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Alexis Smith
Dr. Everett
ENG 5465
13 December 2016
Mocking the Masses: How Oscar Wilde Uses Satire to Reveal the Victorian Culture That
Condemned Him in The Importance of Being Earnest and An Ideal Husband
Two of Oscar Wilde’s best-known plays, The Importance of Being Earnest and An
Ideal Husband, were simultaneously playing in London’s West End in April of 1895 when he
was arrested for acts of sodomy. Ironically, these plays appear to be the most frivolous in
content of Wilde’s writings. From arguing over food and names to arguing over marriage and
letters, the characters in these stories never appear to have a serious thought or moment. Also,
Wilde lures the reader in by what is believed to be “establishing” the characters, but takes the
reader through a journey of each character’s life showing that what appears to be fixed in the
beginning is far from the completed character that is seen in the end. In doing this, Wilde
satirically shows Victorian audiences how superficial they are when judging outward
appearances. Many critics did and still do consider these comedies to be pointless and strictly
written for entertainment with no moral intent. However, this purposelessness is arguably the
purpose of Wilde’s satirical plays as he parodies the masses for which he is writing by
addressing the very culture and critics who judge him.
To better understand these plays and the purpose Wilde has in writing them, it is
imperative to understand the Victorian society for which the plays are written, and more
specifically, the Victorian theatre giving Wilde a voice. Jacky Bratton, in her article, “Theater
in the 19th Century,” gives readers a background and overview of Victorian theater. She

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explains that there were only two theaters in London in 1800, and explains the growth of the
now famous West End. She gives very specific details about the development of the theater—
from lighting and hydraulics to acting as an emerging art form. She explains that writers, such
as Charles Dickens, would neglect writing plays and write novels because of the expectation
to replicate Shakespeare as well as the lack of funds for playwrights.
Katherine Newey and Jeffery Richards’ text, “John Ruskin at the Theatre,” shows how
the emergence of theater as an art form that Bratton references comes about. They argue that
researchers often overlook Ruskin, but that his influence is paramount to the evolving world
of stage acting during the Victorian era. Because of his influence, theater was taken more
seriously, and playwrights, such as Oscar Wilde, were given the opportunity to emerge
successfully. In addition to Newey and Richards’ argument, Joseph Donohue gives details
about how Wilde specifically navigates his writings in this evolving world of theater. In his
article, “Salome and the Wildean Art of Symbolist Theatre,” Donohue discusses Wilde’s wit
and language, specifically how and why it shows up in his plays. Although he focuses on
Salome, he gives specific instances of Wilde’s “witticisms” that appear in An Ideal Husband,
and generally addresses the language used in all of Wilde’s writings (86). Focusing on Salome
(written before his comedies), this article reveals how Wilde transformed, but also transferred
his writing as he found success writing satirical plays.
Like the previous articles, “Before the Curtain,” the introduction to The Cambridge
Companion to Victorian and Edwardian Theatre written by Nina Auerbach, gives readers the
history of Victorian theater. Auerbach explains not just the evolution of theater as an art form,
but also provides information about the change in societal expectations concerning the theater.
She describes how the theater went from a meeting hall for lower classes to a respectable

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venue for the British upper class and aristocracy. She argues that because of rising prices and
new theater “rules,” the audience “rose as did the theatre, going from drunks and prostitutes to
“genteel, and even titled, respectability” (5). Each of these changes and improvements provide
an avenue for the introduction of Wilde’s plays into the society. After writing Salome—a
serious play not allowed to be performed in Victorian England—Wilde writes four
exceptionally successful comedies: Lady Windermere’s Fan, A Woman of No Importance, An
Ideal Husband, and The Importance of Being Earnest. The latter two would be playing at both
ends of London’s West End when Wilde was sentenced to two years in prison for sodomy.
However, both are Wilde’s means of satirically mocking the masses that condemn him.
Oscar Wilde lived in a society of outward expression and hidden secrets—Victorian
England. He was married with children, but found himself drifting from societal expectations.
Robert “Robbie” Ross, a disciple of Wilde, was the one to seduce his hero and first expose
Wilde to homosexuality (Pearce 197). Because of this exposure, Wilde’s life would never fit
the mold of Victorian society. Although his relationship with Ross would not last long, it
changed the course of his life, and eventually led to his public humiliation and imprisonment.
The most significant and toxic of Wilde’s relationships was that with Lord Alfred Douglas. In
June of 1891, eight months before Wilde’s first successful comedy, Lady Windermere’s Fan,
premiered at St. James’ Theatre, Douglas was introduced to Wilde (Pearce 282). The
relationship was hypnotic from the beginning, and although he tried, Wilde could never
completely remove himself from the boy he affectionately called “Bosie.”
Shortly after the success of Lady Windermere’s Fan, theater manager, Herbert
Beerbohm Tree, commissioned Wilde to write a play for the Haymarket Theatre. A Woman of
No Importance was written and performed; within a year and two months, Wilde had penned

