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A contradiction through pacing as depicted in The Importance of Being Earnest by Oscar Wilde

In the closing lines of the 1st act of Oscar Wilde’s “The Importance of Being Earnest,” Algernon remarks, “I adore scrapes. They are the only things that are by no means significant,” to which Jack responds, “Oh, that’s nonsense Algy. You by no means talk about something but nonsense.” Algernon caps off this exchange with a proclamation of the purpose of the entire work: “Nobody ever does” (1642). Wilde never permits anything in the perform to conclude on a serious note. Although Wilde repeatedly proclaims this direction for the play via his characters, he does not inform us the motivation for this path. He in no way explains why there is this avoidance of earnestness. The most apparent answer lies in the veiled criticism of Victorian society contained at every level of the play. The fast paradoxical epigrams that form the core of the conversational comedy are pointed at Victorian society. Wilde also abuses the notion of characterization with paradox to create comical characters that expose Victorian deficiencies.

Every single of these criticisms relies upon the paradoxes that Wilde sets up on successively larger scales inside the play. It is, in truth, this tool of humor, not the object of ridicule that truly defines this work. Although each paradox is pointed at Victorian society, the individual paradoxes each and every take on a diverse element of Victorian society, thereby diminishing the pointedness of the general criticism. The use of paradox makes it possible for Wilde to take this play beyond its narrow and somewhat scattered critique of Victorian society. The underpinning element then, is not Victorian society, but instead the paradox, the concept of dual, irreconcilable elements. This more lasting subject is, not coincidentally, the 1 that defined Wilde’s personal life. In his personal struggle to cope with the deficiencies of prudish Victorian society, he was forced to develop numerous identities to mask his homosexuality. Although Wilde’s ironic look at nineteenth-century Victorian England is funny, it is on the greater, abstract level that Wilde’s operate is unified and gains lasting and a-historical significance.

The paradox is not some thing that is very easily sustained or drawn out since of its inherent contradiction. Wilde relies upon fine tuned pacing to sustain his use of paradox and to let for a car among paradox. Wilde’s use of these techniques is especially exaggerated in the 1st scenes of the initial and third acts, exactly where the characters of Jack and Lady Bracknell (Aunt Augusta) are specifically utilized by Wilde.

The most basic element of Wilde’s use of paradox lies in the paradoxical epigrams that pepper the operate. In the initial act we instantly see these in use. Jack tells Algernon that when he is in the country he amuses his neighbors, but then volunteers, “[I] In no way speak to one of them,” to which Alegernon responds, “How immensely you need to amuse them” (1630). The concept of amusing an individual to whom you do not even talk is rapidly dismissed as Wilde moves on. A couple of minutes later in the action, Algernon warns Jack to take care in his marital plans: “Well, in the very first spot girls never marry the men they flirt with. Girls do not believe it proper.” Ahead of answering who precisely it is that girls do marry, Wilde moves the characters to a new scenario that brings Algernon to quip, “More than half of contemporary culture depends on what a single shouldn’t read” (1631). This final paradox is particularly apparent in its criticism of Victorian society, but at the root of each and every of the other paradoxes lies some facet of this society that Wilde puts up for hyperbolic ridicule.

Lady Bracknell’s use of paradox is even a lot more subversive because she is make to be a model of high Victorian society (this will be discussed further later). In her most instantly stinging paradox, she admonishes Algernon, “Never speak disrespectfully of Society, Algernon. Only people who cannot get into it do that” (1662). Augusta delivers lines akin to this one particular, that take Victorian values and practices to absurd lengths, all through the function.

Wilde sustains his use of these paradoxes by swift movement between them. In the varied subject matter of the above paradoxes, along with the web page numbers that accompany every 1, the rollicking nature of the dialogue can be seen. Wilde constructs his paradoxes so that they can be effortlessly escaped with out resolution. Algernon’s remark about flirting girls is prefaced by, “In the 1st spot,” an opening that signifies his intention to go over far more than one aspect of eligible females. The second point he tends to make, however, is of negligible comic and ironic value. Wilde (as Algernon) chooses to very first provide the scandalous remark – “girls in no way marry the guys they flirt with. Girls do not think it correct first”, with the mechanism for escaping this paradox (the selection to move to a second point) already in location. When Lane questions Algernon’s paradox, he replies, “It accounts for the extraordinary quantity of bachelors that 1 sees all over the place. In the second location I don’t give my consent.” The very first sentence of this reply merely affirms Algernon’s faith in the paradox, and does not explain it. In the second sentence Algernon takes benefit of the escape mechanism (the second point) to shift to a new subject with, “In the second place.”

