Charmides (poem)

Last updated

Oscar Wilde in 1881, the year Charmides was published. Oscar Wilde (1854-1900) 1881 unknown photographer.jpg
Oscar Wilde in 1881, the year Charmides was published.

Charmides was Oscar Wilde's longest [1] and one of his most controversial poems. It was first published in his 1881 collection Poems. The story is original to Wilde, though it takes some hints from Lucian of Samosata and other ancient writers; it tells a tale of transgressive sexual passion in a mythological setting in ancient Greece. Contemporary reviewers almost unanimously condemned it, but modern assessments vary widely. It has been called "an engaging piece of doggerel", [2] a "comic masterpiece whose shock-value is comparable to that of Manet's Olympia and Le Déjeuner sur l'herbe ", [3] and "a Decadent poem par excellence" in which "[t]he illogicality of the plot and its deus-ex-machina resolution render the poem purely decorative". [4] It is arguably the work in which Wilde first found his own poetic voice. [5]

Contents

Synopsis

Charmides, a Greek youth, disembarks from the ship which has brought him back from Syracuse, and climbs up to his native village in the Greek mountains where there is a shrine dedicated to Athena. He hides himself and, unnoticed by the priest and local rustics, watches while offerings are made to the goddess, until with nightfall he is left alone. He flings open the temple door to discover the carven image of virginal Athena within; he undresses it, kisses its lips and body, and spends the whole night there, "nor cared at all his passion's will to check". At daybreak he returns to the lowlands and falls asleep by a stream, where most of those who see him mistake him for some woodland god on whose privacy it would be unsafe to intrude. On awaking, Charmides makes his way to the coast and takes ship. Nine days out to sea his ship encounters first a great owl, then the gigantic figure of Athena herself striding across the sea. Charmides cries "I come", and leaps into the sea hoping to reach the goddess, but instead drowns.

Charmides' body is drawn back to Greece by "some good Triton-god" and washed up on a stretch of the Attic shore much haunted by mythological beings. He is discovered by a band of dryads, who all flee in terror except one, who is besotted by the boy's beauty and who thinks him a sleeping sea-deity rather than a three days dead human boy. She dreams of their future life together in majesty under the sea, and renounces the love of a shepherd boy who has been courting her. Fearful of her mistress's anger she repeatedly urges Charmides to awake and take her virginity, but it is too late: the goddess Artemis transfixes the dryad with an arrow. The dead Charmides and dying nymph are discovered by Venus just before the nymph breathes her last. Venus then prays to Proserpine

That she whose beauty made Death amorous
Should beg a guerdon from her pallid Lord,
And let Desire pass across dread Charon's icy ford.

Charmides awakes in the dreary realm of Hades, the Greek underworld, to discover the nymph beside him, and they make love. The poem ends with a celebration of the marvel that this notable sinner could at last find love in a loveless place.

Publication

Charmides was written in late 1878 or early 1879. [6] It first appeared in Wilde's Poems (1881), a single volume published by David Bogue at the author's expense in an edition of 250 copies. [7] [8] Two further editions followed the same year. There were a fourth and fifth edition in 1882, though in these two stanzas were removed, perhaps in response to public reaction; they were not reinstated until Robert Ross's 1908 edition of The Complete Works of Oscar Wilde. [9] In 1892 Wilde, now famous as the author of Lady Windermere's Fan , had his Poems reissued by The Bodley Head as a sumptuous limited edition with a decorative binding and frontispiece by Charles Ricketts. This incarnation of the Poems as an objet d'art in itself is, it has been argued, the ideal setting for the self-consciously Decadent Charmides. [10] [11]

Metre

The metre in which Wilde wrote Charmides is based on that of Shakespeare's Venus and Adonis . [12] Each stanza has six lines rhyming ABABCC, the first five lines being iambic pentameters while the last one is extended to a hexameter. [13] [14]

Sources

Aphrodite of Knidos, by Praxiteles Cnidus Aphrodite Altemps Inv8619.jpg
Aphrodite of Knidos, by Praxiteles

