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Florentine Tragedy and La Sainte Courtisane

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<h1>Oscar Wilde Miscellaneous</h1> <h2>p. viiPREFACE</h2> <blockquote>‘As to my personal attitude towards criticism, I confess in brief the following:—“If my works are good and of any importance whatever for the further development of art, they will maintain their place in spite of all adverse criticism and in spite of all hateful suspicions attached to my artistic intentions.  If my works are of no account, the most gratifying success of the moment and the most enthusiastic approval of as augurs cannot make them endure.  The waste-paper press can devour them as it has devoured many others, and I will not shed a tear . . . and the world will move on just the same.”’—Richard Strauss. </blockquote> The contents of this volume require some explanation of an historical nature.  It is scarcely realised by the present generation that Wilde’s works on their first appearance, with the exception of De Profundis, were met with almost general condemnation and ridicule.  The plays on their first production were grudgingly praised because their obvious success could not be ignored; but on their subsequent publication in book form they were violently assailed.  That nearly all of them have held the stage is still a source of irritation among certain journalists.  Salomé however enjoys a singular career.  As every one knows, it was prohibited by the Censor when in rehearsal by Madame Bernhardt at the Palace Theatre in 1892.  On its publication in 1893 it was greeted with greater abuse than any other of Wilde’s works, and was consigned to the usual irrevocable oblivion.  The accuracy of the French was freely canvassed, and of course it is obvious that the French is not that of a Frenchman.  The play was passed for press, however, by no less a writer than Marcel Schwob whose letter to the Paris publisher, returning the proofs and mentioning two or three slight alterations, is still in my possession.  Marcel Schwob told me some years afterwards that he thought it would have spoiled the spontaneity and character of Wilde’s style if he had tried to harmonise it with the diction demanded by the French Academy.  It was never composed with any idea of presentation.  Madame Bernhardt happened to say she wished Wilde would write a play for her; he replied in jest that he had done so.  She insisted on seeing the manuscript, and decided on its immediate production, ignorant or forgetful of the English law which prohibits the introduction of Scriptural characters on the stage.  With his keen sense of the theatre Wilde would never have contrived the long speech of Salomé at the end in a drama intended for the stage, even in the days of long speeches.  His threat to change his nationality shortly after the Censor’s interference called forth a most delightful and good-natured caricature of him by Mr. Bernard Partridge in Punch. Wilde was still in prison in 1896 when Salomé was produced by Lugne Poë at the Théàtre de L’&OElig;uvre in Paris, but except for an account in the Daily Telegraph the incident was hardly mentioned in England.  I gather that the performance was only a qualified success, though Lugne Poë’s triumph as Herod was generally acknowledged.  In 1901, within a year of the author’s death, it was produced in Berlin; from that moment it has held the European stage.  It has run for a longer consecutive period in Germany than any play by any Englishman, not excepting Shakespeare.  Its popularity has extended to all countries where it is not prohibited.  It is performed throughout Europe, Asia and America.  It is played even in Yiddish.  This is remarkable in view of the many dramas by French and German writers who treat of the same theme.  To none of them, however, is Wilde indebted.  Flaubert, Maeterlinck (some would add Ollendorff) and Scripture, are the obvious sources on which he has freely drawn for what I do not hesitate to call the most powerful and perfect of all his dramas.  But on such a point a trustee and executor may be prejudiced because it is the most valuable asset in Wilde’s literary estate.  Aubrey Beardsley’s illustrations are too well known to need more than a passing reference.  In the world of art criticism they excited almost as much attention as Wilde’s drama has excited in the world of intellect. During May 1905 the play was produced in England for the first time at a private performance by the New Stage Club.  No one present will have forgotten the extraordinary tension of the audience on that occasion, those who disliked the play and its author being hypnotised by the extraordinary power of Mr. Robert Farquharson’s Herod, one of the finest pieces of acting ever seen in this country.  My friends the dramatic critics (and many of them are personal friends) fell on Salomé with all the vigour of their predecessors twelve years before.  Unaware of what was taking place in Germany, they spoke of the play as having been ‘dragged from obscurity.’  The Official Receiver in Bankruptcy and myself were, however, better informed.  And much pleasure has been derived from reading those criticisms, all carefully preserved along with the list of receipts which were simultaneously pouring in from the German performances.  To do the critics justice they never withdrew any of their printed opinions, which were all trotted out again when the play was produced privately for the second time in England by the Literary Theatre Society in 1906.  In the Speaker of July 14th, 1906, however, some of the iterated misrepresentations of fact were corrected.  No attempt was made to controvert the opinion of an ignorant critic: his veracity only was impugned.  The powers of vaticination possessed by such judges of drama can be fairly tested in the career of Salomé on the European stage, apart from the opera.  In an introduction to the English translation published by Mr. John Lane it is pointed out that Wilde’s confusion of Herod Antipas (Matt. xiv. 1) with Herod the Great (Matt. ii. 1) and Herod Agrippa I. (Acts xii. 23) is intentional, and follows a mediæval convention.  There is no attempt at historical accuracy or archæological exactness.  