The Complete Short Fiction

by Oscar Wilde

  From Willie Hughes’s life I soon passed to thoughts of his death. I used to wonder what had been his end.

  Perhaps he had been one of those English actors who in 1604 went across sea to Germany and played before the great Duke Henry Julius of Brunswick, himself a dramatist of no mean order, and at the Court of that strange Elector of Brandenburg,48 who was so enamoured of beauty that he was said to have bought for his weight in amber the young son of a travelling Greek merchant, and to have given pageants in honour of his slave all through that dreadful famine year of 1606 – 7, when the people died of hunger in the very streets of the town, and for the space of seven months there was no rain. We know at any rate that Romeo and Juliet was brought out at Dresden in 1613, along with Hamlet and King Lear, and it was surely to none other than Willie Hughes that in 1615 the death-mask of Shakespeare was brought by the hand of one of the suite of the English ambassador, pale token of the passing away of the great poet who had so dearly loved him. Indeed there would have been something peculiarly fitting in the idea that the boy-actor, whose beauty had been so vital an element in the realism and romance of Shakespeare’s art, should have been the first to have brought to Germany the seed of the new culture, and was in his way the precursor of that Aufklarung 49 or Illumination of the eighteenth century, that splendid movement which, though begun by Lessing and Herder, and brought to its full and perfect issue by Goethe, was in no small part helped on by another actor – Friedrich Schroeder50 – who awoke the popular consciousness, and by means of the feigned passions and mimetic methods of the stage showed the intimate, the vital, connection between life and literature. If this was so, – and there was certainly no evidence against it, – it was not improbable that Willie Hughes was one of those English comedians (mimae quidam ex Britannia, as the old chronicle calls them), who were slain at Nuremberg51 in a sudden uprising of the people, and were secretly buried in a little vineyard outside the city by some young men ‘who had found pleasure in their performances, and of whom some had sought to be instructed in the mysteries of the new art.’ Certainly no more fitting place could there be for him to whom Shakespeare said, ‘thou art all my art,’ than this little vineyard outside the city walls. For was it not from the sorrows of Dionysos that Tragedy sprang?52 Was not the light laughter of Comedy, with its careless merriment and quick replies, first heard on the lips of the Sicilian vine-dressers? Nay, did not the purple and red stain of the wine-froth on face and limbs give the first suggestion of the charm and fascination of disguise – the desire for self-concealment, the sense of the value of objectivity thus showing itself in the rude beginnings of the art? At any rate, wherever he lay – whether in the little vineyard at the gate of the Gothic town, or in some dim London churchyard amidst the roar and bustle of our great city – no gorgeous monument marked his resting-place. His true tomb, as Shakespeare saw, was the poet’s verse, his true monument the permanence of the drama. So had it been with others whose beauty had given a new creative impulse to their age. The ivory body of the Bithynian slave rots in the green ooze of the Nile, and on the yellow hills of the Cerameicus is strewn the dust of the young Athenian; but Antinous lives in sculpture, and Charmides in philosophy.53

  III

  After three weeks had elapsed, I determined to make a strong appeal to Erskine to do justice to the memory of Cyril Graham, and to give to the world his marvellous interpretation of the Sonnets – the only interpretation that thoroughly explained the problem. I have not any copy of my letter, I regret to say, nor have I been able to lay my hand upon the original; but I remember that I went over the whole ground, and covered sheets of paper with passionate reiteration of the arguments and proofs that my study had suggested to me. It seemed to me that I was not merely restoring Cyril Graham to his proper place in literary history, but rescuing the honour of Shakespeare himself from the tedious memory of a commonplace intrigue. I put into the letter all my enthusiasm. I put into the letter all my faith.

