Introduction to Business Law Essay Example | Topics and Well Written Essays - 500 words

Introduction to Business Law - Essay Example The other cases mentioned will be heard accordingly by other courts. First, with regard to the case involving a dispute between Colorado, Utah, and Arizona over water rights, the case involving a state law prohibiting the import of nuclear waste, a civil suit between a plaintiff from Tennessee and a defendant from Kentucky, and the case involving a state's criminal laws, civil code, or constitution, these cases will be heard by the US Federal Supreme Court. According to the United States Constitution regarding the jurisdiction of the Federal Supreme Court: The judicial power shall extend to all cases arising under this Constitution, [t]he laws of the United States, controversies between two or more states, between citizens of different states. (United States Constitution, Art. 3, Sec. 2) Thus, by virtue of the aforementioned cases' national significance, its implications to the Constitution and the possible conflict that may arise regarding the impartiality of District Courts, these cases may be heard by the Supreme Court.

Virtual Norms To Live By Case Study Example | Topics and Well Written Essays - 1250 words

Virtual Norms To Live By - Case Study Example The virtual world makes it possible to interact with each other without being physically present. The availability of email, chat rooms, video conferencing, texting and calling on mobile and landline phones makes virtual collaboration more convenient. As it is with groups working face-to face, virtual teams also need norms to live by. Karten (2003) explains that team norms should be formed in order for team members to be guided accordingly as to how they interact, communicate and conduct themselves as members of the team. It follows that such norms should be agreed upon and clearly understood and interpreted by all the members of the group. Norms are not really set in stone. Should some norms prove to be ineffective or unsuitable already to the group, then they may be amended. I have enumerated ten norms that I believe will work with virtual teams and help them work together better. Communication Norms 1. Be open to each other’s ideas. Give each other the chance to communicate them and listen well without judgment. Objectively listening to other people’s ideas can actually be an enriching experience. Richmond & McCroskey (2005) defines organizational communication as â€Å"the process by which individuals stimulate meaning in the minds of other individuals by means of verbal or nonverbal messages in the context of a formal organization.† (P. 20). ... When one sends a message to another team member, it may be possible that the recipient is not online to receive the message at that particular moment, so the sender needs to give allowance of time before his message is received and acknowledged. It must be considered that members are not online on a round-the-clock basis and is also living a life offline that is has no relation to the project. This should be clearly understood so that disappointments are avoided. If there is an urgent message to be expected, one should be informed by mobile phone right away so he can check his email. 3. Acknowledge receipt of messages. In relation to the previous communication norm, it is but polite to acknowledge the receipt of a message so that the sender is aware. If there is a question in the message, it needs to be answered by the recipient as soon as he can so there is less time wasted on waiting. 4. Ask questions if things are not clear. This is a very basic practice. Members should not be int imidated to ask questions because it is crucial that they are clear on what they should do. If one is unsure of what to do and just goes by what he just feels is right without clarifying with the others, he might end up doing it wrong, hence, repeating the whole process. Asking questions and getting the right answers for it saves the team a lot of time and effort. 5. Always be motivating to others. Members of a team should be constantly motivated and encouraged to go on with the tasks in order to achieve the set goals. Motivation may come in many forms - intrinsic motivation or the inner drive to learn which leads to personal fulfillment; extrinsic motivation, which consists of rewards or a prize for

