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-The Project Gutenberg eBook of Wilde v Whistler, by Oscar Wilde
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Wilde v Whistler
-       Being an Acrimonious Correspondence on Art Between Oscar Wilde
-       and James A McNeill Whistler
-
-Authors: Oscar Wilde
-         James A. McNeill Whistler
-
-Release Date: December 31, 2022 [eBook #69674]
-
-Language: English
-
-Produced by: Tim Lindell, Donald Cummings and the Online Distributed
-             Proofreading Team at https://www.pgdp.net (This file was
-             produced from images generously made available by The
-             Internet Archive/American Libraries.)
-
-*** START OF THE PROJECT GUTENBERG EBOOK WILDE V WHISTLER ***
-
-
-
-
-
-                           WILDE v WHISTLER
-
-
-
-
-Four hundred copies on small quarto paper, and one hundred large paper
-   copies on demy octavo paper, have been printed of this brochure.
-
-
-
-
-                           WILDE v WHISTLER
-
-                                 BEING
-                     AN ACRIMONIOUS CORRESPONDENCE
-                                ON ART
-                                BETWEEN
-                              OSCAR WILDE
-                                  AND
-                       JAMES A McNEILL WHISTLER
-
-
-                  LONDON   PRIVATELY PRINTED   MCMVI
-
-
-
-
-                      Mr WHISTLER’S TEN O’CLOCK,
-
-                          BY MR OSCAR WILDE.
-
-
-                            “_RENGAINES!_”
-
-                                 Pall Mall Gazette, Feb. 21st, 1885.
-
-Last night at Prince’s Hall, Mr. Whistler made his first public
-appearance as a lecturer on Art, and spoke for more than an hour with
-really marvellous eloquence on the absolute uselessness of all lectures
-of the kind. Mr. Whistler began his lecture with a very pretty _aria_
-on pre-historic history, describing how in earlier times hunter and
-warrior would go forth to chase and foray, while the artist sat at
-home making cup and bowl for their service. Rude imitations of nature
-they were first, like the gourd bottle, till the sense of beauty and
-form developed, and, in all its exquisite proportions, the first vase
-was fashioned. Then came a higher civilisation of Architecture and
-Arm-chairs, and with exquisite design, and dainty diaper, the useful
-things of Life were made lovely: and the hunter and the warrior lay
-on the couch when they were tired, and, when they were thirsty, drank
-from the bowl, and never cared to lose the exquisite proportions of
-the one, or the delightful ornament of the other: and this attitude
-of the primitive anthropophagous Philistine formed the text of the
-lecture, and was the attitude which Mr Whistler entreated his audience
-to adopt towards Art. Remembering, no doubt, many charming invitations
-to wonderful private views, this fashionable assemblage seemed somewhat
-aghast, and not a little amused, at being told that the slightest
-appearance among a civilized people of any joy in beautiful things is
-a grave impertinence to all painters; but Mr. Whistler was relentless,
-and with charming ease, and much grace of manner, explained to the
-public that the only thing they should cultivate was ugliness, and that
-on their permanent stupidity rested all the hopes of art in the future.
-
-The scene was in every way delightful; he stood there, a miniature
-Mephistopheles mocking the majority! he was like a brilliant surgeon
-lecturing to a class composed of subjects destined ultimately for
-dissection, and solemnly assuring them how valuable to science their
-maladies were and how absolutely uninteresting the slightest symptoms
-of health on their part would be. In fairness to the audience, however,
-I must say that they seemed extremely gratified at being rid of the
-dreadful responsibility of admiring anything, and nothing could have
-exceeded their enthusiasm when they were told by Mr Whistler that no
-matter how vulgar their dresses were, or how hideous their surroundings
-at home, still it was possible that a great painter, if there was such
-a thing, could, by contemplating them in the twilight, and half closing
-his eyes, see them under really picturesque conditions, and produce a
-picture which they were not to attempt to understand, much less dare
-to enjoy. Then there were some arrows, barbed and brilliant, shot off,
-with all the speed and splendour of fireworks at the archaeologists,
-who spend their lives in verifying the birth-places of nobodies, and
-estimate the value of a work of art by its date or decay; at the art
-critics who always treat a picture as if it were a novel, and try
-and find out the plot; at dilettanti in general, and amateurs in
-particular, and (_O mea culpa!_) at dress reformers most of all. “Did
-not Velasquez paint crinolines? What more do you want?”
