INDEX
Æsthetic Movement, [7-9], [12], [19], [22], [29]
Æsthetics—
Art and morality, [337-344]
Art criticism distinguished from, [333]
Meaning and scope of, [332]
Ruskin's teaching regarding, [338-340]
Wilde's belief in his vocation as to, [331];
his writings, [333];
his lectures, [334-336]
America, Wilde's tour in, [18], [29];
quotation from his lectures, [334-336]
Anderson, Miss Mary, [199-200]
Apologia, [269]
Aristotle cited, [342]
Art—
Art's sake, for, [345]
Morality and, [337-344]
Wilde's writings on, [333]
Ave Imperatrix, [248-250]
Ballad of Reading Gaol—
Criticisms of, [285-286]
Dedication of, [287]
Estimate of, [262], [283-284], [298]
Quotations from, [287-297]
Revision of, [286]
Otherwise mentioned, [86], [273]
Ballad parody, [266]
Ballade de Marguérite, [264-265]
Baudelaire, Charles, influence of, on Wilde, [245-246], [258], [273], [274], [282];
quoted, [245], [252;]
Danse Macabre quoted, [274-276]
Baugham, E. A., quoted—on Salomé, [195-197]
Beardsley, Aubrey, [40-41]
Beeching, Canon, quoted—on De Profundis, [387-389]
Berneval, Wilde's life at, [84]
Bernhardt, Mme. Sarah, [161], [187-188];
Wilde's sonnet to, [267]
Birthday of the Infanta, The, [239]
Boswell quoted, [373-374]
Chanson, [265]
Charmides, [263-264]
Currie, Lady, quoted, [285-286]
Daily Chronicle—
"Salomé" Critique in, quoted, [190-192]
Wilde's letters to, cited, [81-84]
Daily Mirror cited, [74]
Daily Telegraph, extract from, [65-68]
D'Aubrevilly, Barbey, quoted, [283]
De Profundis—
Authenticity of, as prison-written, [71-76], [364-365]
Biblical influence, [376-377]
Christ as depicted in, [386-392]
Estimate of, [362], [393]
Extracts from, [359-360], [376], [378], [383-386], [390-391]
Preface to, [366-367]
Press criticisms on, [380]
Publication and reception of, [362-363]
Ross, R., on publication of, [363-366]
Self-revelation in, [360], [379-386]
Sincerity of, [382], [384-385]
Style of, [371-373], [375-378];
Subject matter of, [367-371]
Des Sponettes, [269]
Devoted Friend, The, [229], [233-234]
Dole of the King's Daughter, The, [265]
Dress, rationale of, [14-15]
Duchess of Padua, The—
Anderson, Miss Mary, refusal by, [199-200]
Estimate of, [199], [205-206]
Influences in, [49]
Plot of, [200-204]
Production of, in Berlin, [205]
E Tenebris, [256], [257]
Endymion, [263]
Fairy Stories, the—
Format of 1891 Edition of, [239-240]
Pathos of, [228]
Sacred matters, allusions to, [230-231]
Style of, [229]
Fisherman and his Soul, The, [240-241]
Florentine Tragedy, The—
Plot of, [217-218]
Production of, [215], [216], [219]
Theft of, [215]
Flowers—
Decorative effect of, [45-46]
Wilde's love of, [250-251], [260], [271]
Fortnightly Review—
Ballad of Reading Gaol criticised in, [285-286]
Poems in Prose in, [348]
Soul of Man, The, in, [352]
Fourth Movement, The, [268]
Fyfe, Hamilton, cited, [75]
Garden of Eros, The, [250-253]
Gide, André, [77]
Gorton, Canon, cited, [390]
Grolleau, Charles, estimate of Wilde by, [47-48]
Happy Prince and Other Tales, The, [227-231].
(See also titles of the stories.)
