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Victorian Society in Wild’s Play vs. Dickens’ Novel Report

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Updated: Oct 8th, 2021

Wilde portrays Victorian community as insincere, snooty and constricted. People are valued by their wealth and the communal position of their families. For instance Lady Bracknell is not too passionate about Algernon getting married Cicely until she attends to how rich Cicely is: Then she instantly portrays her as a rather “attractive young lady.” Wilde’s community, though apparently very customary and firm, is essentially quite worried about being destabilized by strangers: Lady Bracknell even evaluates Jack’s being found in a purse with “the worst immoderation of the French Revolution”

Oscar Wilde was simply the most infamous homosexual of the Puritanical Victorian era. His directness and ensuing trials pictured the conventional community to extreme examination. Despite the unconstructive conversations, the confusion made by Wilde assisted to fuel a later association towards acceptance of which Wilde could only have dreamed. His recommence entails the titles of performer, poet, novelist and convicted criminal.

The Victorian epoch was about technological growth. It was an effort aimed at cleaning up the community and establishing a moral standard. The Victorian era was a period of comparative peace and financial steadiness (Marshall 783). Victorians did not desire anything “unclean” or “improper” to obstruct with their notion of faultlessness. Therefore, this citation, taken from Oscar Wilde’s The Picture of Dorian Gray, rimming with homosexual suggestions, was regarded unfortunate.

Due to the time epoch’s standards, Oscar Wilde was made to hide behind a thin sheet of inference and parallel. Wilde was preoccupied with the perfect representation. Although he dressed more ostentatiously than the modern dress, it was to make an representation of himself. Wilde was frightened of illuminating his homosexuality as he knew that he would be disaffected and excluded from the community. Through his works, Oscar Wilde unreservedly reproduced his homosexual way of life as he feared the consequences from the conventional Victorian era in which he lived.

Dickens, nevertheless writing earlier than Wilde, essentially depicts a community in much more confusion. This is because he is narrating on the matters of Industrial Revolution, and his protagonists are mainly middle and working class unlike Wilde’s members of the aristocracy. In Hard Times “the self-made man” keeps all the force, and more “upper-class” people like Mrs Sparsit are made to live as scroungers. However, Dickens’ community is just as duplicitous as Wilde’s, as we see when Bounderby is debunked. Reader could contrast his condition with Jack’s.

The nineteenth-century Victorian novel series was a way for audience and writers to make a narrative last years and be talked about continuously like the day by day soap opera of this epoch. The serial is an constant story that is told over time by the means of repayments with disruptions or stops. Its history will give great realizing to just how significant Charles Dickens was to sequential newspaper and how significant serial publication was to nineteenth-century booklovers.

Nevertheless, the sequence was not just a matter of writing for mere amusement. It was more occupied in the way of life of the nineteenth-century people than it was thought to be. The pictures of life in the nineteenth-century were concentrated on increase, length, and wealth, and the serial demonstrated this. As the serial was a apparition and an angle on narrations about life in the Victorian times and society, it enlightened people of all social stratum, but particularly the middle class.

These people, like the temperaments in the narratives, were looking for betterment. The evaluations of serial novels depended on how well the narrations represented and imagined the life that subsisted in the Victorian times.

The sequence originally started as a way to evade an English tax. Newspapers were anticipating to pay a higher charge than they were originally paying on the manuscript they used to issue their work; they evaded the extra tax by using larger pages of paper and calling their newspapers brochures. However, these larger sheets had more space for text, and series filled up this unfilled space. The “London Spy,” the first series, was published in 1698. When the paper tax was lastly canceled, series continued as readers benefited from it so much. Newspapers and magazines alike entailed serials in their issuing in order to gain more purchasers; “a popular series could double readership”.

Publications of all categories, entailing serials, were decreased because of to the higher paper charges. Serial novels made a response in the Victorian era with Charles Dickens and his Pickwick Papers in 1836. It was publishers Chapman and Hall who offered Dickens the possibility to reveal his talent as a serial writer. They made a decision to issue a sequence of sporting pictures in installments with text describing each picture.

Thus, the audience selected its writer for itself, as Dickens’ narrations were close to reality and working class, who was reading those novels.


Foster, David. “Oscar Wilde, De Profundis and the Rhetoric of Agency.” Papers on Language & Literature 37.1 (2001): 85.

Gillespie, Michael Patrick. Oscar Wilde and the Poetics of Ambiguity. Gainesville, FL: University Press of Florida, 1996.

Nayder, Lillian. Unequal Partners: Charles Dickens, Wilkie Collins, and Victorian Authorship. Ithaca, NY: Cornell University Press, 2002.

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