-
-Having thus made a holocaust of humanity, Mr Whistler turned to
-Nature, and in a few minutes convicted her of the Crystal Palace, Bank
-Holidays, and a general overcrowding of detail, both in omnibuses and
-in landscapes; and then, in a passage of singular beauty, not unlike
-one that occurs in Corot’s letters, spoke of the artistic value of dim
-dawns and dusks, when the mean facts of life are lost in evanescent
-and exquisite effects, when common things are touched with mystery and
-transfigured with beauty: when the warehouses become as palaces, and
-the tall chimneys of the factory seem like campaniles in the silver air.
-
-Finally, after making a strong protest against anybody but a painter
-judging of painting, and a pathetic appeal to the audience not to
-be lured by the aesthetic movement into having beautiful things
-about them, Mr Whistler concluded his lecture with a pretty passage
-about Fusiyama on a fan, and made his bow to an audience which he
-had succeeded in completely fascinating by his wit, his brilliant
-paradoxes, and at times, his real eloquence. Of course, with regard
-to the value of beautiful surroundings I entirely differ from Mr
-Whistler. An artist is not an isolated fact, he is the resultant of a
-certain _milieu_ and a certain entourage, and can no more be born of a
-nation that is devoid of any sense of beauty than a fig can grow from
-a thorn or a rose blossom from a thistle. That an artist will find
-beauty in ugliness, _le beau dans l’horrible_, is now a commonplace
-of the schools, the argot of the atelier, but I strongly deny that
-charming people should be condemned to live with magenta ottomans and
-Albert blue curtains in their rooms in order that some painter may
-observe the side lights on the one and the values of the other. Nor do
-I accept the dictum that only a painter is a judge of painting. I say
-that only an artist is a judge of art; there is a wide difference. As
-long as a painter is a painter merely, he should not be allowed to talk
-of anything but mediums and megilp, and on those subjects should be
-compelled to hold his tongue; it is only when he becomes an artist that
-the secret laws of artistic creation are revealed to him. For there
-are not many arts but one art merely: poem, picture, and Parthenon,
-sonnet and statue――all are in their essence the same, and he who knows
-one, knows all. But the poet is the supreme artist, for he is the
-master of colour and form, and the real musician besides, and is lord
-over all life and all arts; and so to the poet beyond all others are
-these mysteries known; to Edgar Allan Poe and to Baudelaire, not to
-Benjamin West and Paul Delaroche. However, I would not enjoy anybody
-else’s lectures unless in a few points I disagreed with them, and Mr
-Whistler’s lecture last night was, like everything that he does, a
-masterpiece. Not merely for its clever satire and amusing jests will
-it be remembered, but for the pure and perfect beauty of many of its
-passages――passages delivered with an earnestness which seemed to amaze
-those who had looked on Mr Whistler as a master of persiflage merely,
-and had not known him, as we do, as a master of painting also. For
-that he is indeed one of the very greatest masters of painting, is
-my opinion. And I may add that in this opinion Mr Whistler himself
-entirely concurs.
-
-                                                      OSCAR WILDE.
-
-
-    REFLECTION: It is not enough that our simple Sunflower flourish
-    on his “figs”――he has now grafted Edgar Poe on the “rose” tree
-    of the early American Market in “a certain milieu” of dry goods
-    and sympathy; and “a certain entourage” of worship and wooden
-    nutmegs.
-
-    Born of a Nation, not absolutely “devoid of any sense of
-    beauty”――Their idol――cherished, listened to, and understood!――
-
-    Foolish Baudelaire!――Mistaken Mallarmé!
-
-                                                     J. A. McN. W.
-
-
-
-
-                       TENDERNESS IN TITE STREET
-
-
-                             TO THE POET:
-
-                                                          The World.
-
-OSCAR――I have read your exquisite article in the _Pall Mall_.
-
-Nothing is more delicate, in the flattery of “the Poet” to “the
-Painter,” than the _naïveté_ of “the Poet” in the choice of his
-Painters――Benjamin West and Paul Delaroche!
-
-You have pointed out that “the Painter’s” mission is to find “_le
-beau dans l’horrible_,” and have left to “the Poet” the discovery of
-“_l’horrible” dans “le beau_!”
-
-                                              J. A. McN. WHISTLER.
-
-CHELSEA.
-
-
-
-
-                            TO THE PAINTER:
-
-
-                                                          The World.
-
-DEAR BUTTERFLY――By the aid of a biographical dictionary, I made the
-discovery that there were once two painters, called Benjamin West and
-Paul Delaroche, who rashly lectured upon Art. As of their works nothing
-at all remains, I conclude that they explained themselves away.
