- Importance of Being Earnest by Oscar wilde
1) Wilde originally subtitled The Importance of Being Earnest “A Serious Comedy for Trivial People” but changed that to “A Trivial Comedy for Serious People.” What is the difference between the two subtitles?
Answer:
Jack is the first character to use the word serious when he tells Algernon why he goes by the name Ernest: "Algy, I don't know whether you will be able to understand my real motives. You are hardly serious enough." Jack elaborates on why it is his duty, as a guardian, to adopt a high moral tone. But Jack is not entirely serious; or if he is he reverses it, going on to say a "high moral tone" is not good for "one's health or one's happiness." Yet a few lines later, he reverses his reversal when Algernon suggests life would be tedious and fiction impossible if the truth were pure and simple; he says, "That wouldn't be at all a bad thing." No joke, no reversal, just a straightforward comment. The few times Algernon uses the word serious, however, it is anything but. He says of dinner, "Yes, but you must be serious about it. I hate people who are not serious about meals," which is obviously a stab at upper-class social conventions about dining and its rules. The word soon reappears, however, when Jack warns Algernon, "Your friend Bunbury will get you into a serious scrape some day." The implication is that Algernon's behavior could involve a certain degree of danger, as it may be unacceptable. Then in Act 2, Section 1 Cecily's second line of dialogue is, "Dear Uncle Jack is so very serious! Sometimes he is so serious that I think he cannot be quite well." If any character can be said to reflect the word serious, it is Jack, though Wilde hid the seriousness of the play so thoroughly it may be hard to find. One such moment occurs in Act 2, Section 4 when Jack, not being even slightly funny or ridiculous, tells Algy what he really thinks: "Your vanity is ridiculous, your conduct an outrage, and your presence in my garden utterly absurd." There is no joke, no reversal, just a straightforward comment.
Though Wilde originally gave the play the subtitle A Serious Comedy for Trivial People, he decided to change it to A Trivial Comedy for Serious People. The art of satire is to ridicule ideas, conditions, or social conventions with which the audience is familiar (or even practices and supports) without alienating that audience. In order for Wilde to reach audience members, they must attend the production. If Wilde openly and publicly insulted them by referring to them as "trivial people," they would not attend and might even react more forcefully. Despite his efforts, however, people did indeed realize he was calling them trivial through his comedy, and in part this caused the play to be banned.
2) Which of the female characters is the most attractive to you among Lady Augusta Bracknell, Gwendolen Fairfax, Cecily Cardew, and Miss Prism? Give your reasons for her being the most attractive among all.
Answer:
Here are specific points that make Cecily Cardew the most attractive among the female characters in The Importance of Being Earnest:
1. Youthful Charm: Cecily’s youthful beauty and innocence make her physically appealing and lend a refreshing contrast to the other characters. Her age and lively spirit give her a natural charm that’s hard to ignore.
2. Imaginative Nature: Cecily’s imagination is one of her most enchanting qualities. She creates an entire relationship with "Ernest" in her mind, complete with love letters, an engagement, and even a breakup. This shows her romantic and creative personality, setting her apart from the more practical characters like Gwendolen.
3. Playful Rebellion: Though she appears innocent, Cecily has a streak of defiance. She subtly resists the authority of Miss Prism, neglecting her studies in favor of daydreaming and writing in her diary. This playful rebellion adds an intriguing complexity to her character.
4. Sense of Humor: Cecily shares Wilde’s wit, but in a way that is lighthearted and endearing. Her humorous interactions with Algernon show that she can be both witty and sincere, giving her character a charming blend of humor and honesty.
5. Natural Innocence: Unlike Gwendolen, who is influenced by social status and propriety, Cecily is naturally innocent and free from pretensions. She embodies a purity and sincerity that make her stand out in the social satire of Wilde’s world.
