<h2><SPAN name="MR_OSCAR_WILDES_DEFENCE" id="MR_OSCAR_WILDES_DEFENCE"></SPAN>MR. OSCAR WILDE'S DEFENCE.</h2>
<p>To the Editor of the <i>St. James's Gazette</i>.<SPAN name="FNanchor_9_9" id="FNanchor_9_9"></SPAN><SPAN href="#Footnote_9_9" class="fnanchor">[9]</SPAN></p>
<p>Sir,—As you still keep up, though in a somewhat milder form than
before, your attacks on me and my book you not only confer upon me the
right, but you impose on me the duty of reply.</p>
<p>You state, in your issue of to-day, that I misrepresented you when I
said that you suggested that a book so wicked as mine should be
"suppressed and coerced by a Tory Government." Now, you did not propose
this, but you did suggest it. When you declare that you do not know
whether or not the Government will take action about my book, and remark
that the authors of books much less wicked have been proceeded against
in law, the suggestion is quite obvious.</p>
<p>In your complaint of misrepresentation you seem to me, Sir, to have been
not quite candid.</p>
<p>However, as far as I am concerned, this suggestion is of no importance.
What is of importance is that the editor of a paper like yours should
appear to countenance the monstrous theory that the Government of a
country should exercise a censorship over imaginative literature. This
is a theory against which I, and all men of letters of my acquaintance,
protest most strongly; and any critic who admits the reasonableness of
such a theory shows at once that he is quite incapable of understanding
what literature is, and what are the rights that literature possesses. A
Government might just as well try to teach painters how to paint, or
sculptors how to model, as attempt to interfere with the style,
treatment and subject-matter of the literary artist, and no writer,
however eminent or obscure, should ever give his sanction to a theory
that would degrade literature far more than any didactic or so-called
immoral book could possibly do.</p>
<p>You then express your surprise that "so experienced a literary
gentleman" as myself should imagine that your critic was animated by any
feeling of personal malice towards him. The phrase "literary gentleman"
is a vile phrase, but let that pass.</p>
<p>I accept quite readily your assurance that your critic was simply
criticising a work of art in the best way that he could, but I feel that
I was fully justified in forming the opinion of him that I did. He
opened his article by a gross personal attack on myself. This, I need
hardly say, was an absolutely unpardonable error of critical taste.</p>
<p>There is no excuse for it except personal malice; and you, Sir, should
not have sanctioned it. A critic should be taught to criticise a work of
art without making any reference to the personality of the author. This,
in fact, is the beginning of criticism. However, it was not merely his
personal attack on me that made me imagine that he was actuated by
malice. What really confirmed me in my first impression was his
reiterated assertion that my book was tedious and dull.</p>
<p>Now, if I were criticising my book, which I have some thoughts of doing,
I think I would consider it my duty to point out that it is far too
crowded with sensational incident, and far too paradoxical in style, as
far, at any rate, as the dialogue goes. I feel that from a standpoint of
art there are true defects in the book. But tedious and dull the book is
not.</p>
<p>Your critic has cleared himself of the charge of personal malice, his
denial and yours being quite sufficient in the matter; but he has done
so only by a tacit admission that he has really no critical instinct
about literature and literary work, which, in one who writes about
literature is, I need hardly say, a much graver fault than malice of any
kind.</p>
<p>Finally, Sir, allow me to say this. Such an article as you have
published really makes me despair of the possibility of any general
culture in England. Were I a French author, and my book brought out in
Paris, there is not a single literary critic in France on any paper of
high standing who would think for a moment of criticising it from an
ethical standpoint. If he did so he would stultify himself, not merely
in the eyes of all men of letters, but in the eyes of the majority of
the public.</p>
<p>You have yourself often spoken against Puritanism. Believe me, Sir,
Puritanism is never so offensive and destructive as when it deals with
art matters. It is there that it is radically wrong. It is this
Puritanism, to which your critic has given expression, that is always
marring the artistic instinct of the English. So far from encouraging
it, you should set yourself against it, and should try to teach your
critics to recognise the essential difference between art and life.</p>
<p>The gentleman who criticised my book is in a perfectly hopeless
confusion about it, and your attempt to help him out by proposing that
the subject-matter of art should be limited does not mend matters. It is
proper that limitation should be placed on action. It is not proper that
limitation should be placed on art. To art belong all things that are
and all things that are not, and even the editor of a London paper has
no right to restrain the freedom of art in the selection of
subject-matter.</p>
<p>I now trust, Sir, that these attacks on me and my book will cease. There
are forms of advertisement that are unwarranted and unwarrantable.</p>
<p><span style="margin-left: 3em;">I am, Sir, your obedient servant,</span></p>
<p><span style="margin-left: 28em;">OSCAR WILDE.</span></p>
<p><span style="margin-left: 3em;">16, Tite Street, S.W., June 27th.</span></p>
<div class="footnote"><p><SPAN name="Footnote_9_9" id="Footnote_9_9"></SPAN><SPAN href="#FNanchor_9_9"><span class="label">[9]</span></SPAN> June 28th.</p>
</div>
<hr style="width: 65%;" />
<p><i>The public ... is always asking a writer why he does not write like
somebody else ... quite oblivious of the fact that if he did anything of
the kind he would cease to be an artist.</i></p>
<hr style="width: 65%;" />
<p>Once more the Editor attempted to justify his reviewer's trenchant
criticism:—</p>
<p>Mr. Oscar Wilde makes his third and, we presume, his final reply to the
criticism which we published on "The Picture of Dorian Gray." Somewhat
grudgingly, but in sufficiently explicit terms, he withdraws the charge
of "personal malice" which he brought against the critic, and which, we
may again assure him, is absolutely unfounded.</p>
<p>But he adheres to the other charge of critical incapacity. Mr. Wilde
assures us that his book, so far from being dull and tedious, is full of
interest; an opinion which is shared (see the letter we print on another
page to-day) by his publishers' advertising agent-in-advance.</p>
<p>Well, we can only repeat that we disagree with Mr. Wilde and his
publishers' paragraphist.</p>
<p>Quite apart from "ethical" considerations, the book seems to us a feeble
and ineffective attempt at a kind of allegory which, in the hands of
abler writers (writers like Mr. Stevenson and Mr. Anstey, for instance)
can be made striking or amusing.</p>
<hr style="width: 35%;" />
<p>Mr. Wilde also says that we suggested that the author and publishers of
"The Picture of Dorian Gray" ought to be prosecuted by the Tory
Government, by which we presume he means the Treasury. No; we consider
that such prosecutions are ill-advised, and expressly suggested that
such action ought not to be taken against a book which we believed to be
rendered innocuous by the tedious and stupid qualities which the critic
discovered and explained. Secondly, Mr. Wilde hints that the "rights of
literature" include a right to say what it pleases, how it pleases and
where it pleases. That is a right not only not recognised by the law of
the land, but expressly denied by penalties which have been repeatedly
enforced. Then what does Mr. Oscar Wilde mean by talking about the
"rights of literature"? We will not insult an artist, who is by his own
account un-moral or supra-moral by suggesting that he means "moral
rights." But he tells us that limitations may be set on action but ought
not to be set on art. Quite so. But art becomes action when the work of
art is published. It is offensive publications that we object to, not
the offensive imaginings of such minds as find their pleasure therein.</p>
<hr style="width: 65%;" />
<div style="break-after:column;"></div><br />