you never appear.

At three in the morning, unable to sleep, and tortured with thirst, I made my way in the dark and cold, down to the sitting-room in the hopes of finding some water there. I found you. You fell on me with every hideous word an intemperate mood, an undisciplined and untutored nature could suggest. By the terrible alchemy of egotism you converted your remorse into rage. You accused me of selfishness in expecting you to be with me when I was ill; of standing between you and your amusements; of trying to deprive you of your pleasures.

You told me, and I know it was quite true, that you had come back at midnight simply in order to change your dress-clothes, and go out again.

I told you at length to leave the room; you pretended to do so, but when I lifted up my head from the pillow in which I had buried it, you were still there, and with brutality of laughter and hysteria of rage you moved suddenly towards me. A sense of horror came over me, for what exact reason I could not make out; but I got out of my bed at once, and bare-footed and just as I was, made my way down the two nights of stairs to the sitting-room.

You returned silently for money; took what you could find on the dressing table, and mantelpiece, and left the house with your luggage. Need I tell you what I thought of you during the two lonely wretched days of illness that followed? Is it necessary for me to state, that I saw clearly that it would be a dishonour to myself to continue even an acquaintance with such a one as you had showed yourself to be? That I recognised that the ultimate moment had come and recognised it as being really a great relief? And that I knew that for the future my art and life would be freer and better and more beautiful in every possible way? Ill as I was, I felt at ease. The fact that the separation was irrevocable gave me peace.

Wednesday was my birthday. Amongst the telegrams and communications on my table was a letter in your handwriting. I opened it with a sense of sadness on me. I knew that the time had gone by when a pretty phrase, an expression of affection, a word of sorrow, would make me take you back. But I was entirely deceived. I had underrated you.

You congratulated me on my prudence in leaving the sick bed, on my sudden flight downstairs. "It was an ugly moment for you," you said, "uglier than you imagine." Ah! I felt it but too well. What it had really meant I do not know; whether you had with you the pistol you had bought to try to frighten your father with, and that thinking it to be unloaded, you had once fired off in a public restaurant in my company; whether your hand was moving towards a common dinner knife that by chance was lying on the table between us; whether forgetting in your rage your low[50] stature and inferior strength, you had thought of some special personal insult, or attack even, as I lay ill there; I could not tell. I do not know to the present moment. All I know is that a feeling of utter horror had come over me, and that I had felt that unless I left the room at once and got away, you would have done or tried to do something that would have been, even to you, a source of lifelong shame....

On your return to town from the actual scene of the tragedy to which you had been summoned, you came at once to me very sweetly and very simply, in your suit of woe, and with your eyes dim with tears. You sought consolation and help, as a child might seek it. I opened to you my house, my home, my heart. I made your sorrow mine also, that you might have help in bearing it. Never even by one word, did I allude to your conduct towards me, to the revolting scenes, and the revolting letter.

The gods are strange. It is not our vices only they make instruments to scourge us. They bring us to ruin through what in us is good, gentle, humane, loving. But for my pity and affection for you and yours, I would not now be weeping in this terrible place.

Of course, I discern in all our relations, not destiny merely, but Doom—Doom that walks always swiftly, because she goes to the shedding of blood. Through your father you come of a race, marriage with whom is horrible, friendship fatal, and that lays violent hands either on its own life, or on the lives of others.

In every little circumstance in which the ways of our lives met, in every point of great or seemingly trivial import in which you came to me for pleasure or help, in the small chances, the slight accidents that look, in their relation to life, to be no more than the dust that dances in a beam, or the leaf that flutters from a tree, ruin followed like the echo of a bitter cry, or the shadow that hunts with the beast of prey.

Our friendship really begins with your begging me, in a most pathetic and charming letter, to assist you in a position appalling to anyone, doubly so to a young man at Oxford. I do so, and ultimately, through your using my name as your friend with Sir George Lewis I begin to lose his esteem and friendship, a friendship of fifteen years' standing. When I was deprived of his advice and help and regard, I was deprived of the one great safeguard of my life. You send me a very nice poem of the undergraduate school of verse for my approval. I reply by a letter of fantastic literary conceits; I compare you to Hylas, or Hyacinth, Jonquil or Narcissus, or some one whom the Great God of Poetry favoured, and honoured with his love. The letter is like a passage from one of Shakespeare's sonnets transposed to a minor key.

It was, let me say frankly, the sort of letter I would, in a happy, if wilful moment, have written to any graceful young man of either university who had sent me a poem of his own making, certain that he would have sufficient wit, or culture, to interpret rightly its fantastic phrases. Look at the history of that letter! It passes from you into the hands of a loathsome companion[51], from him to a gang of blackmailers, copies of it are sent about London to my friends, and to the manager[52] of the theatre where my work is being performed, every construction but the right one is put on it, society is thrilled with the absurd rumours that I have had to pay a high sum of money for having written an infamous letter to you; this forms the basis of your father's worst attack.

I produce the original letter myself in court to show what it really is; it is denounced by your father's counsel as a revolting and insidious attempt to corrupt innocence; ultimately it forms part of a criminal charge; the crown takes it up; the judge sums up on it with little learning and much morality; I go to prison for it at last. That is the result of writing you a charming letter.

It makes me feel sometimes as if you yourself had been merely a puppet worked by some secret and unseen hand to bring terrible events to a terrible issue. But puppets themselves have passions. They will bring a new plot into what they are presenting, and twist the ordered issue of vicissitude to suit some whim or appetite of their own. To be entirely free, and at the same time entirely dominated by law, is the eternal paradox of human life that we realise at every moment; and this, I often think, is the only explanation possible of your nature, if indeed for the profound and terrible mystery of a human soul there is any explanation at all, except one that makes the mystery all the more marvellous still.