6. Romantic Idealism: Cecily’s belief in love and her innocent desire for romance make her endearing. She approaches love with open-hearted idealism, giving her character a sweetness and vulnerability that adds to her overall attractiveness.
Cecily's blend of innocence, imagination, charm, and humor makes her the most attractive character among the four, embodying the qualities of a youthful romantic ideal in Wilde’s satirical society.
3)The play repeatedly mocks Victorian traditions and social customs, marriage, and the pursuit of love in particular. Through which situations and characters is this happening in the play?
Answer
1. Proper Social Conduct
In the Victorian era, people were very focused on how one behaved in public. Both Algernon and Jack make up false identities in order to get away with some of their less than ideal behaviors. Calling cards and formal invites formed a part of everyday social life in those times, and we find mention of these in the play. Algernon even goes as far as to state that Jack's 'carelessness' in not sending him a dinner invitation when he wants to avoid dinner at Lady Bracknell's, is foolish and annoying.
The British at this time considered themselves vastly superior to the French (which is why several novels at the time had villainous French characters). The play pokes fun at the idea of French promiscuity when Jack refers to 'corrupt' French Dramas.
2. Marriage and Courtship
In the Victorian era, it was very important to marry within your own social class and to hopefully acquire some wealth through this marriage. Lady Bracknell is very dismissive of Algernon's initial statement that he is engaged to Cecile. However, once she learns that Cecile is in possession of a significant inheritance, she changes her tune in a comedic manner. In this, Wilde shows how warped the upper class' priorities were.
4)Queer scholars have argued that the play's themes of duplicity and ambivalence are inextricably bound up with Wilde's homosexuality and that the play exhibits a "flickering presence-absence of… homosexual desire" Do you agree with this observation? Give your arguments to justify your stance.
Answer
Yes, I agree with the observation that The Importance of Being Earnest reflects themes related to duplicity and ambivalence, which can be linked to Wilde's homosexuality. There are several aspects of the play that suggest Wilde subtly critiques the restrictive moral codes of his time and explores hidden layers of identity, hinting at the complexities of concealing one's true self.
Here are some arguments that support this view:
1. Dual Identities: The play’s central theme of "Bunburying" — the creation of alternate identities by Jack and Algernon — can be interpreted as a metaphor for leading a double life. Wilde himself had to maintain a double life as a public figure in a conservative society while secretly engaging in relationships that were socially condemned. This element of creating alternate personas reflects the hidden layers that queer individuals like Wilde had to navigate.
2. Ambiguity in Relationships: Jack and Algernon's relationship, marked by an intense and playful camaraderie, can be seen as subtly hinting at a same-sex dynamic. Although the romantic relationships in the play are heterosexual, the close bond and verbal sparring between the male characters has an underlying tone of affection and intimacy. This suggests a "flickering presence-absence" of attraction that mirrors the suppressed desires Wilde might have experienced.
3. Critique of Social Expectations: Wilde uses the play to satirize Victorian morality, particularly through characters like Lady Bracknell, who represent strict social conventions. This critique can be seen as Wilde’s indirect protest against societal norms, especially those that criminalized and stigmatized homosexuality. The characters’ secret lives, deceptions, and desires challenge the rigid expectations of propriety, allowing Wilde to question the validity of those norms.
4. Hidden Meanings and Codes: Wilde’s use of language is layered with double meanings and subtle innuendos. Phrases like "earnest," which during Wilde's time had a coded meaning associated with being "gay," playfully hint at homosexuality. This subtle wordplay allowed Wilde to inject hidden meanings into the dialogue, creating a subtext that would be more apparent to those familiar with such coded language.
5. Ambivalence and Desire for Freedom: The play’s characters desire freedom from societal constraints but often fail to achieve it fully, reflecting Wilde’s own experiences. The tension between wanting to live freely and the need to conform is palpable in the play’s structure and tone. This ambivalence reflects the inner conflict Wilde likely experienced as a closeted gay man, giving the play a layer of emotional complexity tied to his personal struggles.