The paradoxes of Lady Bracknell meet little resistance from the other characters. Lady Bracknell’s phrases are so scandalous and twisted that it would be difficult to object to them without the complete structure crumbling. For that reason Wilde makes use of Lady Bracknell’s garrulousness to sustain the paradox, and to offer a vehicle in between paradoxes and foolish statements. When she initial enters the scene she delivers a rather extended-winded diatribe aimed at the recently engaged couples. Towards the end of this, quickly right after declaring her husband’s belief, she says, “I do not propose to undecieve him. Indeed I have never ever undecieved him on any query. I would consider it wrong.” The morally misguided nature of this statement is not questioned due to the fact Wilde immediately moves Augusta to a new subject in her diatribe, “But, of course you will clearly understand that all communication among oneself and my daughter should cease quickly from this moment” (1660). Her propensity for lengthy-winded monologues enables Augusta to provide her most absurd lines in the midst of monologues so that she can escape into the surrounding topics.

Wilde’s rapid movement from paradox to paradox serves two purposes. This construction permits him to move on prior to the old paradox is exposed. The comic impact of the paradoxes would be diminished considerably if every one particular have been exposed. Wilde’s fast movement also serves a bigger objective, which will be discussed later. The fast movement also works due to the fact Wilde sets the reader up to count on a paradox to be exposed. Occasionally he goes so far as to have somebody within the play question a paradox, engendering wonderful hope that the paradox will be exposed. Jack says, “Oh, that is nonsense” to Algernon’s quip about flirting girls, enabling the reader to believe that the paradox may be brought to the light. Fictional characters can constantly evade the reader’s questions, but it is harder to evade the questions of characters in the play. Even when characters do not query the paradoxes, there is a sense that the paradoxes ought to be exposed. Wilde’s escape mechanisms let him to escape, but not ahead of he has brought the reader to think that the paradoxes will be exposed. When he swiftly moves to a new subject and paradox this expectation is stunned. New and believed provoking elements are introduced prior to the old are brought to any conclusion. This tends to make for a welcoming dearth of dull moments, and increases the sense of speed, and movement. The abrupt transitions develop a sense of tumbling by means of subjects one following an additional with little respite. This swift movement brings a levity that dwelling on subjects would kill. Wilde’s pacing, then, is important for the upkeep of the humor.

On initial glance it seems that Wilde’s sardonic paradoxical epigrams define the work. But these small paradoxes are but a metaphor for the larger clashing of two irreconcilable elements: namely the a number of identities of the characters. The characters multiple identities are cast next to each and every other in a lot the same way that the disparate elements of a paradox are set next to every other. The misfit of the two components creates a comic effect, both in the epigrams, and in the characters dual identities.

Jack and Algernon each have an clear outward identity crisis that fuels considerably of the action. In the beginning of the first act Jack explains, “Well, my name is Ernest in town and Jack in the country” (1632). This is right away followed by Algernon’s explanation that, “I have invented an invaluable permanent invalid referred to as Bunbury, in order that I may possibly be capable to go down into the country anytime I choose” (1633). By way of the play we understand that in fact each males would like to be known as Ernest so as to impress their prospective wives. In presenting characters who have not a shred of seriousness in them with the title Ernest, Wilde requires an clear stab at the Victorian society which valued earnestness so dearly.

This superficial identity crisis, as seen through the names, explains significantly of the action. But this identity crisis has worked its way inward, especially with Jack. This is never ever a lot more apparent than in the opening scene with Jack and Algernon. When Jack enters the room his initial comments evince his alignment with the absurdity currently displayed by Lane and Algernon in the opening scene of the play. His very first line, as a response to the query of what has brought him to Algernon’s property, is, “Oh pleasure, pleasure! What else should bring one particular anywhere?” (1630). This jesting attitude continues as he disparages the Divorce Court. But a dramatic break offered by the entry and exit of Lane makes it possible for Jack to suddenly slip into an earnest persona. For a succession of three lines Jack maintains a staid attitude. He initial says, “Do you mean to say that you have had my cigarette case all this time? I want to goodness you had let me know.” Jack then moves to appropriate an additional of Algernon’s foolish statements by saying, “There is no great providing a huge reward now that the thing is discovered.” Lane then enters and exits the area, not coincidentally some of the only prescribed physical action in the scene – thereby prolonging the sense of Jack’s earnestness. Jack then answers Algernon’s query as to the ownership of the cigarette case, “Of course it’s mine. You have noticed me with it a hundred instances, and you have no correct whatsoever to study what is written inside. It is a extremely ungentlemanly thing to read a private cigarette case” (1631). All of what he says seems extremely reasonable and in the last line even dignified, particularly when laid next to Algernon’s virtually hyperbolic jesting. This sense is exaggerated by the unusually extended lines, and breaks for action.