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two extremely successful plays and both were being performed in the society that only
accepted outward exceptionalism. This was the means by which Wilde could expose the
culture in which he found himself entrapped. The characters Wilde created, along with the
dialogue and actions that made up the plotlines of each performance, revealed a petty and
shallow society. Although many readers and audience members see Wilde’s plays as
exclusively entertaining, the historical context of the culture, as well as Wilde’s life, reveals
that the purposelessness that dominates the plot is the purpose of the last comedies,
specifically the last two, written by him.
Wilde never ceases to surprise his readers through plot twists and witty dialogue at the
turn of every page. Although one can argue that he does this to entertain or keep audiences
interested, it is conceivable that there is a purpose beyond entertainment to these quick
transitions, specifically when it involves characterization. One of Wilde’s most popular and
likeable dandies, Lord Goring, reflects this change in An Ideal Husband, and the reader is
shown the transformation in Goring’s life from being viewed as idle to being respected as
ideal.
Lord Goring is first introduced in the play through conversation rather than in person
when his father asks, “Has my good-for-nothing young son been here?” (166). With Lord
Caversham’s opinion being the first description of Lord Goring, the reader gets a negative
feeling of the character before he is introduced in person. The next statement Lord Caversham
makes concerning his son is why he believes him to be “good-for-nothing.” He says it is
“because he leads such an idle life” (166). This is one of three times in the first act Lord
Goring is referred to as being idle, and each time it is a negative description. Lord Goring’s
father consistently berates his son and makes it clear that the only way Lord Goring can be

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viewed as an “acceptable” man in Victorian society is to marry. As the audience learns more
about Lord Goring, it is evident that Lord Caversham’s claims and accusations are distorted,
but the Victorian audience watching at the time would not have missed how closely Lord
Caversham’s point of view resembled their own.
When Lord Goring is first seen in person, he arrives at the Chiltern home; the stage
directions describe him as being “well-bred…clever…a flawless dandy…[one who] plays
with life,” but most importantly, “He is fond of being misunderstood” (172). This stage
description of Lord Goring is easily overlooked, but foreshadows the truth the reader will
understand later in the play. When introduced at the party, Lord Chiltern, like Lord
Caversham, describes Lord Goring as “the idlest man in London” (172). However, the
descriptions and verbal introductions are not all that gives the reader a judgmental and
negative perception of Lord Goring; many of his actions throughout the play give the reader a
less than respectable view of his character. Statements such as “I am very selfish” (172) and
“I love talking about nothing…It is the only thing I know anything about” (173) certainly
seem to solidify the remarks made by his father and Lord Chiltern. Yet, as the play
progresses, the reader begins to see a deeper and wiser side to Lord Goring. Realizing the
“other” side to Lord Goring’s character, readers can conclude that these statements are said in
jest, or more conceivably, in mockery of the culture to which his father—and many other
characters—has conformed. Lord Goring is serving as a voice for Wilde as he is unable to
speak out in the same way the fictional character can. Joseph Pearce, in his biography, The
Unmasking of Oscar Wilde, suggests, “the character…who most resembles Wilde, and to
whom Wilde might have been referring when he spoke of revealing the real Oscar, is Lord
Goring” (309). Wilde uses Lord Goring to not just reveal inconsistencies in the society, but to

