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diff --git a/old/69674-0.txt b/old/69674-0.txt deleted file mode 100644 index cfacb2e..0000000 --- a/old/69674-0.txt +++ /dev/null @@ -1,825 +0,0 @@ -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 *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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McNeill Whistler—A Project Gutenberg eBook - </title> - - <link rel="icon" href="images/cover.jpg" type="image/x-cover"> - - <style> - -/* DACSoft styles */ - -body { - margin-left: 10%; - margin-right: 10%; -} - -/* General headers */ -h1 { - text-align: center; /* all headings centered */ - clear: both; -} - -/* Chapter headers */ -h2 { - text-align: center; - font-weight: bold; - margin: .75em 0; -} - -div.chapter { - page-break-before: always; -} - -.nobreak { - page-break-before: avoid; -} - -/* Indented paragraph */ -p { - margin-top: .51em; - margin-bottom: .49em; - text-align: justify; - text-indent: 1em; -} - -/* Unindented paragraph */ -.noi {text-indent: 0em;} - -/* Centered unindented paragraph */ -.noic { - text-indent: 0em; - text-align: center; -} - -/* Drop caps */ -p.cap {text-indent: 0em;} - -p.cap:first-letter { - float: left; - padding-right: 3px; - font-size: 250%; - line-height: 83%; -} - -.x-ebookmaker p.cap:first-letter { - float: left; - padding-right: 3px; - font-size: 250%; - line-height: 83%; -} - -/* Non-standard paragraph margins */ -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} - -/* Horizontal rules */ -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap { - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -@media print { - hr.chap { - display: none; - visibility: hidden; - } -} - -/* Physical book page and line numbers */ -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - right: 3%; -/* left: 92%; */ - font-size: x-small; - font-style: normal; - font-weight: normal; - font-variant: normal; - text-align: right; - color: gray; -} /* page numbers */ - -/* Blockquotes */ -.blockquot { - font-size: 90%; - margin-top: 1em; - margin-left: 10%; - margin-right: 10%; - margin-bottom: 1em; -} - -/* Alignment */ -.right {text-align: right;} - -/* Text appearance */ -.smcap {font-variant: small-caps;} - -/* Small fonts and lowercase small-caps */ -.smfont { - font-size: .8em; -} - -/* Images */ -img { - max-width: 100%; /* no image to be wider than screen or containing div */ - height:auto; /* keep height in proportion to width */ -} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 90%; /* div no wider than screen, even when screen is narrow */ -} - -/* Transcriber's notes */ -.tnote { - background-color: #E6E6FA; - margin-left: 10%; - margin-right: 10%; - padding: .5em; -} - -.tntitle { - font-size: 1.25em; - font-weight: bold; - text-align: center; - clear: both; -} - -/* Title page borders and content. */ -.subtitle { - font-size: 1.5em; - text-align: center; - clear: both; -} - -.halftitle { - font-size: 1.25em; - text-align: center; - clear: both; -} - -.author { - font-size: 1.25em; - text-align: center; - clear: both; -} - -.works { - font-size: .75em; - clear: both; -} - - </style> -</head> - -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Wilde v Whistler, by Oscar Wilde</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Wilde v Whistler</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Being an Acrimonious Correspondence on Art Between Oscar Wilde and James A McNeill Whistler</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Authors: Oscar Wilde</p> -<p style='display:block; margin-top:0; margin-bottom:0; margin-left:2em;'>James A. McNeill Whistler</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 31, 2022 [eBook #69674]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>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.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK WILDE V WHISTLER ***</div> - - -<div class="figcenter" id="cover_sm"> - <img src="images/cover_sm.jpg" alt="cover" title="cover"> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p class="noi halftitle">WILDE v WHISTLER</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p class="noic">Four hundred copies on small quarto paper, and one hundred large paper -copies on demy octavo paper, have been printed of this brochure.</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h1 class="nobreak">WILDE v WHISTLER</h1> - -<p class="noi halftitle">BEING</p> - -<p class="noi subtitle">AN ACRIMONIOUS CORRESPONDENCE</p> - -<p class="noi subtitle">ON ART</p> - -<p class="noi halftitle">BETWEEN</p> - -<p class="noi subtitle">OSCAR WILDE</p> - -<p class="noi halftitle">AND</p> - -<p class="noi subtitle">JAMES A McNEILL WHISTLER</p> - -<p class="p4 noic">LONDON    PRIVATELY PRINTED    MCMVI</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_5"></a>[5]</span></p> - -<h2 class="nobreak" id="TEN"><span class="smcap">Mr</span> WHISTLER’S TEN O’CLOCK,</h2> - -<p class="noi author">BY MR OSCAR WILDE.