-
-Be warned in time, James; and remain, as I do, incomprehensible. To be
-great is to be misunderstood.――_Tout à vous_,
-
-                                                      OSCAR WILDE.
-
-
-    REFLECTION: I do know a bird, who like Oscar, with his head in
-    the sand, still believes in the undiscovered!
-
-    If to be misunderstood is to be great, it was rash in Oscar
-    to reveal the source of his inspirations: the “_Biographical
-    Dictionary_.”
-
-                                                     J. A. McN. W.
-
-
-
-
-                   TO THE COMMITTEE OF THE “NATIONAL
-                            ART EXHIBITION”
-
-
-                                           The World, Nov. 17, 1886.
-
-GENTLEMEN――I am naturally interested in any effort made among painters
-to prove that they are alive――but when I find, thrust in the van of
-your leaders, the body of my dead ’Arry, I know that putrefaction alone
-can result. When following ’Arry, there comes on Oscar, you finish
-in farce, and bring upon yourselves the scorn and ridicule of your
-confrères in Europe.
-
-What has Oscar in common with Art? except that he dines at our tables,
-and picks from our platters the plums for the pudding he peddles in the
-provinces. Oscar――the amiable, irresponsible, esurient Oscar――with no
-more sense of a picture than of the fit of a coat, has the courage of
-the opinions ... of others!
-
-With ’Arry and Oscar you have avenged the Academy.
-
-                  I am, gentlemen, yours obediently,
-                                              J. A. McN. WHISTLER.
-
-
-    Letter read at a meeting of this Society, associated for
-    purposes of Art reform.
-
-    Enclosed to the Poet, with a line: “Oscar, you must really keep
-    outside the radius.”
-
-                                                     J. A. McN. W.
-
-
-
-
-                              QUAND MÊME!
-
-
-                                           The World, Nov. 24, 1886.
-
-ATLAS, this is very sad! With our James vulgarity begins at home, and
-should be allowed to stay there.
-
-                                A vous,
-                                                      OSCAR WILDE.
-
-
-                               TO WHOM:
-
-    “A poor thing,” Oscar――“but” for once, I suppose “your own.”
-
-                                                     J. A. McN. W.
-
-
-
-
-                      THE HABIT OF SECOND NATURES
-
-
-                                                Truth, Jan. 2, 1890.
-
-MOST VALIANT _TRUTH_――Among your ruthless exposures of the shams of
-to-day, nothing, I confess, have I enjoyed with keener relish than
-your late tilt at that arch-imposter and pest of the period――the
-all-pervading plagiarist!
-
-I learn, by the way, that in America he may, under the “Law of ’84,” as
-it is called, be criminally prosecuted, incarcerated, and made to pick
-oakum, as he has hitherto picked brains――and pockets!
-
-How was it that, in your list of culprits, you omitted that fattest of
-offenders――our own Oscar?
-
-His methods are brought again freshly to my mind, by the indefatigable
-and tardy Romeike, who sends me newspaper cuttings of “Herbert Vivian’s
-Reminiscences,” in which, among other entertaining anecdotes, is told
-at length, the Story of Oscar simulating the becoming pride of author,
-upon a certain evening, in the club of the Academy students, and
-arrogating to himself the responsibility of the lecture, with which,
-at his earnest prayer, I had, in good fellowship, crammed him, that
-he might not add deplorable failure to foolish appearance, in his
-anomalous position, as art expounder, before his clear-headed audience.
-
-He went forth, on that occasion, as my St. John――but, forgetting that
-humility should be his chief characteristic, and unable to withstand
-the unaccustomed respect with which his utterances were received, he
-not only trifled with my shoe, but bolted with the latchet!
-
-Mr. Vivian, in his book, tells us, further on, that lately, in an
-article in the _Nineteenth Century_ on the “Decay of Lying,” Mr. Wilde
-has deliberately and incautiously incorporated, “without a word of
-comment,” a portion of the well-remembered letter in which, after
-admitting his rare appreciation and amazing memory, I acknowledge that
-“Oscar has the courage of the opinions ... of others!”
-
-My recognition of this, his latest proof of open admiration, I send him
-in the following little note, which I fancy you may think _à propos_ to
-publish, as an example to your readers, in similar circumstances, of
-noble generosity in sweet reproof, tempered, as it should be, to the
-lamb in his condition:――
-
-
-    “Oscar, you have been down the area again, I see!
-
-    “I had forgotten you, and so allowed your hair to grow over the
-    sore place. And now, while I looked the other way, you have
-    stolen _your own scalp_! And potted it in more of your pudding.