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give himself a voice, when he otherwise had to remain silent. As the play progresses, the more
logical and realistic side of Lord Goring is revealed.
The first time the reader can see a more trusting side of Lord Goring is the beginning
of the second act when Lord Chiltern trusts him with his secret past. Lord Goring serves as a
sounding board for the troubled Lord Chiltern, and the reader is surprised to find Lord Goring
to be wise when giving advice. All signs of satire are gone when having to deal with reality
that is unacceptable in the trivial society of which they find themselves a part. Lord Goring’s
newly revealed wisdom does not stop with this conversation, but continues when he and Lady
Chiltern are left alone. He is now aware of Lord Chiltern’s deceitful past, and understanding
the cultural expectations so well, he knows when Lady Chiltern learns of her husband’s
secret, she will have a difficult time facing reality. Lord Goring is proactive and tries to
explain to her, “Nobody is incapable of doing a foolish thing. Nobody is incapable of doing a
wrong thing” (199). Although she does not appear to believe what he says, Lord Goring’s
wisdom and concern does not go unnoticed by the reader. This “idle” man’s actions can easily
be termed “ideal.” With this other side of Lord Goring’s character revealed, the audience’s
expectations have to change, and Victorian society was not accustomed to dealing with reality
that lies under the surface. In the character of Lord Goring, the reality was more positive than
the outward appearance, but as with Lord Chiltern, this was not always the case. Wilde
chooses to reveal not just the reality of underlying bad characteristics, but uses Lord Goring to
show that sometimes what appears “unacceptable” in society is overshadowing the good
qualities in a person.
As the play progresses into the third act, the depth of Lord Goring’s character is
revealed and then appears to be manipulated. The blackmail he uses to save his friend,

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although a bit convenient, is arguably an act of genius. Lord Goring, being described to the
audience as idle, can be assumed to have a laid back and mellow personality, but this proves
to be helpful as the plot continues and more is at stake for the Chilterns’ marriage and future.
Lord Goring found a brooch at Lord Goring’s and recognized it; he knew from the time he
found the brooch that the thief would show up looking for it so he never pursued her.
When Lady Cheveley turns up looking for the brooch, he is able to not only let her
know he is aware of her thievery, but thinks quickly enough to save his friend’s reputation. If
Lord Goring was any more aggressive or and less “idle,” he could have lost all hope of
finding out who stole the brooch, but because of his patience, he is able to figure out missing
pieces to the puzzle. However, at the end of the third act, it appears as if Lady Cheveley again
has the upper hand when she finds a letter on pink stationary addressed to Lord Goring from
Lady Chiltern. She plans to show the letter to Lord Chiltern so he believes his wife was
cheating on him with his best friend. Lord Goring could have acted on impulse, but because
of his “idleness” the Victorian society abhorred so much, he again was able to avoid the
exposure of his friend.
After saving his friend’s reputation and then losing it again, Lord Goring does not give
up, but instead chooses to wait. This is arguably another example of Lord Goring’s wisdom
and idealness. Many would try to explain what happened, but he is “idle” enough to let the
circumstances work out on their own. When Lady Cheveley’s plan fails and the truth is
revealed throughout the fourth act, the true character of Lord Goring is manifested. By the end
of the play, the layers of Lord Goring’s character has been peeled back to reveal an ideal
husband who is just idle enough to be perfect for Lord Chiltern’s sister, Mabel. Lord Goring’s
father, Lord Caversham, says to him, “if you don’t make this young lady an ideal husband, I’ll