I thought life was going to be a brilliant comedy, and that you were to be one of the graceful figures in it. I found it to be a revolting and repellent tragedy, and that the sinister occasion of the great catastrophe, sinister in its concentration of aim and intensity of narrowed will power, was yourself stripped of the mask of joy and pleasure by which you, no less than I, had been deceived and led astray.

The memory of our friendship is the shadow that walks with me here: that seems never to leave me: that wakes me up at night to tell me the same story over and over till its wearisome iteration makes all sleep abandon me till dawn: at dawn it begins again: it follows me into the prison yard and makes me talk to myself as I tramp round: each detail that accompanied each dreadful moment I am forced to recall: there is nothing that happened in those ill-starred years that I cannot recreate in that chamber of the brain which is set apart for grief or for despair; every strained note of your voice, every twitch and gesture of your nervous hands, every bitter word, every poisonous phrase comes back to me: I remember the street or river down which we passed: the wall or woodland that surrounded us; at what figure on the dial stood the hands of the clock; which way went the wings of the wind, the shape and colour of the moon.

There is, I know, one answer to all that I have said to you, and that is that you loved me: that all through those two and a half years during which the fates were weaving into one scarlet pattern the threads of our divided lives you really loved me.

Though I saw quite clearly that my position in the world of art, the interest that my personality had always excited, my money, the luxury in which I lived, the thousand and one things that went to make up a life so charmingly and so wonderfully improbable as mine was, were, each and all of them, elements that fascinated you and made you cling to me; yet besides all this there was something more, some strange attraction for you: you loved me far better than you loved anyone else. But you, like myself, have had a terrible tragedy in your life, though one of an entirely opposite character to mine. Do you want to learn what it was? It was this. In you, hate was always stronger than love. Your hatred[53] of your father was of such stature that it entirely outstripped, overgrew, and overshadowed your love of me. There was no struggle between them at all, or but little; of such dimensions was your hatred and of such monstrous growth. You did not realise that there was no room for both passions in the same soul: they cannot live together in that fair carven house. Love is fed by the imagination, by which we become wiser than we know, better than we feel, nobler than we are; by which we can see life as a whole; by which and by which alone, we can understand others in their real as in their ideal relations. Only what is fine, and finely conceived, can feed love. But anything will feed hate. There was not a glass of champagne that you drank, not a rich dish that you ate of in all those years, that did not feed your hate and make it fat. So to gratify it, you gambled with my life, as you gambled with my money, carelessly, recklessly, indifferent to the consequences. If you lost, the loss would not, you fancied, be yours. If you won, yours, you knew, would be the exultation and the advantages of victory.

Hate blinds people. You were not aware of that. Love can read the writing on the remotest star, but hate so blinded you that you could see no further than the narrow, walled in, and already lust-withered garden of your common desires. Your terrible lack of imagination, the one really fatal defect in your character, was entirely the result of the hate that lived in you. Subtly, silently, and in secret, hate gnawed at your nature, as the lichen bites at the root of some sallow plant, till you grew to see nothing but the most meagre interests and the most petty aims. That faculty in you which love would have fostered, hate poisoned and paralysed.

The idea of your being the object of a terrible quarrel between your father and a man of my position seemed to delight you.

You scented the chance of a public scandal and flew to it. The prospect of a battle in which you would be safe delighted you.

You know what my art was to me, the great primal note by which I had revealed, first myself to myself, and then myself to the world, the great passion of my life, the love to which all other loves were as marsh water to red wine, or the glow worm of the marsh to the magic mirror of the moon.... Don't you understand now that your lack of imagination was the one really fatal defect of your character? What you had to do was quite simple, and quite clear before you; but hate had blinded you, and you could see nothing.

Life is quite lovely to you. And yet, if you are wise, and wish to find life much lovelier still, and in a different manner you will let the reading of this terrible letter—for such I know it is—prove to you as important a crisis and turning point of your life as the writing of it is to me. Your pale face used to flush easily with wine or pleasure. If, as you read what is here written, it from time to time becomes scorched, as though by a furnace blast, with shame, it will be all the better for you. The supreme vice is shallowness. Whatever is realised is right.

How clearly I saw it then, as now, I need not tell you. But I said to myself, "At all costs I must keep love in my heart. If I go into prison without love, what will become of my soul?" The letters I wrote to you at that time from Holloway were my efforts to keep love as the dominant note of my own nature. I could, if I had chosen, have torn you to pieces with bitter reproaches. I could have rent you with maledictions.

The sins of another were being placed to my account. Had I so chosen, I could on either trial have saved myself at his expense, not from shame indeed, but from imprisonment.[54] Had I cared to show that the crown witnesses—the three most important—had been carefully coached by your father and his solicitors, not in reticences merely, but in assertions, in the absolute transference deliberate, plotted, and rehearsed, of the actions and doings of someone else on to me, I could have had each one of them dismissed from the box by the judge, more summarily than even wretched perjured Atkins was. I could have walked out of court with my tongue in my cheek, and my hands in my pockets, a free man. The strongest pressure was put upon me to do so, I was earnestly advised, begged, entreated to do so by people, whose sole interest was my welfare, and the welfare of my house. But I refused. I did not choose to do so. I have never regretted my decision for a single moment, even in the most bitter periods of my imprisonment. Such a course of action would have been beneath me. Sins of the flesh are nothing. They are maladies for physicians to cure, if they should be cured. Sins of the soul alone are shameful. To have secured my acquittal by such means would have been a life-long torture to me. But do you really think that you were worthy of the love I was showing you then, or that for a single moment I thought you were? Do you really think that any period of our friendship you were worthy of the love I showed you, or that for a single moment I thought you were? I knew you were not. But love does not traffic in a market place, nor use a huckster's scales. Its joy, like the joy of the intellect, is to feel itself alive. The aim of love is to love; no more, and no less. You were my enemy; such an enemy as no man ever had. I had given you my life; and to gratify the lowest and most contemptible of all human passions, hatred and vanity and greed, you had thrown it away. In less than three years you had entirely ruined me from every point of view.