By embedding these themes in the play, Wilde creates a work that explores the complexity of identity, secrecy, and desire. The duplicity and ambivalence in The Importance of Being Earnest allow Wilde to critique societal norms subtly and create a space that reflects the struggles and nuances of queer existence during his time.
Answer
Adaptation of Importance of being Earnest
Abstract: This analysis focuses only on the first act of the play. However, the 2002 movie adaptation rearranged the play creating different scenes from the first and second act. I do not discuss the second act of the play, but do discuss the implications of the second act appearing in the midst of the first act. This was created from my own analysis and never researched for supporting argumentation from the “experts.”
While discussing film adaptations of the play The Importance of Being Earnest it is important to keep in mind the original play. The introductions of characters, the stage directions, the lines are all important pieces of a greater whole, when these pieces are changed, rearranged or omitted in adaptations it is because of the director’s vision of the story to be told in the film. In the 2002 adaptation directed by Oliver Parker, many changes have been made to illustrate the director’s vision of the play.
The first change from the play to the big screen is the introduction of Algernon. The film begins with a black screen and music with a quick tempo. The audience hearing score music playing before the audience sees Algernon mirrors the play’s opening scene. The stage directions set the scene with the sound of a piano coming from a connected room off-stage. A brief few moments is the only similarity, however, as the audience is introduced to Algernon running away from men in a darkened ally. The quick, fun tempo reflects Algernon hurry while at the same time letting the audience knows that this chase is not one of danger; Algernon is pegged as a likable rogue. The music becomes a part of the movie as the scene cuts from the chase to Algernon playing the piano. The introduction of Algernon in this way is Parker’s attempt to give the audience an insight into the character of Algernon.
The director also shows the audience an insight into Jack’s character before entrance in the play. Jack leads a double life: one in the country, where he is known as Jack, and one in the city, where he is known as Earnest. The audience sees Jack leaving his home in the country complaining of his brother Earnest. The audience is given a glimpse of Jack opening his suitcase with a smile on his face. The audience then sees Jack has taken on his Earnest persona with a change of clothes.
In order to give the audience the different viewpoints of Algernon and Jack, the director must rearrange the scenery. In the play, the action of the entire first act occurs within the breakfast room at Algernon’s home. In the movie there are nine or ten different shot locations before the film reaches the end of the first act. Some of the locations are part of act one while others are from act two of the play. The splicing and rearranging of the acts allow for the director to introduce Cecily, Miss Prism, and Dr. Chasuble earlier in the story and thereby creating an elongation of suspense to the Algernon and Jack story line. The splicing also allows for contrast of the male character Algernon, who speaks against romance and family, against the female character Cecily, who in the movie is a hopeless romantic losing herself in daydreams of knights in shining armor coming to rescue her. Gwendolen’s introduction is made in this rearrangement. The audience is given a visual introduction of Aunt Augusta and Gwendolen practicing archery. Gwendolen pulls the string taunt and releases the arrow. The shot cuts to Jack who mimes being shot in the heart. Because the two shots are next to one another the audience can make two deductions about the film. The first is that cupid’s arrow has struck Jack. The second follows more closer with Algernon’s non-romantic train of thought, that the woman is hunting the man for marriage reasons.
The film version is faithful to the script, but the director’s vision comes alive with editing and visual stimulus that can not be captured by merely reading the play. The director adds visual scenes that are not a part of the play but that can easily be imagined to be a part of Wilde’s original play.
Refrences:
“Adaptation of The Importance of Being Earnest.” You Make Me Happy, 3 Feb. 2010, https://youmakemehappy.wordpress.com/2010/02/03/adaptation-of-importance-of-being-earnest/.
“The Importance of Being Earnest Discussion Questions: Page 3.” Course Hero, https://www.coursehero.com/lit/The-Importance-of-Being-Earnest/discussion-questions/page-3/.
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