The name of Wilde's poem and its hero is identical with that of a young man loved by Socrates and immortalised in Plato's dialogue Charmides . Wilde may have intended the name to be a signal to his readers that the poem is an erotically charged work about a beautiful boy, but there is no other connection between the two works, whether verbal or thematic. [15] The first part of Wilde's story was suggested by an anecdote in Lucian of Samosata's Essays in Portraiture concerning a young man who became obsessed with Praxiteles' statue of Aphrodite and sexually assaulted it, though Wilde made the story still more transgressive by substituting the chaste goddess Athena for Lucian's Aphrodite. [16] [2] He probably also had in mind the words of Walter Pater on the Hellenist Winckelmann, who "fingers those pagan marbles with unsinged hands, with no sense of shame or loss". [17] In the same essay Pater assures us that "Greek religion too has its statues worn with kissing". [18] The second part of the story might have been suggested by a tale in Parthenius of Nicaea's Erotica Pathemata in which the Pisan prince Dimoetes finds and has sex with the body of a beautiful woman washed up on the seashore. [19]

Stylistically, the poem owes a great deal to the influence of Keats; it has, indeed, been called "a Keatsean oasis in the Swinburnean desert" of the 1881 Poems. [20] It can also be seen to draw on the manner of William Morris in The Earthly Paradise and on the more "fleshly" poems, in for example the House of Life sonnet sequence, of Dante Gabriel Rossetti. [21]

Verbal echoes from and allusions to other poets are numerous in Charmides, as in most of the 1881 Poems. [22] Reminiscences of Matthew Arnold's The Forsaken Merman [23] and the Idylls of Theocritus are particularly prominent, but there also possible borrowings from the Odes of Horace, Shakespeare's The Tempest , Keats's "La Belle Dame sans Merci", Longfellow's "The Wreck of the Hesperus", and Swinburne's "A Forsaken Garden". [24]

Contemporary reception

In 1882 Wilde told the San Francisco Examiner that of all his poems Charmides was "the best...the most finished and perfect". [25] It became, however, something of a scandal. Wilde felt obliged to drop the close friendship of his fellow-student Frank Miles on learning that Miles's mother had cut Charmides out of her copy of Poems and that he was no longer welcome under their roof. [11]

Poems was unfavourably reviewed on its first publication, and Charmides was held up for particular vilification as the epitome of everything the critics disliked about Wilde's work. [26] [4] They pounced on it, a contemporary wrote, "with what in less saintly persons than reviewers would have been delight". [27] Even Oscar Browning, a personal friend whom Wilde had asked to review the book, complained in The Academy that "the story, as far as there is one, is most repulsive", and that "Mr Wilde has no magic to veil the hideousness of a sensuality which feeds on statues and dead bodies", while conceding that the poem had "music, beauty, imagination and power". [28] [29] Wilde was said to "greatly exceed the licence which even a past Pagan poet would have permitted himself". [30] Truth spoke of its "hectic immodesty". [31] An anonymous critic in the Cambridge Review detected "a most unpleasant pervading taint of animalism". He admitted that actual indecency in the poem was restricted to the section relating to the statue, and commented sardonically that "with a statue, Mr Wilde and Charmides seem to have thought, some liberties may be taken". [27] American reviews were, if anything, even more contemptuous. For Thomas Wentworth Higginson, in Woman's Journal , Charmides was a poem which could not be read aloud in mixed company. It was, in a word, unmanly – by which he may have meant "ungentlemanly". [32] The Critic called it "beastly", [33] while Quiz: A Fortnightly Journal of Society, Literature, and Art thought it especially surprising that a leading Aesthete should be capable of "the coarseness which can find anything poetical in the conduct of Charmides or the smitten Dryad". [34] Appletons' Journal summed it up as "the most flagrantly offensive poem we remember ever to have read". [35]

Walter Hamilton's critical study The Aesthetic Movement in England (1882) was more balanced than most of the periodical reviews had been. He wrote that Charmides "abounds with both the merits and the faults of Mr Oscar Wilde's style – it is classical, sad, voluptuous, and full of the most exquisitely musical word painting; but it is cloying for its very sweetness – the elaboration of its detail makes it over-luscious". [32]

