By Refusing to Let Algernon Meet Cecily, What Character Trait Does Jack Display?

Aestheticism, Performance and The Importance of Being Earnest

Algernon and Jack

"I could deny it if I liked. I could deny annihilation if I liked."

-Jack Worthing, Act 2

"In matters of grave importance, way, non sincerity, is the vital matter."

– Gwendolen Fairfax, Act Three

"Gwendolen, it is a terrible thing for a human being to discover out of a sudden that all his life he has been speaking nothing but the truth. Can you lot forgive me?"

-Jack Worthing, Act III

Abstract

This newspaper links Oscar Wilde'south play, The Importance of Being Hostage, to aestheticism, the movement to which Wilde belonged. It explores the idea of performance, specifically, how the main characters' personalities both change and remain unchanged within these performances. The first goal is to establish Algernon and Jack as opposite characters who are both artificial because they both put on a performance, or pretend to be Ernest. It and then aims to demonstrate that artificiality should be morally neutral because every human is required to be artificial in life. After coming to this realization, we are able to disregard the characters' bogus natures and finally conclude that Jack is moral and Algernon is immoral solely on the basis of their personalities, rather than on whatever degree of artificiality they brandish.

Background Data

The Importance of Being Earnest, is truly a product of its time, an creative testament to the values of the artful move. Information technology was first performed at the St. James' Theatre in London on February 14th, 1895. This era, the stop of the Nineteenth Century, is typically described as fin de siècle– a French give-and-take that literally means the end of the century, but which implies much more. Bergonzi notes that the phrase was "applied to a wide range of trivial behavior, provided it was sufficiently perverse or paradoxical or shocking" (xix). In order to carry in this manner, many aesthetes adopted a conscious mode of performance, equally it took try to "shock" others. Their reason for doing so was by and large to disrupt, or counteract, the strict morality that characterized the Victorian Historic period. The aesthetes, and many others, sought an alternative lifestyle, or one that was non subjected to the Victorian perception of morality.

Performance

Performance is a central theme in The Importance of Beingness Hostage. Both of Wilde'due south primary characters, Jack and Algernon, atomic number 82 double lives, which means that they are each pretending to be someone they are not, or performing. Jack creates a younger, troublesome brother for himself, named Ernest, whom he pretends to exist in the city. Later on discovering Jack's secret, Algernon as well takes on the role of Ernest, though he is no stranger to the double life. (Algernon had already invented an invalid friend named Bunbury, whom he pretended to visit oftentimes.) Essentially, both Jack and Algernon get actors in their own lives and have to arts and crafts separate performances for these boosted roles. When they do become these culling characters, all the same, they do non completely carelessness their old selves. Jack and Algernon retain many of they key aspects of their original personalities within their performances.

Algernon Moncrieff: Intensely Wicked

Algernon, as a member of the upper-course, is both idle and indulgent. He never attends to his responsibilities nor does he go along his commitments. In fact, he often uses Bunbury as a means of escaping dinner parties which he has promised to attend. Wilde uses Algernon as a ways of criticizing the elite of his society and to condemn the former Victorian values to which aestheticism was strongly opposed. In order to exercise so, he has Algernon deliver many hypocritical lines, such as, "[the lower orders] seem, as a class, to have admittedly no sense of moral responsibleness" (Wilde 184). Such a statement would have been extremely ironic at the fourth dimension, as it was the upper classes to which Algernon belongs, that were identified as suffering from moral degradation (Huggins 589-590).

Algernon is also a charming, playful character, which implies that he has a certain knack for performance. His charm comes in the form of many brilliantly witty statements that are intended to both "daze" and amuse his audience. In Act One, he declares, "You don't seem to realize, that in married life iii is company and two is none" (Wilde 190). Algernon implies that in club to have a successful marriage, one must have another person on the side. He is referring to his own "bunburying," which ways that the third person is actually himself. It is this ambiguity that allows Algernon to pull off such an indecent argument. He is able to advise the necessity of infidelity without really committing to his suggestion.

