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Adages and covers: A pun in The Importance of Being Earnest

Oscar Wilde frames “The Value of Getting Earnest” about the paradoxical epigram, a skewering metaphor for the play’s central theme of division of truth and identity that hints at a homosexual subtext. Other targets of Wilde’s absurd however grounded wit are the social conventions of his stuffy Victorian society, which are exposed as a “shallow mask of manners” (1655). Aided by clever wordplay, frantic misunderstanding, and dissonance of understanding in between the characters and the audience, devices that are now staples of contemporary theater and predicament comedy, “Earnest” suggests that, specially in “civilized” society, we all lead double lives that force upon us a variety of postures, an idea with which the closeted (till his public charge for sodomy) homosexual Wilde was understandably obsessed.

The play’s initial thrust is in its exploration of bisexual identities. Algernon’s and Jack’s “Bunburys” initially function as separate geographic personas for the city and country, simple escapes from nagging social obligations. Nonetheless, the homoerotic connotations of the punning name (even the double “bu”‘s, which serve mainly an alliterative purpose, insinuate a union of similarities, and “Bunbury” rhymes with “buggery,” British slang for sodomy) flare up when paired with Algernon’s repeated assaults on marriage:

ALGERNON. “…She will spot me next to Mary Farquhar, who always flirts with her own husband across the dinner table. That is not very pleasant. Indeed, it is not even decent … and that sort of point is enormously on the improve. The amount of women in London who flirt with their personal husbands is completely scandalous. It looks so poor. It is just washing one’s clean linen in public” (1633).

The mixed truth of a Wilde epigram – stating the typical in a ludicrous style, as with Algernon’s aghast reaction to marital flirtation, and usually capped by tweaking an established cliché, as with “washing one’s clean linen” – is not only humorous, but salient his distaste for public displays of “clean” heterosexual affection implies his deep-seated resentment that his linen is regarded dirty and have to be washed in private.

Although each men are “Bunburyists,” Wilde holds and heightens dramatic tension via Jack’s denial of the fact. The characters are offered to hyperbolic conviction in their short speeches, a quick-paced approach that magnifies the play’s distant partnership to vaudevillian humor and reveals an additional duality within homosexuality Algernon is perfectly content to be gay, whilst Jack is repellent to the idea, maybe even to the point of self-loathing. Algernon puns on the idiom “to element with,” displaying his reluctance to get rid of himself from both the world and the physically splitting position of homosexuality: “Nothing will induce me to part with Bunbury, and if you ever get married, which seems to me very problematic, you will be very glad to know Bunbury. A man who marries without having being aware of Bunbury has a extremely tedious time of it” (1634). Jack claims he is going to “kill [his] brother,” conflating his sexual duality as all he will kill is a part of himself: “That is nonsense. If I marry a charming girl like Gwendolen, and she is the only girl I ever saw in my life that I would marry, I certainly won’t want to know Bunbury” (1634). His self-confidence in Gwendolen as his only soul mate is an ordinary declaration of really like in most plays right here, it intimates a fundamentally homosexual man who has “converted” to heterosexuality on this sole occasion.

Wilde extends the duality of homosexuality to the female population, as Algernon points out Gwendolen’s alternative to staid marriage: “Then your wife will. You don’t look to comprehend, that in married life 3 is company and two is none” (1634). Again, Wilde updates a preexisting aphorism (“Two’s firm, three’s a crowd”) and applies it for his personal subversive measures, simultaneously ridiculing two distinct cultural specimens, the clichéd enjoy triangle of French drama and English marriage. The convergence of art and life in epigram is a pillar for Wilde that bases his observations in two lands, the aesthetic and the all-natural, and adds contemporaneity for his Victorian audience whilst preserving universality for future performance. What need to be a relatively universal puzzle for audience members is Algernon’s cultish language to Jack: “Besides, now that I know you to be a confirmed Bunburyist, I naturally want to talk to you about Bunburying. I want to inform you the rules” (1633). These “rules,” 1 can assume, are the unwritten codes of homosexuality, and considering that Algernon never provides the game away by explaining what they are, Wilde explodes one more duality into the theater – which members of the audience “get it,” and which are left in the dark. Even though Algernon and Jack codify Bunburying in defiance against the unassuming audience, Wilde deploys one more character/audience duality: the comically dissonant effect of accenting the female characters’ ignorance of a situation against the audience’s knowledge of the truth.

The meeting of Gwendolen and Cecily is a prime instance of such farcical confusion, out of which Wilde mines material for the mercurial nature of female emotion. Gwendolen’s opening lines foreshadow their problematic partnership, one particular born of disinformation of appellation and look, that plays against the audience’s superior position: “Cecily Cardew? What a really sweet name! Something tells me that we are going to be great close friends. I like you currently a lot more than I can say. My first impressions of folks are never ever wrong” (1653). Her blindness to the circumstances is produced physical via the use of a punning prop: “Cecily, mamma, whose views on education are remarkably strict, has brought me up to be really quick-sighted it is portion of her technique so do you thoughts my hunting at you by way of my glasses?” (1653) Her weak grasp of the scenario sets up much more laughs, specifically when she banishes any doubts of foul play: “Ernest has a robust upright nature. He is the really soul of truth and honor. Disloyalty would be as impossible to him as deception” (1654). Even though deception is the more flagrant offense, the word disloyalty recalls his promiscuous Bunburying and brings us back to the binarism of sexuality.