  No sooner, in fact, had I sent it off than a curious reaction came over me. It seemed to me that I had given away my capacity for belief in the Willie Hughes theory of the Sonnets, that something had gone out of me, as it were, and that I was perfectly indifferent to the whole subject. What was it that had happened? It is difficult to say. Perhaps, by finding perfect expression for a passion, I had exhausted the passion itself. Emotional forces, like the forces of physical life, have their positive limitations. Perhaps the mere effort to convert any one to a theory involves some form of renunciation of the power of credence. Perhaps I was simply tired of the whole thing, and, my enthusiasm having burnt out, my reason was left to its own unimpassioned judgment. However it came about, and I cannot pretend to explain it, there was no doubt that Willie Hughes suddenly became to me a mere myth, an idle dream, the boyish fancy of a young man who, like most ardent spirits, was more anxious to convince others than to be himself convinced.

  As I had said some very unjust and bitter things to Erskine in my letter, I determined to go and see him at once, and to make my apologies to him for my behaviour. Accordingly, the next morning I drove down to Birdcage Walk, and found Erskine sitting in his library, with the forged picture of Willie Hughes in front of him.

  ‘My dear Erskine!’ I cried, ‘I have come to apologise to you.’

  ‘To apologise to me?’ he said. ‘What for?’

  ‘For my letter,’ I answered.

  ‘You have nothing to regret in your letter,’ he said. ‘On the contrary, you have done me the greatest service in your power. You have shown me that Cyril Graham’s theory is perfectly sound.’

  ‘You don’t mean to say that you believe in Willie Hughes?’ I exclaimed.

  ‘Why not?’ he rejoined. ‘You have proved the thing to me. Do you think I cannot estimate the value of evidence?’

  ‘But there is no evidence at all,’ I groaned, sinking into a chair. ‘When I wrote to you I was under the influence of a perfectly silly enthusiasm. I had been touched by the story of Cyril Graham’s death, fascinated by his romantic theory, enthralled by the wonder and novelty of the whole idea. I see now that the theory is based on a delusion. The only evidence for the existence of Willie Hughes is that picture in front of you, and the picture is a forgery. Don’t be carried away by mere sentiment in this matter. Whatever romance may have to say about the Willie Hughes theory, reason is dead against it.’

  ‘I don’t understand you,’ said Erskine, looking at me in amazement. ‘Why, you yourself have convinced me by your letter that Willie Hughes is an absolute reality. Why have you changed your mind? Or is all that you have been saying to me merely a joke?’

  ‘I cannot explain it to you,’ I rejoined, ‘but I see now that there is really nothing to be said in favour of Cyril Graham’s interpretation. The Sonnets are addressed to Lord Pembroke. For heaven’s sake don’t waste your time in a foolish attempt to discover a young Elizabethan actor who never existed, and to make a phantom puppet the centre of the great cycle of Shakespeare’s Sonnets.’

  ‘I see that you don’t understand the theory,’ he replied.

  ‘My dear Erskine,’ I cried, ‘not understand it! Why, I feel as if I had invented it. Surely my letter shows you that I not merely went into the whole matter, but that I contributed proofs of every kind. The one flaw in the theory is that it presupposes the existence of the person whose existence is the subject of dispute. If we grant that there was in Shakespeare’s company a young actor of the name of Willie Hughes, it is not difficult to make him the object of the Sonnets. But as we know that there was no actor of this name in the company of the Globe Theatre,54 it is idle to pursue the investigation further.’

  ‘But that is exactly what we don’t know,’ said Erskine. ‘It is quite true that his name does not occur in the list given in the first folio; but, as Cyril pointed out, that is rather a proof in favour of the existence of Willie Hughes than against it, if we remember his treacherous desertion of Shakespeare for a rival dramatist.’

  We arg
ued the matter over for hours, but nothing that I could say could make Erskine surrender his faith in Cyril Graham’s interpretation. He told me that he intended to devote his life to proving the theory, and that he was determined to do justice to Cyril Graham’s memory. I entreated him, laughed at him, begged of him, but it was of no use. Finally we parted, not exactly in anger, but certainly with a shadow between us. He thought me shallow, I thought him foolish. When I called on him again, his servant told me that he had gone to Germany.