</p> - - -<p class="p2 noic">“<i>RENGAINES!</i>”</p> -</div> - -<p class="right">Pall Mall Gazette, Feb. 21st, 1885.</p> - -<p class="cap">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 <em>aria</em> 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<span class="pagenum"><a id="Page_6"></a>[6]</span> -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.</p> - -<p>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<span class="pagenum"><a id="Page_7"></a>[7]</span> -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 (<i lang="la">O mea culpa!</i>) at dress reformers -most of all. “Did not Velasquez paint crinolines? -What more do you want?”</p> - -<p>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.</p> - -<p>Finally, after making a strong protest against anybody but -a painter judging of painting, and a pathetic appeal to the<span class="pagenum"><a id="Page_8"></a>[8]</span> -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 <i lang="fr">milieu</i> 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, <i lang="fr">le beau dans l’horrible</i>, 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.<span class="pagenum"><a id="Page_9"></a>[9]</span> -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.</p> - -<p class="right">OSCAR WILDE.</p> - -<div class="blockquot"> - -<p class="p2"><span class="smcap">Reflection</span>: 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.</p> - -<p>Born of a Nation, not absolutely “devoid of any sense of beauty”—Their -idol—cherished, listened to, and understood!—</p> - -<p>Foolish Baudelaire!—Mistaken Mallarmé!</p> - -<p class="right">J. A. McN. W.</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_10"></a>[10]</span></p> - -<h2 class="nobreak" id="TITE">TENDERNESS IN TITE STREET</h2> - - - -<p class="noi halftitle">TO THE POET:</p> -</div> - -<p class="right">The World.</p> - -<p class="cap">OSCAR—I have read your exquisite article in the <cite>Pall Mall</cite>.</p> - -<p>Nothing is more delicate, in the flattery of “the Poet” -to “the Painter,” than the <em>naïveté</em> of “the Poet” in the choice -of his Painters—Benjamin West and Paul Delaroche!</p> - -<p>You have pointed out that “the Painter’s” mission is to find -“<i lang="fr">le beau dans l’horrible</i>,” and have left to “the Poet” the discovery -of “<i lang="fr">l’horrible” dans “le beau</i>!”</p> - -<p class="right">J. A. McN. WHISTLER.</p> - -<p class="works">CHELSEA.</p> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_11"></a>[11]</span></p> - -<p class="noi halftitle">TO THE PAINTER:</p> -</div> - -<p class="right">The World.</p> - -<p class="cap">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.</p> - -<p>Be warned in time, James; and remain, as I do, incomprehensible. -To be great is to be misunderstood.—<i lang="fr">Tout à vous</i>,</p> - -<p class="right">OSCAR WILDE.</p> - -<div class="blockquot"> - -<p class="p2"><span class="smcap">Reflection</span>: I do know a bird, who like Oscar, with his head in -the sand, still believes in the undiscovered!</p> - -<p>If to be misunderstood is to be great, it was rash in Oscar to reveal -the source of his inspirations: the “<cite>Biographical Dictionary</cite>.”</p> - -<p class="right">J. A. McN. W.</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_12"></a>[12]</span></p> - -<h2 class="nobreak" id="ART">TO THE COMMITTEE OF THE “NATIONAL -ART EXHIBITION”</h2> -</div> - -<p class="right">The World, Nov. 17, 1886.</p> - -<p class="cap">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.</p> - -<p>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!</p> - -<p>With ’Arry and Oscar you have avenged the Academy.</p> - -<p class="noic">I am, gentlemen, yours obediently,</p> - -<p class="right">J. A. McN. WHISTLER.</p> - -<div class="blockquot"> - -<p class="p2">Letter read at a meeting of this Society, associated for purposes of -Art reform.</p> - -<p>Enclosed to the Poet, with a line: “Oscar, you must really keep -outside the radius.”</p> - -<p class="right">J. A. McN. W.</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<h2 class="nobreak" id="QUAND">QUAND MÊME!</h2> -</div> - -<p class="right">The World, Nov. 24, 1886.</p> - -<p class="cap">ATLAS, this is very sad! With our James vulgarity begins -at home, and should be allowed to stay there.</p> - -<p class="noic">A vous,</p> - -<p class="right">OSCAR WILDE.</p> - -<div class="blockquot"> - -<p class="p2 noic">TO WHOM:</p> - -<p>“A poor thing,” Oscar—“but” for once, I suppose “your own.”