After my terrible sentence, when the prison dress was on me, and the prison house closed, I sat amidst the ruins of my wonderful life, crushed by anguish, bewildered with terror, dazed through pain. But I would not hate you. Every day I said to myself, "I must keep love in my heart to-day, else how shall I live through the day?" I reminded myself that you meant no evil to me at any rate....

It all flashed across me, and I remember that for the first and last time in my entire prison life, I laughed. In that laugh was all the scorn of all the world. Prince Fleur de lys! I saw that nothing that had happened had made you realise a single thing. You were, in your own eyes, still the graceful prince of a trivial comedy, not the sombre figure of a tragic show.

Had there been nothing in your heart to cry out against so vulgar a sacrilege, you might at least have remembered the sonnet he wrote who saw with such sorrow and scorn the letters of John Keats sold by public auction in London, and have understood at last the real meaning of my lines:

"... I think they love not art Who break the crystal of a poet's heart That small and sickly eyes may glare or gloat."

One cannot always keep an adder in one's breast to feed on one, nor rise up every night to sow thorns in the garden of one's soul.

I cannot allow you to go through life bearing in your heart the burden of having ruined a man like me.

Does it ever occur to you what an awful position I would have been in if, for the last two years, during my appalling sentence, I had been dependent on you as a friend? Do you ever think of that? Do you ever feel any gratitude to those who by kindness without stint, devotion without limit, cheerfulness and joy in giving, have lightened my black burden for me, have arranged my future life for me, have visited me again and again, have written to me beautiful and sympathetic letters, have managed my affairs for me, have stood by me in the teeth of obloquy, taunt, open sneer or insult even? I thank God every day that he gave me friends other than you. I owe everything to them. The very books in my cell are paid for by Robbie out of his pocket money. From the same source[55] are to come clothes for me when I am released. I am not ashamed of taking a thing that is given by love and affection. I am proud of it. But do you ever think of what friends such as More Adey, Robbie, Robert Sherard, Frank Harris, and Arthur Clifton have been to me in giving me comfort, help, affection, sympathy and the like?...

I know that your mother, Lady Queensberry, puts the blame on me. I hear of it, not from people who know you, but from people who do not know you, and do not desire to know you. I hear of it often. She talks of the influence of an elder over a younger man, for instance. It is one of her favourite attitudes towards the question, as it is always a successful appeal to popular prejudice and ignorance. I need not ask you what influence I had over you. You know I had none.

It was one of your frequent boasts that I had none, the only one indeed, that was well founded. What was there, as a mere matter of fact, in you that I could influence? Your brain? It was undeveloped. Your imagination? It was dead. Your heart? It was not yet born. Of all the people who have ever crossed my life, you were the one, and the only one, I was unable in any way to influence in any direction.

I waited month after month to hear from you. Even if I had not been waiting but had shut the doors against you, you should have remembered that no one can possibly shut the doors against love forever. The unjust judge in the gospels rises up at length to give a just decision because justice comes daily knocking at his door: and at night time the friend, in whose heart there is no real friendship, yields at length to his friend "because of his importunity." There is no prison in any world into which love cannot force an entrance. If you did not understand that, you did not understand anything about love at all....

Write to me with full frankness, about yourself: about your life: your friends: your occupations: your books. Whatever you have to say for yourself, say it without fear. Don't write what you don't mean: that is all. If anything in your letter is false or counterfeit I shall detect it by the ring at once. It is not for nothing, or to no purpose that in my lifelong cult of literature, I have made myself,

"Miser of sound and syllable, no less Than Midas of his coinage."

Remember also that I have yet to know you. Perhaps we have yet to know each other. For myself, I have but this last thing to say. Do not be afraid of the past. If people tell you that it is irrevocable, do not believe them. The past, the present and the future are but one moment in the sight of God, in whose sight we should try to live. Time and space, succession and extension, are merely accidental conditions of a thought. The imagination can transcend them and more, in a free sphere of ideal existences. Things, also, are in their essence what we choose to make them. A thing is, according to the mode in which one looks at it. "Where others," says Blake, "see but the dawn coming over the hill, I see the sons of God shouting for joy." What seemed to the world and to myself my future I lost irretrievably when I let myself be taunted into taking the action against your father, had, I daresay, lost in reality long before that. What lies before me is the past. I have got to make myself look on that with different eyes, to make the world look on it with different eyes, to make God look on it with different eyes. This I cannot do by ignoring it, or slighting it, or praising it, or denying it. It is only to be done fully by accepting it as an inevitable part of the evolution of my life and character: by bowing my head to everything that I have suffered.

How far I am away from the true temper of soul, this letter in its changing, uncertain moods, its scorn and bitterness, its aspirations and its failures to realise those aspirations shows you quite clearly. But do not forget in what a terrible school I am setting at my task. And incomplete, imperfect, as I am, yet from me you may have still much to gain. You came to me to learn the pleasure of life and the pleasure of art. Perhaps I am chosen to teach you something much more wonderful, the meaning of sorrow and its beauty.

Your affectionate friend,

OSCAR WILDE.

