The Last Testament of Oscar Wilde by Peter Ackroyd


A journal is being written by a lonely man in a Paris hotel space. It begins, for its sins, on 9 August 1900. There was absolutely nothing auspicious about the date, no connection to former grandeur or glory. But there has been a opportunity encounter, on a rare excursion outdoors, with three young Englishmen. They recognize the journal’s author, one Oscar Wilde, and they refer to him as “she”. It is an occasion worth recording, an event that prompts recollection and reflection on a life.

Oscar Wilde’s life was lived in public. Via exploration, then accomplishment and fame, and ultimately through notoriety and disgrace the author occupied a public thoughts. His talent was immense, his need to exploit it almost single-minded and his accomplishment phenomenal. In an era when stardom in the modern day sense was getting invented, Oscar Wilde played the stage, published, courted society and self-promoted. He pushed at boundaries, at times not for causes of art, but merely due to the fact they existed. He was, following all, an outsider, an Irishman of questionable parentage, but dressed elegantly in a frock coat and mingling with the highest.

He as a result became a star for a although, a center of interest, a media figure. This was practically nothing significantly less than celebrity in the modern sense, except, of course, that in his case there really was some talent and ability in the equation. He was famous primarily for what he did, not for whom he became. But then there was a alter. The fame was rendered infamy by publicity he could no longer control. And that downfall killed him. A final journal entry on 30 November 1900, recorded from the author’s mumblings by a pal, Maurice Gilbert, records the event. Oscar Wilde had fallen even though in prison, and had sustained an injury to an ear, an injury that festered.

Early on in his recollections, Oscar Wilde recalls George Bernard Shaw saying that, “An Englishman will do whatever in the name of principle.” Wilde’s qualification was that the principle was inevitably self-interest. It is a gorgeous metaphor, because as a talented – even gifted – young Irish writer, Wilde was promoted and enjoyed good results even though ever he bolstered others’ positions. The moment he sought an assertion of his own appropriate, even so, he was disowned. Celebrity can as a result rub shoulders with the rich and effective, but only on their terms.

And it was their terms that ultimately killed him. The sybaritic Bosie encountered, the need for factors Greek aroused, Wilde found himself drawn into a society he could not resist. But he remained a self-confessed voyeur, and never ever became a participant. He therefore remained forever the outsider, on the periphery of even his own vices. But he was ultimately pilloried for what he became in the public eye to stand for. It remained only a state to which he aspired, if, that is, we think him.

The Last Testament Of Oscar Wilde hence hops repeatedly across the boundary that separates a public and a private life. At some point the two distinct existences become blurred. Because a single is always attempting to be the other, with neither predominating. Peter Ackroyd’s book is a masterpiece with considerably to say about thoroughly modern concepts such as populism, celebrity, fame and identity.