Some other of Algernon's personality traits is selfishness. He allows his love friend, Jack, to dig himself into a hole in regards to the cigarette instance, before admitting that he suspected Jack of existence a "bunburyist" all along (188). He is securely amused by Jack's unsuccessful attempts to conceal the truth and is unaffected by Jack'due south discomfort.

When Algernon acts every bit Ernest, these personality traits intensify. Upon his arrival in the state, it is fabricated clear that he will keep to neglect his responsibilities. He says to Jack'south ward, Cecily, "I have a business organisation engagement that I am anxious… to miss" (209). He also continues to care for life in a playful, piffling style. When Cecily calls him her Uncle Jack's "wicked" brother, Algernon denies it (208). After sensing that Cecily is quite disappointed that this is not truthful, Algernon quickly retorts, "Oh! Of course I have been rather reckless!" (209) With this interaction he exposes both his power to adapt speedily and to say precisely what 1 would similar to hear, which are both indicative of strong improvisational skills. Since Algernon is aware that Cecily has shown an interest in Ernest, he puts his skills to use in wooing her. He tells her, "I want yous to reform me. You might make that your mission, if you don't listen, cousin Cecily" (209-210). Algernon'south attempts to charm Cecily reemphasize his selfish nature, as he does and then without Jack's permission. Furthermore, he is fully enlightened that Jack intends to "kill off" Ernest, yet he disregards the difficulties his arrival volition crusade Jack in doing so.

Moreover, Algernon'south affections for Cecily seem implausible as they have simply met. In professing his intent to marry her, he completely negates the cynical remarks he previously made about marriage. Therefore, Algernon'southward trend to indulge reaches a climax every bit he throws himself into more hypocrisy. Previously, he was eating and drinking freely, now he is professing his love for another without restraint. Proving to be the ideal match for Algernon, Cecily emphasizes Algernon'south personality traits by mirroring them to an extent. For example, she claims to render his beloved and admits that she has felt this way since her Uncle Jack first started talking about how "wicked" he was. She has even given herself gifts and messages from Ernest, which Algernon pretends to have sent, although both characters know that this is a complete fallacy. This shows that neither of the characters places much value on pursuing the truth. They brand whatever appeals to them most at the time their own truth, and furthermore, they are delighted by the dramatics and the performance involved in carrying on an unwelcome love affair. Their resolve to create their own reality is emphasized when Cecily asks Algernon, "I hope your pilus curls naturally, does it?" He replies "Yes, darling, with a lilliputian assist from others" (219). Rather than pointing out the obvious contradiction in his response, Cecily only responds, "I am so glad" (220). Therefore, Algernon'due south personality traits carry over into his operation as Ernest. Though he pretends to be more "wicked" than he really is, he maintains virtually of his own characteristics. His mode of performance is more of an amplification of his ain personality rather than the crafting of an entirely new character.

Jack Worthing: Unwittingly Earnest

Whereas Algernon is idle, hypocritical, playful, and selfish, Jack is about the complete opposite. Wilde emphasizes their opposing natures by having Jack contradict many of Algernon's more than ridiculous statements. For example, Algernon claims, "The only manner to behave to a woman is to make love to her, if she is pretty, and to someone else if she is evidently." Jack replies, "Oh, that is nonsense" (186). Jack repeats this antiphon frequently throughout the Outset Act, which in turn, causes the audition to identify him as their source of sense.

Jack even expresses a certain reluctance to go along living a double life. He claims that he will "kill off" his brother Ernest, as soon equally Gwendolen accepts his marriage proposal. Algernon, all the same, says that "Nil will induce [him] to role with Bunbury…" (190). These lines bear witness that Jack understands the consequences of carrying on such a lifestyle and that he desires to be truthful with Gwendolen, whereas Algernon refuses to have himself and his lifestyle seriously. Jack is also sincere in his angel for Gwendolen. He professes his honey just after courting her for an acceptable amount of time, which makes his assertion much more undecayed than Algernon's.

