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Oscar Fingal O'Fflahertie Wills Wilde [a] (16 October 1854 – 30 November 1900) was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of the most popular playwrights in London in the early 1890s.
Oscar Wilde wrote that "travel improves the mind" — and we couldn't agree more.
Wilde presents the essay as a Socratic dialogue between two characters, Vivian and Cyril, who are named after his own sons. [1] Their conversation, while playful and whimsical, promotes Wilde's view of Aestheticism over Realism. [2] [3] Vivian tells Cyril of an article he has been writing called "The Decay of Lying: A Protest". According to ...
The title-page of the first edition of The Sphinx, with decorations by Charles Ricketts. The Sphinx is a 174-line poem by Oscar Wilde, written from the point of view of a young man who questions the Sphinx in lurid detail on the history of her sexual adventures, before finally renouncing her attractions and turning to his crucifix.
"The Soul of Man Under Socialism" is an 1891 essay by Oscar Wilde in which he expounds a libertarian socialist worldview and a critique of charity. [1] The writing of "The Soul of Man" followed Wilde's conversion to anarchist philosophy, following his reading of the works of Peter Kropotkin. [2]
"The Critic as Artist" is an essay by Oscar Wilde, containing the most extensive statements of his aesthetic philosophy. A dialogue in two parts, it is by far the longest one included in his collection of essays titled Intentions published on 1 May 1891.
The complete works of Oscar Wilde: vol. 1, Poems and poems in prose, ed. by Bobby Fong and Karl Beckson (Oxford: Oxford University Press, 2000) Mercurio, Jeremiah Romano, "Faithful Infidelity: Charles Ricketts's Illustrations for Two of Oscar Wilde's Poems in Prose", Victorian Network 3:1 (2011), pp. 3–21
A House of Pomegranates is a collection of fairy tales written by Oscar Wilde published in 1891 as a second collection for The Happy Prince and Other Tales (1888). Wilde once said that this collection was "intended neither for the British child nor the British public". [1]
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