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cut you off with a shilling” to which Mabel replies, “An ideal husband! Oh, I don’t think I
should like that” (245). Like his introduction, Lord Goring is dismissed through conversation,
and the comments do not appear to be very different. However, the reader’s perspective of the
term “idle” has transformed to be closely related to the term “ideal” when referencing Lord
Goring.
Through satire and comedy, Wilde is able to reveal the frivolousness of the Victorian
society and their ridiculous attention to outward appearance over reality. In January of 1895,
An Ideal Husband premiered at Haymarket Theater, and Wilde was enjoying the peak of his
career. However, the almost two year gap between A Woman of No Importance and An Ideal
Husband was not a coincidence, but the growing relationship between Bosie and Wilde
interrupted Wilde’s ability to write. It was only when Bosie was away in Egypt that Wilde
was able to finish writing An Ideal Husband. According to biographers Richard Ellman and
Joseph Pearce, Wilde tried on numerous occasions to break from Bosie, but each time he
failed. There was a toxic attraction that was present in their relationship from the day they met
on Tite Street (Pearce 282). The largest obstacle threatening Wilde’s successful career was his
inability to say no to Bosie. In addition to Wilde’s weakness, the Marquess of Queensberry
made numerous attempts to severe the relationship between Wilde and his son, Bosie. Before
these threats became a reality for Wilde, his most popular and satirical play premiered on the
London stage, ironically making the biggest mockery of the society that would condemn him
just two months later.
The literary period in which Wilde was producing plays was a slight mixture of 18th
century order and romantic expression. In Oscar Wilde’s last produced play before his
imprisonment, he mocks the structure of Victorian culture and overtly makes fun of the critics

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who embrace it. Eight lines into the first act, Algernon, the dandy of the play, compares the
science of life with making cucumber sandwiches (253). From this first scene, the audience
can see the frivolousness of the characters and should be able to detect the satire based on the
stereotypical characterizations. Algernon is clearly a representation of the dandy in Victorian
England—what Wilde was perceived to be—and is first seen idly speaking to his servant,
Lane. Like Lord Goring, Algernon’s character is pronounced at the beginning of the play, and
his absence from reality is made clear through his dialogue. Although he is perceived as
having a somewhat silly nature, his actions mirror the upper class in the society, and in the
play, he serves as a foil to Jack’s more serious character. Together, he and Jack somewhat
reflect Lord Goring, but both are less likeable. This could be attributed to Wilde’s diminishing
tolerance for the fabricated Victorian society, and the fictitious characters it creates.
Jack Worthing soon enters the first scene, and although he is more serious that
Algernon, his frivolous side is soon made known to the audience. For three pages, he and
Algernon argue over a cigarette case and who “Cecily” is. It is soon revealed that Algernon
and Jack have both been lying, saying they are visiting made up individuals, but their reasons
are different. Jack wants an excuse to come to the city and see Gwendolyn, while Algernon
wants an excuse to escape the city. Regardless of the reasoning, their actions serve to reflect
the Victorian belief that reputation and good manners mean more than truth, and although it is
comical, the Victorian audience could relate. Because of the over-the-top satire, it is easy to
look beyond the purpose of the play and enjoy the purposelessness, but Wilde makes strong
statements through the actions and dialogue of his characters.
Wilde does not only mock the entirety of the Victorian life, but gives specific
criticisms

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throughout the text. As the second act opens, Jack’s ward, Cecily, is seen with her governess,
Mrs. Prism. Cecily is complaining about having to do her German lesson and says it makes
her “look quite plain” (272). She continues to speak negatively about German and then
mentions geology; although it appears she is degrading education, it can be presumed that she
is implying that because of her privilege in life, she does not need education. Thus, her class
triumphs over anything education is able to provide. Later, when she accepts Algernon’s
proposal and then explains how she has had an ongoing relationship with him in her
imagination, the stupidity of her “privilege in life” is evident. It can be assumed that Wilde
makes it clear in the previous scene that he is not against education so the audience
understands the criticism in this scene is meant for the culture and not education. Wilde
makes it clear in this scene that too much privilege in life—including too much status—can
produce ridiculous characteristics in people as he witnessed in the culture of which he was a
part.
In the previous act when Algernon and Jack are discussing Bunburying, Algernon
almost randomly brings up literary critics. In this scene, Wilde directly condemns these critics
with Algernon’s remarks to Jack, “Literary criticism is not your forte…you should leave that
to people who haven’t been at a University. They do it so well in the daily papers” (258). As
passive aggressive as the comment is, Wilde makes a very strong accusation that at the time
would not have been missed by the audience, and education is not what is being mocked.
There are many pointless and childish instances in the play, and Cecily’s first
statement in the third act mirrors this thoughtlessness. As she and Gwendolen look out the
window at the men they are mad at she says, “They have been eating muffins. That looks like
repentance” (295). The thoughtlessness of this sentence directly echoes the emptiness of