Notes

  1. Boyiopoulos 2015, p. 46.
  2. 1 2 Beard 2009, p. 5.
  3. Tufescu, Florina (2011). Oscar Wilde's Plagiarism: The Triumph of Art over Ego. Dublin: Irish Academic Press. p. 57. ISBN   9780716529057 . Retrieved 31 December 2020.
  4. 1 2 Boyiopoulos 2015, p. 47.
  5. Lemonnier, Léon (1938). Oscar Wilde (in French). Paris: H. Didier. p. 30. Retrieved 31 December 2020.
  6. Aquien, Pascal (2016). Oscar Wilde: les mots et les songes: biographie (in French). Croissy-Beaubourg: Aden. p. 83. ISBN   9782848400808 . Retrieved 1 January 2021.
  7. Mason, Stuart (1914). Bibliography of Oscar Wilde. London: T. Werner Laurie. pp. 281–282, 285. Retrieved 31 December 2020.
  8. Varty 2000, p. vi.
  9. Alexis, Olivier (7 March 2002). "Two Cancelled Stanzas of "Charmides" in the 4th and 5th Editions of Wilde's Poems". The Victorian Web. Retrieved 31 December 2020.
  10. Frankel, Nicholas (2000). Oscar Wilde's Decorated Books. Ann Arbor: University of Michigan Press. pp. 129–130. ISBN   0472110691 . Retrieved 31 December 2020.
  11. 1 2 Bristow 2013, p. 82.
  12. Ericksen, Donald H. (1977). Oscar Wilde. Twayne's English Authors, 211. npp: Twayne. p. 39. ISBN   0805749292 . Retrieved 31 December 2020.
  13. Robbins 2011, p. 37.
  14. Mendelssohn, Michèle (2018). Making Oscar Wilde. Oxford: Oxford University Press. p. 86. ISBN   9780198802365 . Retrieved 31 December 2020.
  15. Duff, Timothy E. (2020). "The mechanics of intertextuality in Plutarch". In Schmidt, Thomas S.; Vamvouri, Maria; Hirsch-Luipold, Rainer (eds.). The Dynamics of Intertextuality in Plutarch. Leiden: Brill. p. 147. ISBN   9789004421707 . Retrieved 1 January 2021.
  16. Wilde, Oscar (1997). Murray, Isobel (ed.). Complete Poetry. Oxford: Oxford University Press. pp. 185–186. ISBN   0192825089 . Retrieved 1 January 2021.
  17. Robbins 2011, p. 36.
  18. Ellmann, Richard (1988) [1987]. Oscar Wilde. London: Penguin. p. 134. ISBN   0140096612.
  19. Boyiopoulos 2015, p. 55.
  20. Ojala, Aatos (1954). Aestheticism and Oscar Wilde. Part 1: Life and Letters. Helsinki: np. pp. 166–167. Retrieved 1 January 2021.
  21. Raby, Peter (1988). Oscar Wilde. Cambridge: Cambridge University Press. p. 27. ISBN   0521260787 . Retrieved 1 January 2021.
  22. English 2017, p. 634.
  23. Wilde, Oscar (1998) [1979]. Murray, Isobel (ed.). Complete Shorter Fiction. Oxford: Oxford University Press. p. 271. ISBN   0192815008 . Retrieved 1 January 2021.
  24. English 2017, pp. 635–637.
  25. Mikhail, E. H., ed. (1979). Oscar Wilde: Interviews and Recollections. Volume 1. New York: Barnes & Noble. p. 62. ISBN   978-0064948159 . Retrieved 1 January 2021.
  26. Robbins 2011, p. 30.
  27. 1 2 Anonymous 1881, p. 61.
  28. Varty 2000, p. xix.
  29. Beckson, Karl, ed. (1974). Oscar Wilde: The Critical Heritage. London: Routledge. p. 31. ISBN   0415159318 . Retrieved 2 January 2021.
  30. Sturgis, Matthew (2019) [2018]. Oscar: A Life. London: Head of Zeus. p. 186. ISBN   9781788545983 . Retrieved 6 January 2021.
  31. "The new poet". Truth. 10 (242): 234. 18 August 1881. Retrieved 2 January 2021.
  32. 1 2 Robbins 2011, p. 33.
  33. "Mr Oscar Wilde's Poems". The Critic. 1 (15): 201. 30 July 1881. Retrieved 2 January 2021.
  34. Hamish (15 September 1881). "Poetry as a handicraft". Quiz: A Fortnightly Journal of Society, Literature, and Art. 2 (12): 215. Retrieved 2 January 2021.
  35. "Notes for readers". Appletons' Journal (64): 381. October 1881. Retrieved 2 January 2021.

