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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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