This letter of Oscar Wilde to Lord Alfred Douglas is curiously self-revealing and characteristic. While reading it one should recall Oscar's provocation. Lord Alfred Douglas had driven him to the prosecution, and then deserted him and left him in prison without using his influence to mitigate his friend's suffering or his pen to console and encourage him. The abandonment was heartless and complete. The letter, however, is vindictive: in spite of its intimate revelations Oscar took care that his indictment should be made public. The flagrant self-deceptions of the plea show its sincerity: Oscar even accuses young Alfred Douglas of having induced him to eat and drink too much.

The tap-root of the letter is a colossal vanity; the bitterness of it, wounded egotism; the falseness of it, a self-righteous pose of ineffable superiority as of a superman. Oscar denies to Alfred Douglas imagination, scholarship, or even a knowledge of poetry: he tells him in so many words:—he is without brain or heart. Then why did he allow himself to be hag-ridden to his ruin by such a creature?

Yet how human the letter is, how pathetic!

OSCAR WILDE'S KINDNESS OF HEART

Here is a note which Oscar Wilde wrote to Warder Martin towards the end of his imprisonment in Reading Gaol. Warder Martin, it will be remembered, was dismissed from his post for having given some sweet biscuits, bought with his own money, to some hungry little children confined in the prison.

Wilde happened to see the children and immediately wrote this note on a scrap of paper and slipped it under his door so that it should catch Warder Martin's eye as he patrolled the corridor.

Please find out for me the name of A.2.11. Also, the names of the children who are in for the rabbits, and the amount of the fine.

Can I pay this and get them out? If so I will get them out tomorrow. Please, dear friend, do this for me. I must get them out.

Think what a thing for me it would be to be able to help three little children. I would be delighted beyond words: if I can do this by paying the fine tell the children that they are to be released tomorrow by a friend, and ask them to be happy and not to tell anyone.

Here is a second note which shows Oscar's peculiar sensitiveness; what is ugly and terrible cannot, he thinks, furnish even the subject of art; he shrinks from whatever gives pain.

I hope to write about prison-life and to try and change it for others, but it is too terrible and ugly to make a work of art of. I have suffered too much in it to write plays about it.

A third note simply thanks Warder Martin for all his kindness. It ends with the words:

... Everyone tells me I am looking better and happier.

This is because I have a good friend who gives me The Chronicle and PROMISES me ginger biscuits. O.W.

MY COLDNESS TOWARDS OSCAR IN 1897

(See page 408)

When I talked with Oscar in Reading Gaol, he told me that the only reason he didn't write was that no one would accept his work. I assured him that I would publish it in The Saturday Review and would pay for it not only at the rate I paid Bernard Shaw but also if it increased the sale of the journal I'd try to compute its value to the paper and give him that besides. He told me that was too liberal; he would be quite content with what I paid Shaw: he feared that no one else in England would ever publish his work again.

He promised to send me the book "De Profundis" as soon as it was finished. Just before his release his friend, Mr. More Adey, called upon me and wanted to know whether I would publish Oscar's work. I said I would. He then asked me what I would give for it. I told him I didn't want to make anything out of Oscar and would give him as much as I could, rehearsing the proposal I had made to Oscar. Thereupon he told me Oscar would prefer a fixed price. I thought the answer extraordinary and the gentle, urbane manner of Mr. More Adey, whom I hardly knew at that time and misunderstood, got on my nerves. I replied curtly that before I could state a price, I'd have to see the work, adding at the same time that I had wished to do Oscar a good turn, but, if he could find another publisher, I'd be delighted. Mr. More Adey assured me that there was nothing in the book to which any prude even could object, no arriere pensee of any kind, and so forth and so on. I answered with a jest, a wretched play on his French phrase.

That night I happened to dine with Whistler and telling him of what had occurred called forth a most stinging gibe at Oscar's expense. Whistler's mot cannot be published.

A week or two later Oscar asked me to get him some clothes, which I did and on his release sent them to him, and received in reply a letter thanking me which I reproduce on page 583.

In that same talk with Oscar in Reading Gaol, I was so desirous of helping him that I proposed a driving tour through France. I told him of one I had made a couple of years before which was full of delightful episodes—an entrancing holiday. He jumped at the idea, said nothing would please him better, he would feel safe with me, and so forth. In order to carry out the idea in the best way I ordered an American mail phaeton so that a pair of horses would find the load, even with luggage, ridiculously light. I asked Mr. More Adey whether Oscar had spoken to him of this proposed trip: he told me he had heard nothing of it.

In one letter to me Oscar asked me to postpone the tour; afterwards he never mentioned it. I thought I had been treated rather cavalierly. As I had gone to some expense in getting everything ready and making myself free, I, no doubt, expressed some amazement at Oscar's silence on the matter. At any rate the idea got about that I was angry with him, and Oscar believed it. Nothing could have been further from the truth. What I had done and proposed was simply in his interest: I expected no benefit of any kind and therefore could not be cross; but the belief that I was angry drew this sincere and touching letter from Oscar, which I think shows him almost as perfectly as that still more beautiful letter to Robert Ross which I have inserted in Chapter XIX.

From M. Sebastian Melmoth, Hotel de la Plage, Bernavol-sur-Mer, Dieppe.

June 13, '97

MY DEAR FRANK:

I know you do not like writing letters, but still I think you might have written me a line in answer, or acknowledgment of my letter[56] to you from Dieppe. I am thinking of a story to be called "The Silence of Frank Harris."

I have, however, heard during the last few days that you do not speak of me in the friendly manner I would like. This distresses me very much.