-
-    “Labby has pointed out that, for the detected plagiarist, there
-    is still one way to self-respect (besides hanging himself of
-    course), and that is for him boldly to declare, ‘Je prends mon
-    bien là ou je le trouve.’
-
-    “You, Oscar, can go further, and with fresh effrontery,
-    that will bring you the envy of all criminal _confrères_,
-    unblushingly boast, ‘Moi, je prends _son_ bien là ou je le
-    trouve!’”
-
-                                              J. A. McN. WHISTLER.
-
-CHELSEA.
-
-
-
-
-                          IN THE MARKET PLACE
-
-
-                                                Truth, Jan. 9, 1890.
-
-SIR――I can hardly imagine that the public are in the very smallest
-degree interested in the shrill shrieks of “Plagiarism” that proceed
-from time to time out of the lips of silly vanity or incompetent
-mediocrity.
-
-However, as Mr. James Whistler has had the impertinence to attack
-me with both venom and vulgarity in your columns, I hope you will
-allow me to state that the assertions contained in his letters are as
-deliberately untrue as they are deliberately offensive.
-
-The definition of a disciple as one who has the courage of the opinions
-of his master is really too old even for Mr. Whistler to be allowed
-to claim it, and as for borrowing Mr. Whistler’s ideas about Art, the
-only thoroughly original ideas I have ever heard him express have had
-reference to his own superiority as a painter over painters greater
-than himself.
-
-It is a trouble for any gentleman to have to notice the lucubrations of
-so ill-bred and ignorant a person as Mr. Whistler, but your publication
-of his insolent letter left me no option in the matter.
-
-                   I remain, Sir, faithfully yours,
-                                                      OSCAR WILDE.
-
-
-
-
-                                 PANIC
-
-
-                                               Truth, Jan. 16, 1890.
-
-O TRUTH!――Cowed and humiliated, I acknowledge that our Oscar is at
-last original. At bay, and sublime in his agony, he certainly has, for
-once, borrowed from no living author, and comes out in his own true
-colours――as his own “gentleman.”
-
-How shall I stand against his just anger, and his damning allegations!
-for it must be clear to your readers, that, besides his clean polish,
-as prettily set forth in his epistle, I, alas! am but the “ill-bred and
-ignorant person,” whose “lucubrations” “it is a trouble” for him “to
-notice.”
-
-Still will I, desperate as is my condition, point out that though
-“impertinent,” “venomous,” and “vulgar,” he claims me as his
-“master”――and, in the dock, bases his innocence upon such relation
-between us.
-
-In all humility, therefore, I admit that the outcome of my “silly
-vanity and incompetent mediocrity,” must be the incarnation: “OSCAR
-WILDE.”
-
-                                              J. A. McN. WHISTLER.
-
-
-
-
-_Mea culpa!_ the Gods may perhaps forgive and forget.
-
-To you, _Truth_――champion of the truth――I leave the brave task of
-proclaiming again that the story of the lecture to the students of the
-Royal Academy was, as I told it to you, no fiction.
-
-In the presence of Mr Waldo Story did Oscar make his prayer for
-preparation; and at his table was he entrusted with the materials for
-his crime.
-
-You also shall again unearth, in the _Nineteenth Century Review_ of
-Jan. 1889, page 37, the other appropriated property, slily stowed away,
-in an article on “The Decay of Lying”――though why Decay!
-
-To shirk this matter thus is craven, doubtless; but I am awe-stricken
-and tremble, for truly, “the rage of the sheep is terrible!”
-
-                                              J. A. McN. WHISTLER.
-
-
-
-
-                           JUST INDIGNATION
-
-
-OSCAR――How dare you! What means the disguise?
-
-Restore those things to Nathan’s, and never again let me find you
-masquerading the streets of my Chelsea in the combined costumes of
-Kossuth and Mr Mantalini!
-
-                                              J. A. McN. WHISTLER.
-
-
-    Upon seeing the Poet, in Polish cap and green overcoat,
-    befrogged, and wonderfully befurred.
-
-
-                   *       *       *       *       *
-
-
- Transcriber’s Notes:
-
- ――Text in italics is enclosed by underscores (_italics_).
-
- ――Printer’s, punctuation, and spelling inaccuracies were silently
-   corrected.
-
- ――Variable punctuation has been preserved (e.g. Mr/Mr.), where there
-   is no predominant instance.
-
-
-*** END OF THE PROJECT GUTENBERG EBOOK WILDE V WHISTLER ***
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