But right after promoting us so successfully on this persona of Jack, Wilde speedily drags him back into the jesting quagmire that Algernon wallows in. The subject more than which Jack is earnest, his defense of what is written inside the cigarette case, is just that which exposes his ultimate jest, his dual identity. The earnest exchange leads straight to his admission that he is at occasions Jack, and at times Ernest. Searching back to the moments of earnestness it becomes apparent that Wilde prolonged the appearance of Jack’s earnestness by Algernon’s quote in the midst of the scene: “Now that I look at the inscription inside, I find that the factor isn’t yours at all” (1631). This creates a situation of questioning, but not one in which the earnestness of Jack is brought into query. Wilde could have effortlessly brought up the question of Jack’s questionable use of two names right here, but alternatively Wilde chooses to let us to think in Jack’s earnest identity for that significantly longer, producing it that significantly far more surprising and revealing when Jack’s absurd side is revealed once again. Wilde’s pacing, again, maintains the dual, contradictory nature of the play.

Even Lady Bracknell – 1 of the characters who does not outwardly profess to a dual identity, evinces a tension amongst two irreconcilable components. Augusta represents the highest and most earnest element of English society. This is principally noticed, as with many other characters, in her name: Augusta. The name Augusta implies a respected and productive leader. She desires the suggestion that her name tends to make to extend to her relationships with other people, as we see in her demand to govern over the engaged couples with moral certainty. At each moment she is telling the couples what they can and can't do. As soon as she enters the scene she asks Gwendolyn about the intimate moment that she interrupted, “Gwendolyn! What does this mean?,” and moments later says of the current engagement of the couples, “You are nothing of the kind” (1660). The crucial tone that she sets upon entry indicates her confidence in her ruling powers, and her demands evidence her sense of earnest moral righteousness.

But the reasoning behind her demands and concerns totally betrays the earnestness Lady Bracknell desires. When appraising Cecily’s worth as a potential wife for Algernon she says, “Few girls of the present day have any truly strong qualities, any of the qualities that last, and improve with time. We reside, I regret to say, in an age of surfaces” (1662). This quote in itself is easily believable as element of the highest tea-time conversations. But the high quality that Augusta is praising as strong is cash, the very element of superficiality. This discrepancy among form and function displays Augusta’s battling identities. She hopes to appear earnest and august, but her inner identity, that is aligned so closely with the absurdity of all the other characters, often manages to escape.

With Lady Bracknell the rapid pacing that permits for the contrasted identity is even more exaggerated than it is with Jack. Frequently the first half of her line will be believably earnest and Victorian, but in the second half of the identical line, she betrays the earnestness that was established in the starting of the line. Her demand that Algernon, “Never speak disrespectfully of Society” could come from the most earnest of mouths. Wilde has Augusta present the earnest half of the lines authoritatively and there is no sense of vacillation amongst conflicting believed patterns, or identities in these lines. This presentation forces the reader, for a brief time, to think that Lady Bracknell will lastly speak seriously. But in the second component of her statement to Algernon, exactly where she explains her demand, we see her second identity surface.

It is once more Wilde’s pacing that enables these characters to exist so believably in this state of duality for the entire play. Wilde enables his characters to skip amongst identities, never ever allowing the reader to settle on the character’s accurate identity. This skipping also enables Wilde to set the two identities next to each and every other for comparison. In much the same way as a paradox, when these two elements are set next to every other their irreconcilability gains its comic impact.

Alternatively of establishing the existence of the two identities, and presenting them at distinctive occasions, Wilde chooses to present the irreconcilable elements with each other, skipping back and forth between the two, within scenes and acts. In both circumstances, when characters are believed to be significant we already know them to be jesters. But due to Wilde’s fast pacing we overlook our earlier encounters, and what the characters had said since the reader’s thoughts has had to operate so swiftly to keep up with the constantly changing topic matter or point of view. The earnestness is at first believable, but usually returns to the absurd, at which point the irreconcilability of the two identities becomes clear. This rapid movement, and immediate make contact with between the earnest and the absurd nature of these characters’ identities, constantly tending and ending on the absurd, exaggerates the irreconcilability of the characters two elements.

There is a curious merging of the characters’ fates as the play progresses. In the opening scene Jack quickly declares his intention to be speedily married to Gwendolyn. For the duration of this scene Algernon continually disparages the institution of marriage, going so far as to say, “If I ever get married, I’ll surely try to neglect the fact” (1631). But, in the beginning of the third scene we discover both men aiming for the very same factor: trying to address wrongs so that they can be speedily married. Algernon says here, “I am engaged to be married to Cecily, Aunt Augusta” (1661). In the end each are headed to marriage.