I am told that you are hurt with me because my letter of thanks to you was not sufficiently elaborated in expression. This I can hardly credit. It seems so unworthy of a big strong nature like yours, that knows the realities of life. I told you I was grateful to you for your kindness to me. Words, now, to me signify things, actualities, real emotions, realised thoughts. I learnt in prison to be grateful. I used to think gratitude a burden. Now I know that it is something that makes life lighter as well as lovelier for one. I am grateful for a thousand things, from my good friends down to the sun and the sea. But I cannot say more than that I am grateful. I cannot make phrases about it. For me to use such a word shows an enormous development in my nature. Two years ago I did not know the feeling the word denotes. Now I know it, and I am thankful that I have learnt that much, at any rate, by having been in prison. But I must say again that I no longer make roulades of phrases about the deep things I feel. When I write directly to you, I speak directly: violin variations don't interest me. I am grateful to you. If that does not content you, then you do not understand, what you of all men should understand, how sincerity of feeling expresses itself. But I dare say the story told of you is untrue. It comes from so many quarters that it probably is.

I am told also that you are hurt[57] because I did not go on the driving-tour with you. You should understand, that in telling you that it was impossible for me to do so, I was thinking as much of you as of myself. To think of the feelings and happiness of others is not an entirely new emotion in my nature. I would be unjust to myself and my friends, if I said it was. But I think of those things far more than I used to do. If I had gone with you, you would not have been happy, nor enjoyed yourself. Nor would I. You must try to realise what two years cellular confinement is, and what two years of absolute silence means to a man of my intellectual power. To have survived at all—to have come out sane in mind and sound of body—is a thing so marvellous to me, that it seems to me sometimes, not that the age of miracles is over, but that it is just beginning; that there are powers in God, and powers in man, of which the world has up to the present known little. But while I am cheerful, happy, and have sustained to the full that passionate interest in life and art that was the dominant chord of my nature, and made all modes of existence and all forms of expression utterly fascinating to me always—still I need rest, quiet, and often complete solitude. Friends have come to see me here for a day, and have been delighted to find me like my old self, in all intellectual energy and sensitiveness to the play of life, but it has always proved afterwards to have been a strain upon a nervous force, much of which has been destroyed. I have now no storage[58] of nervous force. When I expend what I have, in an afternoon, nothing remains. I look to quiet, to a simple mode of existence, to nature in all the infinite meanings of an infinite word, to charge the cells for me. Every day, if I meet a friend, or write a letter longer than a few lines, or even read a book that makes, as all fine books do, a direct claim on me, a direct appeal, an intellectual challenge of any kind, I am utterly exhausted in the evening, and often sleep badly. And yet it is three whole weeks since I was released.

Had I gone with you on the driving tour, where we would have of necessity been in immediate contact with each other from dawn to sunset, I would have certainly broken off the tour the third day, probably broken down the second. You would have then found yourself in a pitiable position: your tour would have been arrested at its outset: your companion would have been ill without doubt: perhaps might have needed care and attendance, in some little remote French village. You would have given it to me, I know. But I felt it would have been wrong, stupid, and thoughtless of me to have started an expedition doomed to swift failure, and perhaps fraught with disaster and distress. You are a man of dominant personality: your intellect is exigent, more so than that of any man I ever knew: your demands on life are enormous: you require response, or you annihilate: the pleasure of being with you is in the clash of personality, the intellectual battle, the war of ideas. To survive you, one must have a strong brain, an assertive ego, a dynamic character. In your luncheon parties, in the old days, the remains of the guests were taken away with the debris of the feast. I have often lunched with you in Park Lane and found myself the only survivor. I might have driven on the white roads, or through the leafy lanes, of France, with a fool, or with the wisest of all things, a child: with you, it would have been impossible. You should thank me sincerely for having saved you from an experience that each of us would have always regretted.

Will you ask me why then, when I was in prison, I accepted with grateful thanks your offer? My dear Frank, I don't think you will ask so thoughtless a question. The prisoner looks to liberty as an immediate return to all his ancient energy, quickened into more vital forces by long disuse. When he goes out, he finds he has still to suffer: his punishment, as far as its effects go, lasts intellectually and physically just as it lasts socially: he has still to pay: one gets no receipt for the past when one walks out into the beautiful air....

I have now spent the whole of my Sunday afternoon—the first real day of summer we have had—in writing to you this long letter of explanation.

I have written directly and simply: I need not tell the author of "Elder Conklin" that sweetness and simplicity of expression take more out of one than fiddling harmonics on one string. I felt it my duty to write, but it has been a distressing one. It would have been better for me to have lain in the brown grass on the cliff, or to have walked slowly by the sea. It would have been kinder of you to have written to me directly about whatever harsh or hurt feelings you may have about me. It would have saved me an afternoon of strain, and tension.

But I have something more to say. It is pleasanter to me, now, to write about others, than about myself.

The enclosed is from a brother prisoner of mine: released June 4th: pray read it: you will see his age, offence, and aim in life.

If you can give him a trial, do so. If you see your way to this kind action, and write to him to come and see you, kindly state in your letter that it is about a situation. He may think otherwise that it is about the flogging of A.2.11., a thing that does not interest you, and about which he is a little afraid to talk.

If the result of this long letter will be that you will help this fellow prisoner of mine to a place in your service, I shall consider my afternoon better spent than any afternoon for the last two years, and three weeks.

In any case I have now written to you fully on all things as reported to me.

I again assure you of my gratitude for your kindness to me during my imprisonment, and on my release.

And am always

Your sincere friend and admirer

OSCAR WILDE.

With regard to Lawley

All soldiers are neat, and smart, and make capital servants. He would be a good groom: he is, I believe, a 3rd Hussars man—he was a quiet, well-conducted chap in Reading always.

Naturally I replied to this letter at once, saying that he had been misinformed, that I was not angry and if I could do anything for him I should be delighted: I did my best, too, for Lawley.

Here is his letter of thanks to me for helping him when he came out of prison.

Sandwich Hotel, Dieppe.