When the girls are officially at odds, Wilde is able to critique the Victorian politesse that frequently shadows ill will. In the absence of witnesses, a no-holds-barred fight progresses: “CECILY. This is no time for wearing the shallow mask of manners. When I see a spade I call it a spade. GWENDOLEN. [satirically] I am glad to say that I have never ever observed a spade. It is clear that our social spheres have been extensively different” (1655). In class-conscious England this is a devastating insult and, interestingly, it is “the presence of the servants [that] workout routines a restraining influence, below which both girls chafe,” as Wilde points out in the stage directions (1655). The juxtaposition of higher and low classes farcically enacts a duality of social manners in which the females behave with a contempt for each and every other as saccharine as their snacks:

“CECILY. …May I offer you you some tea, Miss Fairfax?

GWENDOLEN. [with elaborate politeness] Thank you. [aside] Detestable girl! But I call for tea!

CECILY. [sweetly] Sugar?

GWENDOLEN. [superciliously] No, thank you. Sugar is not fashionable any much more. [CECILY appears angrily at her, takes up the tongs and puts four lumps of sugar into the cup.] (1655)

And so on, until Gwendolen can no longer contain herself and reverses her earlier intuition, shifting their partnership into a binarism of empathy/hatred: “From the moment I saw you I distrusted you. I felt you had been false and deceitful. I am never deceived in such matters. My 1st impressions of individuals are invariably right” (1656).

Via stage path, Wilde tends to make a lot more visible and quick the women’s reversals of emotion. In conversation with Cecily, Gwendolen sits down and stands up 4 instances as her misgivings rise and fall. Even more exaggerated are the women’s reactions when confronting the men. Following she calls out “Ernest! My personal Ernest!” Gwendolen withdraws once Jack denies his engagement to Cecily, she provides her cheek for a kiss. Six lines later, Cecily tells her “Ernest”‘s true name is Jack, and Gwendolen recedes yet once more. Cecily goes through the identical precise motions – retreat, kiss, retreat – with the very same skeletal dialogue building of “Thank you. You may” in response to a kiss, and “|I knew there need to be some misunderstanding, Miss Fairfax/I felt there was some slight error, Miss Cardew.| The gentleman |whose arm is at present round your waist/who is now embracing you| is my |dear guardian, Mr. John Worthing/cousin, Mr. Algernon Moncrieff|” (1656). Each girls respond to this disclosure with the exposed name followed by “Oh!” They ask the guys about this in comparable fashions, and each admit their deception. Wilde has merged, through word and action, the two females into a single unit and the guys into an additional, and the vacillation of sympathy now comes to fruition as the girls bond at the expense of the guys:

“CECILY. [to GWENDOLEN] A gross deception has been practiced on both of us.

GWENDOLEN. My poor wounded Cecily!

CECILY. My sweet wronged Gwendolen!

GWENDOLEN. [slowly and seriously] You will get in touch with me sister, will you not? [They embrace. JACK and ALGERNON groan and stroll up and down.]

Their newfound sisterhood stands in ironic contrast to the falsified brotherhood of Algernon and Jack (which is, in the play’s final irony, genuine), and the simultaneous groan and physical movement of the unified but distraught men amplify the heightened pace and new friendship duality of the preceding interaction.

As Jack concludes following the play’s denouement, which once again inverts the character/audience duality by revealing all first impressions as truthful when we always “knew” them to be false, “it is a terrible thing for a man to find out all of a sudden that all his life he has been speaking absolutely nothing but the truth” (1667). It appears that facing one’s true self is the most frightening occupation in Wilde’s globe. Wilde lightly mocks the flagrant social posturing of Victorian girls, a globe with which he was inextricably associated but from which he could just as effortlessly distance himself by means of a pithy saying, but he treats the tension of homosexuality, his personal mask, far more seriously. Jack is never ever ready to admit his entrance into the Bunbury underworld, and we never find out from Algernon the essential rules of conduct. The personification of homosexuality as a character’s double is not surprising – some critics argue that Dr. Jekyl’s evil counterpart, Mr. Hyde, has some homosexual leanings – as such a controversial and, perhaps, embarrassing topic can be much more easily disguised and obscured in the murky depths of the doppelganger tale. These days, with scientific evidence backing an opinion that areas individuals’ sexual preferences on a sliding scale from complete heterosexuality to complete homosexuality, the straightforward bifurcated view of sexuality in literature might soon be obsolete.
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