  Two years afterwards, as I was going into my club, the hall-porter handed me a letter with a foreign postmark. It was from Erskine, and written at the Hotel d’Angleterre, Cannes.55 When I had read it I was filled with horror, though I did not quite believe that he would be so mad as to carry his resolve into execution. The gist of the letter was that he had tried in every way to verify the Willie Hughes theory, and had failed, and that as Cyril Graham had given his life for this theory, he himself had determined to give his own life also to the same cause. The concluding words of the letter were these: ‘I still believe in Willie Hughes; and by the time you receive this, I shall have died by my own hand for Willie Hughes’s sake: for his sake, and for the sake of Cyril Graham, whom I drove to his death by my shallow scepticism and ignorant lack of faith. The truth was once revealed to you, and you rejected it. It comes to you now stained with the blood of two lives, – do not turn away from it.’

  It was a horrible moment. I felt sick with misery, and yet I could not believe it. To the for one’s theological beliefs is the worst use a man can make of his life, but to the for a literary theory! It seemed impossible.

  I looked at the date. The letter was a week old. Some unfortunate chance had prevented my going to the club for several days, or I might have got it in time to save him. Perhaps it was not too late. I drove off to my rooms, packed up my things, and started by the night-mail from Charing Cross.56 The journey was intolerable. I thought I would never arrive. As soon as I did I drove to the Hotel d’Angleterre. They told me that Erskine had been buried two days before, in the English cemetery. There was something horribly grotesque about the whole tragedy. I said all kinds of wild things, and the people in the hall looked curiously at me.

  Suddenly Lady Erskine, in deep mourning, passed across the vestibule. When she saw me she came up to me, murmured something about her poor son, and burst into tears. I led her into her sitting-room. An elderly gentleman was there waiting for her. It was the English doctor.

  We talked a great deal about Erskine, but I said nothing about his motive for committing suicide. It was evident that he had not told his mother anything about the reason that had driven him to so fatal, so mad an act. Finally Lady Erskine rose and said, ‘George left you something as a memento. It was a thing he prized very much. I will get it for you.’

  As soon as she had left the room I turned to the doctor and said, ‘What a dreadful shock it must have been to Lady Erskine! I wonder that she bears it as well as she does.’

  ‘Oh, she knew for months past that it was coming,’ he answered.

  ‘Knew it for months past!’ I cried. ‘But why didn’t she stop him? Why didn’t she have him watched? He must have been mad.’

  The doctor stared at me. ‘I don’t know what you mean,’ he said.

  ‘Well,’ I cried, ‘if a mother knows that her son is going to commit suicide –’

  ‘Suicide!’ he answered. ‘Poor Erskine did not commit suicide. He died of consumption. He came here to die. The moment I saw him I knew that there was no hope. One lung was almost gone, and the other was very much affected. Three days before he died he asked me was there any hope. I told him frankly that there was none, and that he had only a few days to live. He wrote some letters, and was quite resigned, retaining his senses to the last.’

  At that moment Lady Erskine entered the room with the fatal picture of Willie Hughes in her hand. ‘When George was dying he begged me to give you this,’ she said. As I took it from her, her tears fell on my hand.

  The picture hangs now in my library, where it is very much admired by my artistic friends. They have decided that it is not a Clouet, but an Ouvry.57 I have never cared to tell them its true history. But sometimes, when I look at it, I think that there is really a great deal to be said for the Willie Hughes theory of Shakespeare’s Sonnets.

  A House of Pomegranates

  To Constance Mary Wilde1

  The Young King

  To Margaret, Lady Brooke1

  It was the night before the day fixed for his coronation, and the young King was sitting alone in his beautiful chamber. His courtiers had all taken their leave of him, bowing their heads to the ground, according to the ceremonious usage of the day, and had retired to the Great Hall of the Palace, to receive a few last lessons from the Professor of Etiquette; there being some of them who had still quite natural manners, which in a courtier is, I need hardly say, a very grave offence.

  The lad – for he was only a lad, being but sixteen years of age – was not sorry at their departure, and had flung himself back with a deep sigh of relief on the soft cushions of his embroidered couch, lying there, wild-eyed and open-mouthed, like a brown woodland Faun,2 or some young animal of the forest newly snared by the hunters.