This merging of characters extends further than just this superficial level. Quickly before Lady Bracknell enters the area to provide her moral wanderings to the couples, the speech of the couples reveals the merging of their minds. Cecily and Gwendolyn chime in unison (following Wilde’s stage directions), “Your Christian names are nevertheless an insuperable barrier. That is all!” To this, Algernon and Jack respond, again in best unison as dictated by Wilde, “Our Christian names! Is that all? But we are going to be christened this afternoon” (1660). Wilde makes it possible for us to believe that this exchange has been planned beforehand by telling Cecily, in the stage directions to conduct the group as if they were an orchestra. But on second glance we understand that while their timing may have been planned, what they are saying was not planned. The couples have the very same concepts, and Jack and Algernon do not even need to have timing guidelines for these ideas to come out with each other. As the play proceeds the characters regress from distinct personalities to undistinguishable forms that share the same thoughts.

At the finish of the play there is some indication that the characters have turn out to be defined. Whilst Algernon sits quietly aside, Jack learns that his name has been Earnest all along. But this ending signifies nothing when Wilde’s treatment or respect for names is considered. Throughout the function Wilde depreciates the standard value of words by his frequent inclusion of puns and word inversions. In the first act Jack remarks that pretending to be a dentist when you are not a dentist “produces a false impression.” Algernon instantly responds, twisting the which means of “impression” by saying, “Well that is what dentists often do” (1632) referring now to the plaster impressions of teeth that dentists make. Wilde has exposed the multiple meanings of this word, and in doing so, has stripped the word of its constancy or capacity to closely define anything. By repeating, all through the play, this practice of twisting words to absurd lengths, Wilde depreciates the worth of words.

This undermining of words extends even to the most holy of words, one’s name. Jack and Algernon have learned that in order to marry their potential wives they should have the name Ernest. This poses absolutely no problem to the pair. They swiftly arrange for a christening to rid themselves of their unattractive name. When Jack arranges for his christening Reverend Chasuble him, “At what hour would you wish the ceremony performed?,” to which Jack gaily responds, “Oh, I may trot around about five if that would suit you.” (1648). Wilde purposely utilizes this light, conversational tone to display the absolute lack of meaning this renaming will have. By presenting a name as one thing that can be changed in among ones afternoon appointments Wilde entirely depreciates any worth or certainty a name may have or supply.

In the finish Jack learns with wonderful glee that his name has been in fact been Ernest all along, a distinction from Algernon who receives no such news. This could be observed as a final differentiation between the characters, a mark of development. But by this time the attainable importance that a name could bestow upon somebody has consciously been completely destroyed by Wilde. In truth, this excitement over one thing we now know to be so trivial is Wilde’s final remark on triviality versus earnestness. All through the play Wilde has presented seriously all that is in reality trivial, and has presented trivially all that is significant. In this final line Wilde follows this trend by enabling Jack to be excited more than one thing we now know to be fully meaningless, continuing his juxtaposition of perception and reality. In doing this Wilde in facts demarcates the triviality of this supposedly unique name, reminding us, when once again, of the similarity and alignment of the two characters.

Wilde challenges the traditional conception of dramatic or fictional function with this anti-development. The standard sense of development is the delineation and definition of the characters involved. Traditionally a writer makes the characters and perform memorable by defining the characters’ special qualities. Beyond positing the truth of this assumption, it is not needed to belabor this discussion. In Wilde’s work the characters are only memorable insofar as they do not develop, and in fact, are memorable in that they turn into significantly less unique, as is underscored in the scene of unified speech. Alternatively of allowing the play as a car for the characters to define themselves, Wilde permits the characters to regress, and truly turn out to be less defined. This lack of improvement serves as a statement against the characters own inability to progress or create. But, on a larger scale this anti-improvement, as the word suggests, is a paradox in itself. In presenting regression exactly where improvement is anticipated Wilde turns the classic conception of fictional works on its head. This conceptual paradox works in a lot the identical way that the smallest paradoxes in the play – the epigrams – work. Wilde opens his statement by saying that he will present a play, a fictional operate, which leads to the reader to assume the characters will undergo the standard procedure of individuation. But, via the play the opposite happens. Wilde has subverted this assumption by dis-shapening the characters, thereby generating a paradox on the grandest scale. This largest paradox fuels the perform, by the sense of surprise that it engenders, in much the identical way that the other paradoxes in the work do.

As a gay man in prudish nineteenth century England Oscar Wilde never felt comfortably assimilated into the strait society that surrounded him. He was forced to assume a double identity to cope with his divergence from the norms of the day. This tax that the society levied upon Wilde undoubtedly engendered an animosity, an animosity that is reflected in his ironic, and sardonic remedy of Victorian society in “The Importance of Getting Earnest”. Nonetheless, the multiple and irreconcilable identities that Wilde was forced into are the much more considerable driving force behind this work. This struggle with identities is seen in the paradoxes that pervade all levels of the function. In the end though, these massive themes construct upon, rather than overshadow Wilde’s greatest genius which lies in his subtle turns of phrases and words that maintain even the most earnest reader chuckling throughout.
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