Harlot's House, The, [272-274]
Helas, [248]
Holloway Prison, journalistic account of Wilde in, [59-64]
House decoration, [44-46]
House of Pomegranates, The, [235-239]
Humanitad, [270]
Ideal Husband, The—
Characters of, [129-131]
Estimate of, [129], [148]
Plot of, [131-148]
Importance Of Being Earnest, The—
Estimate of, [149]
Plot of, [150-154]
Quotations from, [154-156]
Reception of, [150], [156]
Otherwise mentioned, [40]
Impression de Voyage, [267]
Impression du Matin, [263]
Impressions de Théâtre, [267]
Incomparable and Ingenious History of Mr W.H., The—
Story of, [320-322]
Theft of, [215], [220], [302]
Theory of, [323-327]
Value of, [322]
Intentions, [49], [336], [337,], [345-348], [375]
Irving, Sir Henry, Wilde's Sonnet to, [267]
Japanese artistic sense, [46]
Johnson, Dr, quoted, [374]
Keats, influence of, on Wilde, [246], [263], [264];
Wilde's epitaph on, [266-267]
La Bella Donna della mia Mante, [263]
Labouchere, H., estimate of Wilde by, [17-19]
Lady Windermere's Fan—
Extracts from, [111-118]
Plot of, [107-109]
Reception of, by the public, [95], [106];
by critics, [104-106]
Le Gallienne, Richard, cited, [336-337]
Le Reveillon, [268]
Lord Arthur Savile's Crime, [320]
Madonna Mia, [257]
Magdalen Walks, [262-263]
Meyerfeld, Dr Max, [192-193]
Moonlight, Wilde's sentiment for, [168]
Moore, Sturge, [216]
Morris, Wm., Wilde's estimate of, [251]
Nature, Wilde's love of, [260], [271-272]
Nicholson, Dr, cited, [75]
Nightingale and the Rose, The, [231-232]
Nordau, Dr Max, [9-12];
criticism of Wilde by, [12-16]
Oxford Union debate on the Æsthetic Movement, [39-41]
Panthea, [267-268]
Pater, Walter, quoted, [371-372];
cited, [374]
Pen, Pencil and Poison, cited, [379-380]
Pennington, Harper, portrait of Wilde by, [44]
Picture of Dorian Gray, The—
Epigrams from, in Wilde's plays, [315]
Estimate of, [319]
Extracts from, [312-313], [316-318]
Huysmans' influence in, [49]
Preface to, [303]
Story of, [304-312]
Poe, E. A., influence of, on Wilde, [246], [273]
Poems in Prose, [348-352], [373]
Poems, pastoral, [259-262].
(See also titles of Poems.)
Poetry, Wilde's views as to simplicity in, [246-247]
Precious stones, Wilde's knowledge of, [312]
Proverbs, Wilde's transmutations of, [319]
Punch, [21-22], [38];
bibliography of references to Wilde in, [23-28];
quotations, [29-34], [271]
Queensberry case, [56]
Quia Multi Amori, [269]
Ravenna, [247-248]
Reading Gaol—
Ballad of Reading Gaol, see that title
Cruelties perpetrated in, [81-83]
Wilde's removal to, [370];
his life in, [76-78], [85]
Rebell, Hugues, estimate of Wilde by, [48-50]
Remarkable Rocket, The, [234-235]
Requiescat, [253-254]
Ricketts, C. S., [192], [193], [239-240], [283]
Roman Catholic Church, influence of, on Wilde, [240], [254-255], [258], [272], [315]
Rome Unvisited, [240], [256]
Ross, Robert, quoted—on theft of Wilde's MSS., [215];
on publication of De Profundis, [363-366];
cited, [217];
mentioned, [75]
Rossetti, D. G., influence of, on Wilde, [246], [252], [254], [256-258], [265]
Ruskin, John, quoted, [338-340]
Sage Green, [266]
St James's Gazelle, extract from, [72-74]
Salomé—
Beardsley's illustrations to, [184-185]
Bernhardt, written for, [161];
her dealings regarding, [187-188]
Censor's prohibition of, [187]
Criticisms on, quoted, [190-198]
German popularity of, [365]
Language of, [186]
Production of—in Paris, [188];
in London, [189-193];
in various Continental countries, [193-194];
in Berlin, [195];
in New York, [195]
Stage directions of, [167], [185-186]
Stagecraft of, [181-182]
Story of, [162-180]
Tone of, [183]
San Miniato, [255]