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Victorian society. As the men explain why they lied about their names, it seems frivolous, but
the women’s insistence of the name “Earnest” to be ideal for a husband reflects the Victorian
reverence for appearance over truth.
When the final curtain goes down, the two couples appear to be happy and content to
move on with everyone knowing the truth. When Jack finds out his birth origin, rather
conveniently, he also discovers his father’s name to be Earnest, also conveniently. However,
even if the audience is smiling and appreciating the irony of the ending, many are left
criticizing the purposelessness of the plot, but this purposelessness is the explicitly Wilde’s
purpose: Victorian society is the epitome of thoughtlessness. Having a play with foolish
characters and pointless plotlines makes up the perfect “trivial comedy for serious people,”
and the 18th century satire ironically mocks the Victorian masses in Wilde’s final punch at the
society that silences him shortly after.
In April of 1895, only two short months after The Importance of Being Earnest hit the
stage at St. James’ Theater, Wilde’s life began to spiral out of control. Pearce so eloquently
states, “Once more Wilde had succumbed to the fatal attraction, its deadly delights luring him
towards destruction” (312). Bosie’s father was determined to severe the relationship between
his son and Wilde, and accused Wilde of sodomy. Partly because of pressure from Bosie, out
of revenge for his father, Wilde sued Queensberry for libel. Regardless of Bosie’s influence or
Wilde’s status in the society he both loved and loathed, the Victorian emphasis on
appearances was on Queensberry’s side. There would be few people willing to accept Wilde
back into a culture that once praised him because of the possibility of their own reputation
being associated with one society had shunned.

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Wilde was sentenced to two years of hard labor, and he would never write comedies
again. Perhaps this was another response to the society that condemned him; The Importance
of Being Earnest would be his last contribution to Victorian theater. However, his two final
plays would be his revenge—holding a mirror to the societal expectations that never lined up
to reality. Creating stories that forced Victorian theatergoers to laugh at themselves and see
the ridiculous expectations they placed on one another was Wilde’s way of exposing the truth.
In a society that would never accept him completely, Wilde became one of the most heard
voices in the “hub” of London society—the theater. Through characters such as Lord Goring,
Wilde found a voice, and used it to reveal hints of reality. The purposelessness and
frivolousness that dominate in the two final comedies written by Wilde is the purpose in him
writing them, and the reason for their success. Ironically, Oscar Wilde’s name is closely
associated with the society that tried to condemn him. Wilde will always be a Victorian
because of his witty language and purposeless story lines that so closely reflect the society
they mocked.

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Works Cited
Auerbach, Nina. “Before the Curtain.” The Cambridge Companion to Victorian and
Edwardian Theatre, Edited by Kerry Powell, Cambridge University Press, 2004, pp.
3-14.
Bratton, Jacky. “Theater in the 19th Century.” British Library, www.bl.uk/romantics-and-
victorians/articles/19th-century-theatre, Accessed 6 October 2016.
Donohue, Joseph. “Salome and the Wildean Art of Symbolist Theatre.” Modern Drama,
Volume 37, Number 1, Spring 1994, pp. 84-103. ProjectMUSE.
Ellmann, Richard. Oscar Wilde. Vintage Books, 1987.
“The Importance of Being Earnest: The First Stage Production, 1895.” Victoria and Albert
Museum, www.vam.ac.uk/content/articles/t/the-importance-of-being-earnest-first-
stage-production. Accessed 6 October 2016.
Newey, Katherine and Jeffery Richards. “John Ruskin at the Theatre.” John Ruskin and the
Victorian Theatre, Palgrave Macmillan, 2010, 1-18.
Pearce, Joseph. The Unmasking of Oscar Wilde. Ignatius Press, 2015.
Wilde, Oscar. An Ideal Husband. Dover Publications, 2000.
- - -. The Importance of Bing Earnest. Dover Publications, 2000.