When it comes to caring for Cecily, Jack is very responsible. Not only does he outline a strict course of study for her, simply he also provides a perfect example of sobriety with his own demeanor. In fact, her teacher, Miss Prism, claims to "know no one who has a higher sense of duty and responsibility" (205). However, Jack is not an untouchable, stoic figure in her life. He shows tenderness and general concern for Cecily. For example, in Act Ii, Jack refuses to shake Algernon's hand. He eventually overcomes his ain pride and does then, just only later on Cecily says that she volition never forgive him if he doesn't (215).

When Jack acts as Ernest, he lets loose a petty, just notwithstanding manages to maintain his respectability. For example, when Lady Bracknell separates Gwendolen and Jack, the stage directions indicate that they "blow kisses to each other backside Lady Bracknell's back" (196). Such an action seems foolish for a respectable man similar Jack, but the audience can over-look this instance simply because his love for Gwendolen comes beyond as sincere.

He fifty-fifty seems to mimic Algernon'south indulgent personality to some extent. When Algernon asks why he is in London, Jack responds, "Oh, pleasure, pleasure! What else should bring one anywhere?" (184). We can come across from these lines that he is much more than carefree every bit Ernest and not weighed down by the pressure of providing a practiced example for Cecily. Unlike Algernon, notwithstanding, Jack is non over-indulgent. He only comes to town afterward he has attended to his duties in the state.

Jack too loses some of his composure in portraying Ernest. When existence badgered by Lady Bracknell, who wishes to discern whether or not he is a suitable friction match for Gwendolen, he initially remains calm simply is still firm in his responses. For instance, when Lady Bracknell says that his lack of family history is unsuitable, he responds, "May I ask you so what y'all would advise me to practise? I need hardly say I would do anything in the world to ensure Gwendolen'southward happiness" (199). He refuses to give up his pursuit of Gwendolen, just nevertheless questions Lady Bracknell in a polite fashion. Eventually Jack does lose his temper with her, which causes her to storm out of the room indignantly (199). By this point, notwithstanding, Lady Bracknell has become so ridiculous in her inquiries that one can hardly blame Jack for getting upset. Therefore, when Jack acts as Ernest, he is slightly more playful, indulgent, and less composed, however he is even so respectable.

In performing, or in acting as Ernest, both Jack and Algernon alter their personalities, notwithstanding they do not fully abandon their original personalities. Essentially, Jack and Algernon are ii very unlike characters; they are nigh opposites. This fact volition be important in trying to discern the morality of each character.

Artificiality & Morality

Performance, or pretending to be something that i is non, is a type of artificiality. Therefore, though Jack and Algernon are ii very different characters, each is artificial as they both pretend to exist someone they are non– Ernest. Furthermore, we tend to view artificiality every bit a negative attribute, fifty-fifty deeming it as "immoral" since it requires one to be dishonest. Under these constraints, both the disreputable Algernon and the respectable Jack would be immoral characters.

Wilde would disagree with this negative view of artificiality and with the consequential negative judgement of his characters. The opening remarks in his Phrases and Philosophies for the Apply of the Immature , are every bit follows, "The kickoff duty in life is to exist as bogus equally possible. What the second duty is no 1 has equally even so discovered." He justified such an assertion through the aesthetic belief that life should imitate art. Essentially, this means that each person becomes an actor and the globe becomes a phase on which he must perform. A swain aesthete, Arthur Symons, remarked that "[Wilde's] intellect was dramatic, and the whole man was not and so much a personality every bit an attitude… without being an artist, he maintained the attitude of an artist, and information technology was precisely in his attitudes that he was most sincere" (Miyoshi 24). Every discussion that Wilde spoke and every action he took was carefully planned out in guild to portray himself in the fashion he desired. He felt it was important to exercise control over one's ain image, and he did and so by embracing artificiality, or past becoming a master of performance.

