There are pages more of this sort of thing, and the earlier and pretended interview in Punch differs a little in period but very little in manner from this real interview.
Punch continued its gibes during the whole time of the first period. Really witty parodies of Oscar Wilde's poems and plays appeared from time to time. Pictures of him were drawn in caricature by well-known artists. It was the same in almost every society. The band of enthusiasts listened to the message, but gave more prominence to the poses and extravagances which accompanied it. The message was obscured and it was the fault of Oscar Wilde's eccentricity.
We are reaping the benefit of it all now, at present I am merely the chronicler of opinion when the movement was in what the unobservant thought was its heyday, but which has proved to be its infancy.
The chorus of dislike and mistrust was almost universal. At Oxford itself, popularly supposed to be a stronghold of æstheticism at the time, a debate on the question took place at the Union. A very prominent undergraduate of the day, Mr J. A. Simon, of Wadham College, reflected the bulk of Oxford opinion when he spoke as follows:—
"Mr J. A. Simon (Wadham) said he felt nervous, for it was an extraordinary occasion for him to be on the side that would gain a majority. He did not consider that the motion had at all the meaning the mover gave it. He quite agreed with him as to the advances made in the illustrated press, and other things, and that many of these selected changes were good. The motion, however, evidently referred to the movement headed by Oscar Wilde, and represented by such things as the 'Yellow Book,' etc. He always thought that the mover was most natural when he was on the stage (applause) and they had all been given pleasure by his impersonations (applause). He believed, though, that he had been acting that night, and the speaker quoted from the speeches of Bassanio passages which he considered described the way the mover had led them off the scent. He intended to discuss the matter seriously. As a book entitled 'Degeneracy' pointed out, the new movement was the outcome of a craving for novelty, and the absurdities in connection with it would do credit to a madhouse. People were eccentric in the hope that they would be taken to be original (applause). It was not a development at all; it was but a jerk or twitching, the work of a moment. Oscar Wilde had actually signed his name to a most awful pun, as those who had seen 'The Importance Of Being Earnest' would understand. The writer's many epigrams were doubtless clever, for next to pretending to be drunk, pretending to be mad was the most difficult (applause). The process was to turn a proverb upside down, and there was the epigram. Then Aubrey Beardsley's figures, if they showed anything, showed extraordinary development; they certainly were not delicate; in fact, he should call them distinctly indelicate. For one thing, such creatures never existed, and it was a species of art that was absolutely imbecile. Oscar Wilde, though, had said that until we see things as they are not we never really live. But all he could say was that he hoped he should never live (applause). It was really not art at all, for art was nearly allied to nature, although Oscar Wilde said that the only connecting link was a really well-made buttonhole. That sort of thing was the art of being brilliantly absurd (applause). It was insignificant to lay claim to manners on the ground of personal appearance; such were not manners but mannerisms. Aubrey Beardsley's figures were but a mannerism of this sort (applause). A development must be new and permanent, and the pictures referred to were not new, for similar ones could be found on the old Egyptian monuments (applause). This cult were not even original individually, for where one led all the rest followed. Oscar Wilde talked about a purple sin: the others did the same. By-the-by, that remark was not original, for scarlet sins had been mentioned in very early days; it was indeed all of it but a resuscitation of what was old and had been long left behind by the rest of the world (applause). The movement was not permanent, as might be seen by the æsthetic craze of fifteen years ago. Velvet coats and peacock feathers were dying out, and soon it would not be correct to wear the hair long (laughter). It was but a phase; if everyone were to talk in epigrams it would be distinguished to talk sense. He was in a difficulty, for if he got a large majority against the motion, to be in a minority was just what would please the æsthetes most. Therefore, let as few vote against as possible (laughter). To be serious, he considered that true art should give pleasure and comfort to people who were in trouble or down in the world, and who, he asked, would be helped by the art of either Aubrey Beardsley or Oscar Wilde? (applause). In conclusion, he would ask the House to give the movers the satisfaction of having as few as possible voting for them (applause)."
"Ars longa est! All know what once that meant;
But cranks corrupt so sickeningly have shindied
About their Art of late, 'tis evident
The rendering now must be, 'Art is long-winded!'
For Vita brevis,—all true men must hope,
Brief life for such base Art—and a short rope!"
said a popular rhyme of the time. It sums up average opinion and may fittingly close this summary of it during the "Æsthetic" period.
We are forced to admit that the general misunderstanding was partially due to the fashion in which the new doctrines were presented. The thing was well worth saying, but it was not said seriously enough. It was a lamentable mistake, but it helps us to understand a certain aspect of Oscar Wilde: the man.
THE SECOND PERIOD
At the time in which what I have called the "second period" may be said to have begun, Wilde was emerging from the somewhat obscuring influences of the Æsthetic movement and was in a state of transition.