Scott, Clement, criticism by, of Lady Windermere's Fan, quoted, [104], [105]
Selfish Giant, The, [232-233]
Serenade, A, [263]
Shakespeare's influence on Wilde, [264]
Shannon, Mr, [239]
Shaw, G. B., Don Juan in Hell, cited, [121-123], [157]
Sherard, R. H., cited, [6,] [11], [84]
Sibbern, cited, [342]
Simon, J. A., quoted, [39-41,]
Socialism, Wilde's views on, [353]
Soul of Man, The, [235], [352-355]
Sphinx, The, [272], [276-283]
Star-Child, The, [241-242]
Story of an Unhappy Friendship, The, cited, [6]
Style, [246], [371-378]
Swinburne, A. C., Wilde's estimate of, [251]
Symons, Arthur, cited, [333]
Tapestry, Wilde's knowledge of, [313]
Terry, Miss Ellen, Wilde's sonnets to, [267]
Times, The—
Ballad of Reading Gaol praised by, [285]
De Profundis criticised by, [380-381]
Tribune, extract from, [215-217]
Truth, extract from, [69-70]
Vera, or The Nihilists—
Dramatis personæ of, [207-208]
Estimate of, [212-213]
Plot of, [208-212]
Production of, in America, [207]
Wainwright the poisoner, [379]
Wilde, Constance Mary, [235], [248];
quoted, [44-46]
Wilde, Oscar Fingal O'Flahertie Wills—
Ancestry of, [11]
Appreciation of, growth of, [3-5]
Career of—
first period, [7], [16-42];
second, [42-53],
third, [53-79];
fourth, [79-90];
tour in America, [18], [29];
bankruptcy, [215], [220], [368];
refusal to forfeit his bail, [54-57];
the Queensberry case, [56];
trial and sentence, [65];
Clapham Junction episode, [370];
life in Reading Gaol, [76-78], [85];
release, [76];
last years, [84-88];
death, [88]
Characteristics of—
Charm of manner, [46]
Complexity, [50-51], [79]
Conversational brilliancy, [34], [46], [86], [349]
Eccentricity, [38]
Egoism, [51-52], [349], [382]
Flowers, love of, [250-251], [260]
Generosity, [46], [51]
Humour, [17]
Imaginative faculty, [301]
Kindliness and gentleness, [46], [51], [77]
Language, felicity of, [252], [378]
Loyalty to friends, [53], [55]
Moonlight, sentiment for, [168]
Narrowness of view, [383]
Nature, love of, [260], [271-272]
Perversity and whimsicality, [34]
Profusion and splendour, taste for, [46]
Self-plagiarism, [315]
Versatility, [90], [301]
Wit, [46], [98], [103]
Dramatic powers of—
Brilliancy of dialogue, [95-99], [110]
Plot interest, [97-98]
Reality of characters and scenes, [96], [100], [102]
Estimates of, by—
Grolleau, M. Charles, [47-48]
Labouchere, H., [17-19]
Nordau, Dr Max, [12-16]
Rebell, Hugues, [48-50]
Fiction of, characteristics of, [302-303]
Home of, at Chelsea, [43-44]
Insanity of, [11-12], [91], [382], [384]
Interview with, quoted, [35-38]
Life of, by Sherard, cited, [6]
Literary style of, [371-378]
Portrait of, by Penninton, [44]
Work of, absolutely distinct from private life, [4], [68]
Wilde, William, cited, [55]
Woman Covered With Jewels, The—
Bernhardt, written for, [221]
Loss of MS. of, [220-221]
Plot of, [222-223]
Woman Of No Importance, A—
Characters of, [126-128]
Dialogue of, [120-123]
Plot of, [123-125]
Popularity of, [121-123], [128]
Reception of, [119],
Woman's World, The, Wilde's editorship of, [42]
Words, Wilde's felicitous choice of, [252]
A Catalogue of the Publications of T. Werner Laurie.
ABBEYS OF GREAT BRITAIN, The (H. Clairborne Dixon and E. Ramsden). 6s. net. (Cathedral Series.)
ABBEYS OF ENGLAND, The (Elsie M. Lang). Leather, 2s. 6d. net. (Leather Booklets.)
ADAM (H. L.), The Story of Crime. Fully Illustrated. Demy 8vo. 10s. 6d. net.
ADDISON (JULIA), Classic Myths in Art. Illustrated with 40 plate reproductions from famous painters. Crown 8vo, cloth gilt, 6s. net.
ADVENTURES OF AN EMPRESS (Helene Vacaresco). 6s.