Related Research Articles

<span class="mw-page-title-main">Athena</span> Goddess of wisdom and war in ancient Greek religion and mythology

Athena or Athene, often given the epithet Pallas, is an ancient Greek goddess associated with wisdom, warfare, and handicraft who was later syncretized with the Roman goddess Minerva. Athena was regarded as the patron and protectress of various cities across Greece, particularly the city of Athens, from which she most likely received her name. The Parthenon on the Acropolis of Athens is dedicated to her. Her major symbols include owls, olive trees, snakes, and the Gorgoneion. In art, she is generally depicted wearing a helmet and holding a spear.

<span class="mw-page-title-main">Minerva</span> Roman goddess of wisdom

Minerva is the Roman goddess of wisdom, justice, law, victory, and the sponsor of arts, trade, and strategy. She is also a goddess of warfare, though with a focus on strategic warfare, rather than the violence of gods such as Mars. Beginning in the second century BC, the Romans equated her with the Greek goddess Athena. Minerva is one of the three Roman deities in the Capitoline Triad, along with Jupiter and Juno.

<span class="mw-page-title-main">Narcissus (mythology)</span> Character in Greek mythology

In Greek mythology, Narcissus was a hunter from Thespiae in Boeotia who was known for his beauty which was noticed by all. According to the best-known version of the story, by Ovid, Narcissus rejected all advances, eventually falling in love with a reflection in a pool of water, tragically not realizing its similarity, entranced by it. In some versions, he beat his breast purple in agony at being kept apart from this reflected love, and in his place sprouted a flower bearing his name.

<span class="mw-page-title-main">Oscar Wilde</span> Irish poet and playwright (1854–1900)

Oscar Fingal O'Fflahertie Wills Wilde was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of the most popular playwrights in London in the early 1890s. He is best remembered for his epigrams and plays, his novel The Picture of Dorian Gray, and his criminal conviction for gross indecency for homosexual acts.

<span class="mw-page-title-main">Phidias</span> Greek sculptor, painter and architect (c.480–430 BC)

Phidias or Pheidias was an Ancient Greek sculptor, painter, and architect, active in the 5th century BC. His Statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World. Phidias also designed the statues of the goddess Athena on the Athenian Acropolis, namely the Athena Parthenos inside the Parthenon, and the Athena Promachos, a colossal bronze which stood between it and the Propylaea, a monumental gateway that served as the entrance to the Acropolis in Athens. Phidias was the son of Charmides of Athens. The ancients believed that his masters were Hegias and Ageladas.

<span class="mw-page-title-main">Tiresias</span> Blind prophet of Apollo

In Greek mythology, Tiresias was a blind prophet of Apollo in Thebes, famous for clairvoyance and for being transformed into a woman for seven years. He was the son of the shepherd Everes and the nymph Chariclo. Tiresias participated fully in seven generations in Thebes, beginning as advisor to Cadmus, the founder of Thebes.

<span class="mw-page-title-main">Daphnis</span> Son of Hermes and a nymph

In Greek mythology, Daphnis was a legendary Sicilian cowherd who was said to be the inventor of pastoral poetry. According to Diodorus the Sicilian, Daphnis was born in the Heraean Mountains of central Sicily.

<span class="mw-page-title-main">Hylas</span> Fictional character in Greek mythology; young companion to Heracles

In classical mythology, Hylas was a youth who served Heracles as companion and servant. His abduction by water nymphs was a theme of ancient art, and has been an enduring subject for Western art in the classical tradition.