Those who saw the marvellous décor of Mr. Charles Ricketts at the second English production can form a complete idea of what Wilde intended in that respect; although the stage management was clumsy and amateurish.  The great opera of Richard Strauss does not fall within my province; but the fag ends of its popularity on the Continent have been imported here oddly enough through the agency of the Palace Theatre, where Salomé was originally to have been performed.  Of a young lady’s dancing, or of that of her rivals, I am not qualified to speak.  I note merely that the critics who objected to the horror of one incident in the drama lost all self-control on seeing that incident repeated in dumb show and accompanied by fescennine corybantics.  Except in ‘name and borrowed notoriety’ the music-hall sensation has no relation whatever to the drama which so profoundly moved the whole of Europe and the greatest living musician.  The adjectives of contumely are easily transmuted into epithets of adulation, when a prominent ecclesiastic succumbs, like King Herod, to the fascination of a dancer. It is not usually known in England that a young French naval officer, unaware that Dr. Strauss was composing an opera on the theme of Salomé, wrote another music drama to accompany Wilde’s text.  The exclusive musical rights having been already secured by Dr. Strauss, Lieutenant Marriotte’s work cannot be performed regularly.  One presentation, however, was permitted at Lyons, the composer’s native town, where I am told it made an extraordinary impression.  In order to give English readers some faint idea of the world-wide effect of Wilde’s drama, my friend Mr. Walter Ledger has prepared a short bibliography of certain English and Continental translations. <div class="gapspace"> </div> At the time of Wilde’s trial the nearly completed MS. of La Sainte Courtisane was entrusted to Mrs. Leverson, the well-known novelist, who in 1897 went to Paris on purpose to restore it to the author.  Wilde immediately left the only copy in a cab.  A few days later he laughingly informed me of the loss, and added that a cab was a very proper place for it.  I have explained elsewhere that he looked on his works with disdain in his last years, though he was always full of schemes for writing others.  All my attempts to recover the lost work failed.  The passages here reprinted are from some odd leaves of a first draft.  The play is, of course, not unlike Salomé, though it was written in English.  It expanded Wilde’s favourite theory that when you convert some one to an idea, you lose your faith in it; the same motive runs through Mr. W. H.  Honorius the hermit, so far as I recollect the story, falls in love with the courtesan who has come to tempt him, and he reveals to her the secret of the love of God.  She immediately becomes a Christian, and is murdered by robbers.  Honorius the hermit goes back to Alexandria to pursue a life of pleasure.  Two other similar plays Wilde invented in prison, Ahab and Isabel and Pharaoh; he would never write them down, though often importuned to do so.  Pharaoh was intensely dramatic and perhaps more original than any of the group.  None of these works must be confused with the manuscripts stolen from 16 Tite Street in 1895—namely, the enlarged version of Mr. W. H., the second draft of A Florentine Tragedy, and The Duchess of Padua (which, existing in a prompt copy, was of less importance than the others); nor with The Cardinal of Arragon, the manuscript of which I never saw.  I scarcely think it ever existed, though Wilde used to recite proposed passages for it. <div class="gapspace"> </div> Some years after Wilde’s death I was looking over the papers and letters rescued from Tite Street when I came across loose sheets of manuscript and typewriting, which I imagined were fragments of The Duchess of Padua; on putting them together in a coherent form I recognised that they belonged to the lost Florentine Tragedy.  I assumed that the opening scene, though once extant, had disappeared.  One day, however, Mr. Willard wrote that he possessed a typewritten fragment of a play which Wilde had submitted to him, and this he kindly forwarded for my inspection.  It agreed in nearly every particular with what I had taken so much trouble to put together.  This suggests that the opening scene had never been written, as Mr. Willard’s version began where mine did.  It was characteristic of the author to finish what he never began. When the Literary Theatre Society produced Salomé in 1906 they asked me for some other short drama by Wilde to present at the same time, as Salomé does not take very long to play.  I offered them the fragment of A Florentine Tragedy.  By a fortunate coincidence the poet and dramatist, Mr. Thomas Sturge Moore, happened to be on the committee of this Society, and to him was entrusted the task of writing an opening scene to make the play complete.  It is not for me to criticise his work, but there is justification for saying that Wilde himself would have envied, with an artist’s envy, such lines as— <blockquote>We will sup with the moon, Like Persian princes that in Babylon Sup in the hanging gardens of the King. </blockquote> In a stylistic sense Mr. Sturge Moore has accomplished a feat in reconstruction, whatever opinions may be held of A Florentine Tragedy by Wilde’s admirers or detractors.  The achievement is particularly remarkable because Mr. Sturge Moore has nothing in common with Wilde other than what is shared by all real poets and dramatists: He is a landed proprietor on Parnassus, not a trespasser.  In England we are more familiar with the poachers.  Time and Death are of course necessary before there can come any adequate recognition of one of our most original and gifted singers.  Among his works are The Vinedresser and other Poems (1899), Absalom, A Chronicle Play (1903), and The Centaur’s Booty (1903).  Mr. Sturge Moore is also an art critic of distinction, and his learned works on Dürer (1905) and Correggio (1906) are more widely known (I am sorry to say) than his powerful and enthralling poems. Once again I must express my obligations to Mr. Stuart Mason for revising and correcting the proofs of this new edition. ROBERT ROSS <div style="break-after:column;"></div>

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