Though we may not all exist masters of performance, nosotros are all performing notwithstanding. Therefore if it is impossible to be authentic, how can i be deemed immoral for being bogus? Wilde and the aesthetes would have resolved this issue past calling for a complete divide between artificiality and morality. For them, artificiality was morally neutral. They arrived at this conclusion by manner of the artful belief that art should exist autonomous, or separate from whatever type of moral instruction. Vernon Lee explains, "to appreciate a work of art ways, therefore, to appreciate that work of art itself, equally distinguished from appreciating something outside it, something accidentally or arbitrarily connected with it" (qtd. in Evangelista 5). Algernon and Jack's performances, besides as all of ours, are a form of art, and equally a consequence, should non be subjected to any type of moral judgment.

Within the play, Wilde arrives at this decision past having Jack question whether or not 1 is truly capable of being honest and accurate. When Jack is forced into albeit that he never had a brother named Ernest, he says, "It is very painful for me to be forced to speak the truth. It is the get-go time in my life that I have e'er been reduced to such a painful position, and I am really quite inexperienced in doing anything of the kind" (227-228). Beyond the obvious humour in these lines, there is a serious philosophical statement being made. Jack transcends his own character and speaks for all of humanity. He is simply repeating Algernon's earlier assertion that "the truth is rarely pure and never simple" in a more than personal and purposeful way (189). With these lines, Jack points out how absurd it is to be forced to tell the truth because humans are incapable of deciphering and pinpointing a thing every bit complex as the truth. Essentially, artificiality, a class of dishonesty, is a universal trait of humanity.

Therefore, Jack and Algernon must be judged for what lies beneath their artificialities– their personalities. Equally discussed above, Jack possesses all the traits of a moral figure. He is sensible, responsible, and sincere. On the other hand, Algernon is the immoral figure. He is idle, indulgent, playful and selfish. Wilde solidifies Jack's morality by having all of his lies get truths at the end of the play. He finds out that he is actually Algernon'southward older brother and that his name was meant to have been Ernest. Therefore, his two major lies, the creation of a brother and his role-playing every bit that brother, go the truth. This revelation proves that the acts of being artificial and true are non necessarily mutually exclusive, as Jack ends upward existence honest despite his artificiality. In a classically Wildean fashion, the play leaves the states with the paradoxical understanding that the just way to be natural is to exist artificial.

Clips from the S Declension Repertory's production of The Importance of Being Earnest. Specific examples of performance as discussed above begin around the 00:57 mark.

References:

Algernon and Jack photo courtesy of Wikimedia Commons.
Bergonzi, Bernard. The Turn of a Century; Essays on Victorian and Mod English Literature . New York: Barnes & Noble, 1973. Print.
Evangelista, Stefano. British Aestheticism and Ancient Greece: Hellenism, Reception, Gods in Exile. Corking Britain: Palgrave Macmillan, 2009. Print.
Huggins, Mike J. "More than Sinful Pleasures? Leisure, Respectability and the Male Centre Classes in Victorian England." Periodical of Social History 33.3 (2000): 585-600. JSTOR. Web. 22 Feb. 2010. < http://www.jstor.org/stable/3789212>
Miyoshi, Masao. The Theme of the Divided Cocky in Victorian Literature. Diss. New York University, 1963. Ann Arbor: Photocopy, 1968. Print.
The Important of Being Earnest video clips courtesy of South Coast Repertory. Video can be found on their YouTube channel: http://www.youtube.com/user/SouthCoastRepertory
Wilde, Oscar. The Importance of Being Earnest and Other Plays. New York: Modernistic Library, 2003. Impress.

Contributor: Delanie Laws

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Source: https://sites.udel.edu/britlitwiki/the-importance-of-being-earnest/