<span class="mw-page-title-main">Aestheticism</span> 19th-century art movement

Aestheticism was an art movement in the late 19th century that valued the appearance of literature, music, fonts and the arts over their functions. According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson, create a parallel, or perform another didactic purpose, a sentiment best illustrated by the slogan "art for art's sake." Aestheticism flourished in the 1870s and 1880s, gaining prominence and the support of notable writers such as Walter Pater and Oscar Wilde.

<span class="mw-page-title-main">Ernest Dowson</span> English writer (1867–1900)

Ernest Christopher Dowson was an English poet, novelist, and short-story writer who is often associated with the Decadent movement.

Lionel Pigot Johnson was an English poet, essayist, and critic.

<i>The School of Athens</i> Fresco by Raphael

The School of Athens is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City.

<span class="mw-page-title-main">Corone (crow)</span> Greek mythological woman

In Greek and Roman mythology, Corone is a young woman who attracted the attention of Poseidon, the god of the sea, and was saved by Athena, the goddess of wisdom. She was a princess and the daughter of Coronaeus. Her brief tale is recounted in the narrative poem Metamorphoses by the Roman poet Ovid. Several other myths surround the crow about its connection to Athena.

<span class="mw-page-title-main">Decadent movement</span> Late 19th-century movement

The Decadent movement was a late 19th-century artistic and literary movement, centered in Western Europe, that followed an aesthetic ideology of excess and artificiality.

<span class="mw-page-title-main">Nike (mythology)</span> Personification of victory in Greek mythology

In Greek mythology and ancient religion, Nike or Nice is the goddess who personifies victory in any field including art, music, war, and athletics. She is often portrayed in Greek art as "Winged Victory" in the motion of flight; however, she can also appear without wings as "Wingless Victory" when she is being portrayed as an attribute of another deity such as Athena.

<span class="mw-page-title-main">Gaia</span> Personification of the Earth in Greek mythology

In Greek mythology, Gaia, also spelled Gaea, is the personification of Earth. Gaia is the ancestral mother—sometimes parthenogenic—of all life. She is the mother of Uranus (Sky), from whose sexual union she bore the Titans, the Cyclopes, and the Giants, as well as of Pontus (Sea), from whose union she bore the primordial sea gods. Her equivalent in the Roman pantheon was Terra.

<span class="mw-page-title-main">Pederasty</span> Male adult–adolescent sexual behavior

Pederasty or paederasty is a sexual relationship between an adult man and a boy. It was a socially acknowledged practice in Ancient Greece and Rome and elsewhere in the world, such as Pre-Meiji Japan.

<span class="mw-page-title-main">Algernon Charles Swinburne</span> English poet, playwright and novelist (1837–1909)

Algernon Charles Swinburne was an English poet, playwright, novelist and critic. He wrote many plays - all tragedies - and collections of poetry such as Poems and Ballads, and contributed to the Eleventh Edition of the Encyclopædia Britannica.

<i>The Sphinx</i> (poem) Poem by Oscar Wilde

The Sphinx is a 174-line poem by Oscar Wilde, written from the point of view of a young man who questions the Sphinx in lurid detail on the history of her sexual adventures, before finally renouncing her attractions and turning to his crucifix. It was written over a period of twenty years, stretching from Wilde's years as an Oxford student up to the poem's publication in an édition de luxe in 1894. The Sphinx drew on a wide range of sources, both ancient and modern, but particularly on various works of the French Decadent movement. Though at first coldly received by critics it is now generally recognized as Wilde's finest Decadent poem, and has been described as "unrivalled: a quintessential piece of fin-de-siècle art".

<span class="mw-page-title-main">The Harlot's House</span> Poem by Oscar Wilde

"The Harlot's House" (1885) is a 36-line poem in terza rima by Oscar Wilde. It touches on the issue of prostitution in a style which can be seen as either Aesthetic or Decadent. It is considered one of Wilde's finest poems, and has been set to music several times.

References

Wikisource-logo.svg The full text of Charmides at Wikisource