  And, indeed, it was the hunters who had found him, coming upon him almost by chance as, bare-limbed and pipe in hand, he was following the flock of the poor goatherd who had brought him up, and whose son he had always fancied himself to be. The child of the old King’s only daughter by a secret marriage with one much beneath her in station – a stranger, some said, who, by the wonderful magic of his lute-playing, had made the young Princess love him; while others spoke of an artist from Rimini, to whom the Princess had shown much, perhaps too much honour, and who had suddenly disappeared from the city, leaving his work in the Cathedral unfinished – he had been, when but a week old, stolen away from his mother’s side, as she slept, and given into the charge of a common peasant and his wife, who were without children of their own, and lived in a remote part of the forest, more than a day’s ride from the town. Grief, or the plague, as the court physician stated, or, as some suggested, a swift Italian poison administered in a cup of spiced wine, slew, within an hour of her wakening, the white girl who had given him birth, and as the trusty messenger who bare the child across his saddle-bow stooped from his weary horse and knocked at the rude door of the goatherd’s hut, the body of the Princess was being lowered into an open grave that had been dug in a deserted churchyard, beyond the city gates, a grave where, it was said, that another body was also lying, that of a young man of marvellous and foreign beauty, whose hands were tied behind him with a knotted cord, and whose breast was stabbed with many red wounds.

  Such, at least, was the story that men whispered to each other. Certain it was that the old King, when on his death-bed, whether moved by remorse for his great sin, or merely desiring that the kingdom should not pass away from his line, had had the lad sent for, and, in the presence of the Council, had acknowledged him as his heir.

  And it seems that from the very first moment of his recognition he had shown signs of that strange passion for beauty that was destined to have so great an influence over his life. Those who accompanied him to the suite of rooms set apart for his service, often spoke of the cry of pleasure that broke from his lips when he saw the delicate raiment and rich jewels that had been prepared for him, and of the almost fierce joy with which he flung aside his rough leathern tunic and coarse sheepskin cloak. He missed, indeed, at times the fine freedom of his forest life, and was always apt to chafe at the tedious Court ceremonies that occupied so much of each day, but the wonderful palace – foyeuse,3 as they called it – of which he now found himself lord, seemed to him to be a new world fresh-fashioned for his delight; and as soon as he could escape from the council-board or audience-chamber, he would run down the great staircase, with its lions of gilt bronze and its steps of bright porphyry, and wander from room to room, and from corridor to corridor,
like one who was seeking to find in beauty an anodyne from pain, a sort of restoration from sickness.

  Upon these journeys of discovery, as he would call them – and, indeed, they were to him real voyages through a marvellous land, he would sometimes be accompanied by the slim, fair-haired Court pages, with their floating mandes, and gay fluttering ribands; but more often he would be alone, feeling through a certain quick instinct, which was almost a divination, that the secrets of art are best learned in secret, and that Beauty, like Wisdom, loves the lonely worshipper.

  Many curious stories were related about him at this period. It was said that a stout Burgomaster, who had come to deliver a florid oratorical address on behalf of the citizens of the town, had caught sight of him kneeling in real adoration before a great picture that had just been brought from Venice, and that seemed to herald the worship of some new gods. On another occasion he had been missed for several hours, and after a lengthened search had been discovered in a little chamber in one of the northern turrets of the palace gazing, as one in a trance, at a Greek gem carved with the figure of Adonis.4 He had been seen, so the tale ran, pressing his warm lips to the marble brow of an antique statue that had been discovered in the bed of the river on the occasion of the building of the stone bridge, and was inscribed with the name of the Bithynian slave of Hadrian.5 He had passed a whole night in noting the effect of the moonlight on a silver image of Endymion.6

  All rare and costly materials had certainly a great fascination for him, and in his eagerness to procure them he had sent away many merchants, some to traffic for amber with the rough fisher-folk of the north seas, some to Egypt to look for that curious green turquoise which is found only in the tombs of kings, and is said to possess magical properties, some to Persia for silken carpets and painted pottery, and others to India to buy gauze and stained ivory, moonstones and bracelets of jade, sandalwood and blue enamel and shawls of fine wool.