MY DEAR FRANK:

Just a line to thank you for your great kindness to me—for the lovely clothes, and for the generous cheque.

You have been a real good friend to me—and I shall never forget your kindness: to remember such a debt as mine to you—a debt of kind fellowship—is a pleasure.

About our tour—later on let us think about it. My friends have been so kind to me here that I am feeling happy already.

Yours,

OSCAR WILDE.

If you write to me please do so under cover to R.B. Ross, who is here with me.

In the next letter of his which I have kept Oscar is perfectly friendly again; he tells me that he is "entirely without money, having received nothing from his Trustees for months," and asks me for even L5, adding, "I drift in ridiculous impecuniosity without a sou."

THE MYSTERY OF PERSONALITY

I transcribe here another letter of Oscar to me from the second year after his release to show his interest in all intellectual things and for a flash of characteristic humour at the expense of the Paris police. The envelope is dated October 13, 1898:—

From M. Sebastian Melmoth, Hotel d'Alsace, Rue des Beaux-arts, Paris.

MY DEAR FRANK:

How are you? I read your appreciation of Rodin's "Balzac" with intensest pleasure, and I am looking forward to more Shakespeare—you will of course put all your Shakespearean essays into a book, and, equally of course, I must have a copy. It is a great era in Shakespearean criticism—the first time that one has looked in the plays not for philosophy, for there is none, but for the wonder of a great personality—something far better, and far more mysterious than any philosophy—it is a great thing that you have done. I remember writing once in "Intentions" that the more objective a work of art is in form, the more subjective it really is in matter—and that it is only when you give the poet a mask that he can tell you the truth. But you have shown it fully in the case of the one artist whose personality was supposed to be a mystery of deep seas, a secret as impenetrable as the secret of the moon.

Paris is terrible in its heat. I walk in streets of brass, and there is no one here. Even the criminal classes have gone to the seaside, and the gendarmes yawn and regret their enforced idleness. Giving wrong directions to the English tourists is the only thing that consoles them.

You were most kind and generous last month in letting me have a cheque—it gives me just the margin to live on and to live by. May I have it again this month? or has gold flown away from you?

Ever yours,

OSCAR.

THE DEDICATION OF "AN IDEAL HUSBAND"

I received the following letter from Oscar early in 1899 I imagine. It was written in the spring after the winter we spent in La Napoule.

From M. Sebastian Melmoth, Gland, Canton Vaud, Switzerland.

MY DEAR FRANK:

I am, as you see from above, in Switzerland with M——: a rather dreadful combination: the villa is pretty, and on the borders of the lake with pretty pines about: on the other side are the mountains of Savoy and Mont Blanc: we are an hour, by a slow train, from Geneva. But M——is tedious, and lacks conversation: also he gives me Swiss wine to drink: it is horrible: he occupies himself with small economies, and mean domestic interests, so I suffer very much. Ennui is the enemy.

I want to know if you will allow me to dedicate to you my next play, "The Ideal Husband"—which Smithers is bringing out for me in the same form as the others, of which I hope you received your copy. I should so much like to write your name and a few words on the dedicatory page.

I look back with joy and regret to the lovely sunlight of the Riviera, and the charming winter you so generously and kindly gave me: it was most good of you: how can it ever be forgotten by me.

Next week a petroleum launch is to arrive here, so that will console me a little, as I love to be on the water: and the Savoy side is starred with pretty villages and green valleys.

Of course we won our bet—the phrase on Shelley is in Arnold's preface to Byron: but M—— won't pay me! He suffers agony over a franc. It is very annoying as I have had no money since my arrival here. However I regard the place as a Swiss Pension—where there is no weekly bill....

Ever yours,

OSCAR.

I believe I answered; but am not sure. I was naturally delighted to have just "An Ideal Husband" dedicated to me, because I had suggested the plot of it to Oscar—not that the plot was in any true sense mine. An interesting and clever American in Cairo, a Mr. Cope Whitehouse, had given it to me as I tell in this book. The story Whitehouse told may not be true; but my mind jumped at once to the thought of a story where an English Minister would be confronted with some early sin of that sort. I had hardly bettered the story given to me when I related it to Oscar who used it almost immediately with great effect. Dedicatory words are usually as flattering as epitaphs; those of "An Ideal Husband" run:

TO

FRANK HARRIS

A SLIGHT TRIBUTE TO

HIS POWER AND DISTINCTION

AS AN ARTIST

HIS CHIVALRY AND NOBILITY

AS A FRIEND

MRS. WILDE'S EPITAPH

(See page 447)

An evil fate seems to have pursued even Oscar's wife. She died in Genoa and was buried in the corner of the Campo Santo set apart for Protestants. This is what one reads on her tombstone:

CONSTANCE

DAUGHTER OF THE LATE

HORATIO LLOYD, Q.C.

BORN —— DIED ——

No reference to her marriage or to the famous man who was the father of her two sons.

The irony of chance wills it that the late Horatio Lloyd, Q.C., had been more than suspected of sexual viciousness: cfr. "Criticisms by Robert Ross" at end of Appendix.

SONNET

(See page 517)

TO OSCAR WILDE

I dreamed of you last night, I saw your face All radiant and unshadowed of distress, And as of old, in measured tunefulness, I heard your golden voice and marked you trace Under the common thing the hidden grace, And conjure wonder out of emptiness, Till mean things put on Beauty like a dress, And all the world was an enchanted place.

And so I knew that it was well with you, And that unprisoned, gloriously free, Across the dark you stretched me out your hand. And all the spite of this besotted crew, (Scrabbling on pillars of Eternity) How small it seems! Love made me understand.

ALFRED DOUGLAS.

December 10, 1900.

Whoever chooses to compare this first sketch of the sonnet of 1900 with the sonnet as it was published in 1910 will remark three notable differences.