</p> - -<p class="right">J. A. McN. W.</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_14"></a>[14]</span></p> - -<h2 class="nobreak" id="HABIT">THE HABIT OF SECOND NATURES</h2> -</div> - -<p class="right">Truth, Jan. 2, 1890.</p> - -<p class="cap">MOST VALIANT <em>TRUTH</em>—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!</p> - -<p>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!</p> - -<p>How was it that, in your list of culprits, you omitted that -fattest of offenders—our own Oscar?</p> - -<p>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<span class="pagenum"><a id="Page_15"></a>[15]</span> -he might not add deplorable failure to foolish appearance, in -his anomalous position, as art expounder, before his clear-headed -audience.</p> - -<p>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!</p> - -<p>Mr. Vivian, in his book, tells us, further on, that lately, in -an article in the <cite>Nineteenth Century</cite> 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!”</p> - -<p>My recognition of this, his latest proof of open admiration, -I send him in the following little note, which I fancy you may -think <i lang="fr">à propos</i> 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:—</p> - -<div class="blockquot"> - -<p class="p2">“Oscar, you have been down the area again, I see!</p> - -<p>“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 <em>your -own scalp</em>! And potted it in more of your pudding.</p> - -<p>“Labby has pointed out that, for the detected plagiarist, there is still<span class="pagenum"><a id="Page_16"></a>[16]</span> -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.’</p> - -<p>“You, Oscar, can go further, and with fresh effrontery, that will bring -you the envy of all criminal <i lang="fr">confrères</i>, unblushingly boast, ‘Moi, je -prends <i lang="fr">son</i> bien là ou je le trouve!’”</p> -</div> - -<p class="right">J. A. McN. WHISTLER.</p> - -<p class="works">CHELSEA.</p> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_17"></a>[17]</span></p> - -<h2 class="nobreak" id="MARKET">IN THE MARKET PLACE</h2> -</div> - -<p class="right">Truth, Jan. 9, 1890.</p> - -<p class="cap">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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p class="noic">I remain, Sir, faithfully yours,</p> - -<p class="right">OSCAR WILDE.</p> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_18"></a>[18]</span></p> - -<h2 class="nobreak" id="PANIC">PANIC</h2> -</div> - -<p class="right">Truth, Jan. 16, 1890.</p> - -<p class="cap">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.”</p> - -<p>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.”</p> - -<p>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.</p> - -<p>In all humility, therefore, I admit that the outcome of my -“silly vanity and incompetent mediocrity,” must be the incarnation: -“<span class="smcap">Oscar Wilde</span>.”</p> - -<p class="right">J. A. McN. WHISTLER.</p> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_19"></a>[19]</span></p> - -<p class="p2 noi"><i lang="la">Mea culpa!</i> the Gods may perhaps forgive and forget.</p> -</div> - -<p>To you, <em>Truth</em>—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.</p> - -<p>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.</p> - -<p>You also shall again unearth, in the <cite>Nineteenth Century -Review</cite> of Jan. 1889, page 37, the other appropriated property, -slily stowed away, in an article on “The Decay of Lying”—though -why Decay!</p> - -<p>To shirk this matter thus is craven, doubtless; but I am -awe-stricken and tremble, for truly, “the rage of the sheep is -terrible!”</p> - -<p class="right">J. A. McN. WHISTLER.</p> - - - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_20"></a>[20]</span></p> - - -<h2 class="nobreak" id="JUST">JUST INDIGNATION</h2> -</div> - -<p class="cap">OSCAR—How dare you! What means the disguise?</p> - -<p>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!</p> - -<p class="right">J. A. McN. WHISTLER.</p> - -<div class="blockquot"> - -<p class="p2">Upon seeing the Poet, in Polish cap and green overcoat, befrogged, and -wonderfully befurred.</p> -</div> - - - - -<hr class="chap"> -<div class="tnote"> -<p class="noi tntitle">Transcriber’s Notes:</p> - -<p class="smfont">Printer’s, punctuation, and spelling inaccuracies were silently - corrected.</p> - -<p class="smfont">Variable punctuation has been preserved (e.g. Mr/Mr.), where there - is no predominant instance.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK WILDE V WHISTLER ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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