The first sketch was entitled "To Oscar Wilde," the revision to "The Dead Poet."

In the early draft, the first line:

"I dreamed of you last night, I saw your face," has become less intimate, having been changed into:

"I dreamed of him last night, I saw his face."

Finally the sextet which in the first sketch was very inferior to the rest has now been discarded in favour of six lines which are worthy of the octave. The published sonnet is assuredly superior to the first sketch, superb though that was.

THE STORY OF "MR. AND MRS. DAVENTRY"

(See page 534)

There has been so much discussion about the play entitled "Mr. and Mrs. Daventry," and Oscar Wilde's share in it, that I had better set forth here briefly what happened.

When I returned to London in the summer of 1899 after buying, as I thought, all rights in the sketch of the scenario from Oscar, I wrote at once the second, third and fourth acts of the play, as I had told Oscar I would. I sent him what I had written and asked him to write the first act as he had promised for the L50.

Some time before this I had seen Mr. Forbes Robertson and Mrs. Patrick Campbell in "Hamlet," and Mrs. Patrick Campbell's Ophelia had made a deeper impression on me than even the Hamlet of Forbes Robertson. I wished her to take my play, and as luck would have it, she had just gone into management on her own account and leased the Royalty Theatre.

I read her my play one afternoon, and at once she told me she would take it; but I must write a first act. I told her that I was no good at preliminary scenes and that Oscar Wilde had promised to write a first act, which would, of course, enhance the value of the play enormously.

To my surprise Mrs. Patrick Campbell would not hear of it: "Quite impossible," she said, "a play's not a patchwork quilt; you must write the first act yourself."

"I must write to Oscar then," I replied, "and see whether he has finished it already or not."

Mrs. Campbell insisted that the play, if she was to accept it, must be the work of one hand. I wrote to Oscar at once, asking him whether he had written the first act, adding that if he had not written it and would send me his idea of the scenario, I would write it. I was overjoyed to tell him that Mrs. Patrick Campbell had provisionally accepted the play.

To my astonishment Oscar replied in evident ill-temper to say that he could not write the first act, or the scenario, but at the same time he hoped I would now send him some money for having helped to make my debut on the stage.

I returned to tell Mrs. Campbell my disappointment and to see if she had any idea of what she wanted in the first act. She was delighted with my news, and said that all I had to do was to write an act introducing my characters, and that I ought, for the sake of contrast, to give her a mother. Some impish spirit suggested to me the idea of making a mother much younger than her daughter, that is, a very flighty ordinary woman, impulsive and feather-brained, with a mania for attending sales and collecting odds and ends at bargain prices. Full of this idea I wrote the first act off hand.

Mrs. Patrick Campbell did not like it much, and in this, as indeed always, showed excellent judgment and an extraordinary understanding of the requirements of the stage; nevertheless she accepted the play and settled terms. A little later I went to Leeds, where she was playing, and read the play to her and her "Company." We discussed the cast, and I suggested Mr. Kerr to play Mr. Daventry. Mrs. Patrick Campbell jumped at the idea, and everything was settled.

I wrote the good news to Oscar, and back came another letter from him, more ill-tempered than the first, saying he had never thought I would take his scenario; I had no right to touch it; but as I had taken it, I must really pay him something substantial.

The claim was absurd, but I hated to dispute with him or even appear to bargain.

I wrote to him that if I made anything out of the play I would send him some more money. He replied that he was sure my play would be a failure; but I ought to get a good sum down in advance of royalties from Mrs. Patrick Campbell, and at once send him half of it. His letters were childishly ill-conditioned and unreasonable; but, believing him to be in extreme indigence, I felt too sorry for him even to argue the point. Again and again I had helped him, and it seemed sordid and silly to hurt our old friendship for money. I couldn't believe that he would talk of my having done anything that I ought not to have done if we met, so as soon as I could I crossed to Paris to have it out with him.

To my astonishment I found him obdurate in his wrong-headedness. When I asked him what he had sold me for the L50 I paid him, he coolly said he didn't think I was serious, that no man would write a play on another man's scenario; it was absurd, impossible—"C'est ridicule!" he repeated again and again. When I reminded him that Shakespeare had done it, he got angry: it was altogether different then—today: "C'est ridicule!" Tired of going over and over the old ground I pressed him to tell me what he wanted. For hours he wouldn't say: then at length he declared he ought to have half of all the play fetched, and even that wouldn't be fair to him, as he was a dramatist and I was not, and I ought not to have touched his scenario and so on, over and over again.

I returned to my hotel wearied in heart and head by his ridiculous demands and reiterations. After thrashing the beaten straw to dust on the following day, I agreed at length to give him another L50 down and another L50 later. Even then he pretended to be very sorry indeed that I had taken what he called "his play," and assured me in the same breath that "Mr. and Mrs. Daventry" would be a rank failure: "Plays cannot be written by amateurs; plays require knowledge of the stage. It's quite absurd of you, Frank, who hardly ever go to the theatre, to think you can write a successful play straight off. I always loved the theatre, always went to every first night in London, have the stage in my blood," and so forth and so on. I could not help recalling what he had told me years before, that when he had to write his first play for George Alexander, he shut himself up for a fortnight with the most successful modern French plays, and so learned his metier.

Next day I returned to London, understanding now something of the unreasonable persistence in begging which had aroused Lord Alfred Douglas' rage.

As soon as my play was advertised a crowd of people confronted me with claims I had never expected. Mrs. Brown Potter wrote to me saying that some years before she had bought a play from Oscar Wilde which he had not delivered, and as she understood that I was bringing it out, she hoped I would give it to her to stage. I replied saying that Oscar had not written a word of my play. She wrote again, saying that she had paid L100 for the scenario: would I see Mr. Kyrle Bellew on the matter? I saw them both a dozen times; but came to no decision.

While these negotiations were going on, a host of other Richmonds came into the field. Horace Sedger had also bought the same scenario, and then in quick succession it appeared that Tree and Alexander and Ada Rehan had also paid for the same privilege. When I wrote to Oscar about this expressing my surprise he replied coolly that he could have gone on selling the play now to French managers, and later to German managers, if I had not interfered: "You have deprived me of a certain income:" was his argument, "and therefore you owe me more than you will ever get from the play, which is sure to fall flat."

A little later Miss Nethersole presented herself, and when I would not yield to her demands, went to Paris, and Oscar wrote to me saying she ought to stage the piece as she would do it splendidly, or at least I should repay her the money she had advanced to him.

This letter showed me that Oscar had not only deceived me, but, for some cause or other, some pricking of vanity I couldn't understand, was willing to embarrass me as much as possible without any scruple.

Finally Smithers, the publisher of three of Oscar's books, whom I knew to be a real friend of Oscar, came to me with a still more appealing story. When Oscar was in Italy, and in absolute need, Smithers got a man named Roberts to advance L100 on the scenario. I found that Oscar had written out the whole scenario for him and outlined the characters of his drama. This was evidently the completest claim that had yet been brought before me: it was also, Smithers proved, the earliest, and Smithers himself was in dire need. I wrote to Oscar that I thought Smithers had the best claim because he was the first buyer, and certainly ought to have something. Oscar replied, begging me not to be a fool: to send him the money and tell Smithers to go to Sheol. Thereupon I told Smithers I could not afford to give him any money at the moment; but if the play was a success he should have something out of it.

The play was a success: it was stopped for a week by Queen Victoria's death, in January, and was, I think, the only play that survived that ordeal. Mrs. Patrick Campbell was good enough to allow me to rewrite the first act for the fiftieth performance, and it ran, if I remember rightly, some 130 nights. About the twentieth representation I paid Smithers.

For the first weeks of the run I was bombarded with letters from Oscar, begging money and demanding money in every tone. He made nothing of the fact that I had already paid him three times the price agreed upon, and paid Smithers to boot, and lost through his previous sales of the scenario whatever little repute the success of the piece might have brought me. Nine people out of ten believed that Oscar had written the play and that I had merely lent my name to the production in order to enable him, as a bankrupt, to receive the money from it. Even men of letters deceived themselves in this way. George Moore told Bernard Shaw that he recognised Oscar's hand in the writing again and again, though Shaw himself was far too keen-witted to be so misled. As a matter of fact Oscar did not write a word of the play and the characters he sketched for Smithers and Roberts were altogether different from mine and were not known to me when I wrote my story.

I have set forth the bare facts of the affair here because Oscar managed to half-persuade Ross and Turner and other friends that I owed him money which I would not pay; though Ross had discounted most of his complaints, even before hearing my side.

Oscar got me over to Paris in September under the pretext that he was ill; but I found him as well as could be, and anxious merely to get more money out of me by any means. I put it all down to his poverty. I did not then know that Ross was giving him L150 a year; that indeed all his friends had helped him and were helping him with singular generosity, and I recalled the fact that when he had had money he never showed any meanness, or any desire to over-reach. Want is a dreadful teacher, and I did not hold Oscar altogether responsible for his weird attitude to me personally.

OSCAR'S LAST DAYS!

LETTER FROM ROBERT ROSS TO ——

Dec. 14th, 1900.

On Tuesday, October 9th, I wrote to Oscar, from whom I had not heard for some time, that I would be in Paris on Thursday, October the 18th, for a few days, when I hoped to see him. On Thursday, October 11th, I got a telegram from him as follows:—"Operated on yesterday—come over as soon as possible." I wired that I would endeavour to do so. A wire came in response, "Terribly weak—please come." I started on the evening of Tuesday, October 16th. On Wednesday morning I went to see him about 10.30. He was in very good spirits; and though he assured me his sufferings were dreadful, at the same time he shouted with laughter and told many stories against the doctors and himself. I stayed until 12.30 and returned about 4.30, when Oscar recounted his grievances about the Harris play. Oscar, of course, had deceived Harris about the whole matter—as far as I could make out the story—Harris wrote the play under the impression that only Sedger had to be bought off at L100, which Oscar had received in advance for the commission; whereas Kyrle Bellew, Louis Nethersole, Ada Rehan, and even Smithers, had all given Oscar L100 on different occasions, and all threatened Harris with proceedings—Harris, therefore, only gave Oscar L50 on account,[59] as he was obliged to square these people first—hence Oscar's grievance. When I pointed out to him that he was in a much better position than formerly, because Harris, at any rate, would eventually pay off the people who had advanced money and that Oscar would eventually get something himself, he replied in the characteristic way, "Frank has deprived me of my only source of income by taking a play on which I could always have raised L100."

I continued to see Oscar every day until I left Paris. Reggie and myself sometimes dined or lunched in his bedroom, when he was always very talkative, although he looked very ill. On October 25th, my brother Aleck came to see him, when Oscar was in particularly good form. His sister-in-law, Mrs. Willie, and her husband, Texeira, were then passing through Paris on their honeymoon, and came at the same time. On this occasion he said he was "dying above his means" ... he would never outlive the century ... the English people would not stand him—he was responsible for the failure of the Exhibition, the English having gone away when they saw him there so well-dressed and happy ... all the French people knew this, too, and would not stand him any more.... On October the 29th, Oscar got up for the first time at mid-day, and after dinner in the evening insisted on going out—he assured me that the doctor had said he might do so and would not listen to any protest.