The advantages and disadvantages of online businesses

The advantages and disadvantages of online businesses Introduction The topic of online shopping has been of particular interest to practitioners, academics and marketing strategists and lot of research has already gone into determining whether these online companies are significantly different than brisk-and-mortar companies and if there are any systematic differences in consumer choice behavior between online and regular shopping (Eatock et al.,2002). There are some exceptional examples of online companies like Google, Yahoo and Amazon which have grown to become major global brands in their own right. These companies are purely online companies while there are others like Tesco.com who have hugely successful online operations but their online operations only supports their regular operation. This research does a feasibility analysis of a company going online and analyzes the effectiveness of the business model of online companies citing relevant examples. Analysis and Discussion Advantages of online operations Reach – Online companies can cater to a wider range of audience as compared to their offline counterparts. Eg. Companies like Amazon and eBay have a global reach. Low Cost the cost of spreading the message, advertising and in general the administration costs are lesser than regular companies and far more lesser when online companies reach economy of scale. Ease of shopping – Provides customers with a hassle free shopping experience whereby customers can sit at their home and shop at the click of their mouse. Choice – Gives customers more choice to choose from. Eg. Barnes and Noble has ten thousand books in its store and million in its online store Disadvantages Ease price comparison – Because customers can compare prices easily (now with price comparison sites like confused.com, moneysupermarket.com etc), it makes companies compete on price rather than product differentiation and other factors which means online companies have lesser margins. Security and reliability issues – With Internet and credit card fraud on the rise, people are becoming more and more cautious and reluctant of giving their bank details online. Information Overload – At times people get lost on the internet because there is too much information which makes them delay or refrain their purchasing decision. ‘Squeezing the tomato’ (Gallauher, 1999) syndrome – People still like to have a look and try products like clothes etc before buying it. Trust – Because customers do not deal with the actual person but with an internet process, trust is of the major issues. Shipping costs – Convenience comes at a cost and most often than not, people have to pay for their shipping if they don’t buy stuff above a certain price limit. Eg. Customers have to buy something greater than  £5 in TescoDirect to have it delivered free of cost. Disadvantages on online companies can be overcome but only if they view the customer experience from the eyes of their customer. Online businesses Illustrations are given of three types of online companies which are different in their operations, eBay, is purely an online auction company, Barnes and Noble is a book seller which has both online and offline operations, easyJet is a low cost carrier which follows a Web-based distribution strategy. easyJet easyJet is a low-cost airline which has made the Internet the core of its business. Its business model is based on cost efficiencies and by hacking cost and overheads at every possible stage it ensures a built-in business advantage by selling online and thereby cutting away the intermediaries like travel agents etc. Presently 85% of its sales are online and the company aims to sell all the tickets online by the end of this year and be the only ‘Web-only’ airline. (Web 1) Another noteworthy feature is the ease of online booking and security of its site. The passengers online experience reinforces confidence in the booking process. (Lynch, 2005) Underlying the use of internet is easyJet’s business philosophy of efficiency and cost cutting and its business model of reaching to the mass market which couldn’t have been done without the use of Internet. The internet helps it lower its distribution cost, reach mass audiences, give an indication of customer prefere nces and passenger demand helping in pricing and staying ahead of competition.(Ind et al.,2002) The result of efficient and effective use of internet by easyJet has propelled it into a rapidly growing airline based on sound competitive business principles with an innovative business model. easyJet has revolutionized the way Internet can be used as the most effective business tool. E-Bay E-Bay is a purely online company which sells and auctions nearly everything on the internet. Through the internet medium, it has completely transformed the concept of auctions into e-marketplaces which were once limited to garage sales and flea markets. (Light, 2001) The internet makes the auctions global making it reach a wider audiences (it has about 29.7 million registered users today (Web 2)). E-Bay’s business model is based again on low cost and maximum reach by automating the traditional methods of selling. It adopts a unique culture of rating buyers and sellers to encourage trust among its customers making them feel more confident transacting with a person they don’t know. This also ensures reliability of its brand which helps overcome the transaction security issue discussed earlier. E-Bay’s profits have soared to 400% and revenues have doubled in 2006 as compared to 2005. (Web 3) The success is not only on the revolutionary concept of e-auctioning but al so on the way it handles its internet operations. Barnes Noble Barnes and Noble is a US based book store which sells books both in its regular stores and online. It has a $62 billion worldwide market and its internet site brings more than 70% of its revenues.(Web 3) Barnes and Nobles success can be attributed to the way its online shoppers can look inside the books (table of contents, abstract and in some cases even read the first chapter of the book they are looking to buy). The internet also offers buyers a greater variety of selection which is not the case with book stores which are limited by space. According to a Goldman Sachs report on Internet retailing, book selling is third among the top dozen or so products ranked for online success. Books are ideal to sell on the Web because you don’t need to see them in person, try them on, or check out their freshness. (Kotler, 2002) Another unique feature of Barnes and Noble is its online search facility which is subdivided into titles, authors, year of publication and industry etc which mak es customers aware of the latest issues. Its Website also offers chat facility with chat groups dedicated to particular genres. Feasibility Study Success of the online businesses highlighted above should be generalized because every online business is not successful. Before considering to go online, a company has to do a feasibility analysis which should answer some key questions like: What are the goals and objectives of the company and why does it want to go online? What does the company want to achieve by going online? Who are and will be the companies target customers and what benefit will they gain from the company going online? Does the company want to add new products, does it want to reach a wider audience or both? What are the companies technological strengths ? What is the distribution system available through online market? Who are the companies online competitors? What is the online selling strategy the company is going to adopt? : What are the risks of extending the business online? Businesses have to ask these questions and should have definitive questions to the above questions before they launch their online operations. References Books and Journals Danneels, Erwin (2003), â€Å"Tight-Loose Coupling With Customers: The Enactment of Customer Orientation,† Strategic Management Journal, Vol. 24, 559-576. Eatock, J., Paul, R. J. and Serrano, A. (2002) ‘Developing a Theory to Explain the Insights Gained Concerning Information Systems and Business Process Behaviour: The ASSESS-IT Project’, Information Sytems Frontiers 4: 303–16. Gallaugher, J. (1999) ‘Challenging the New Conventional Wisdom of Net Commerce Strategies’, Communications of the ACM 42 (July): 27–9. Ind, N. and Riondino, M. C. (2001) ‘Branding on the Web: A Real Revolution?’, Brand Management 9 (September): 8–19. Kotler, P. and Bliemel, F. (2002) Marketing Management, Stuttgart: Schà ¤ffer-Poeschel Verlag. Light, D. A. (2001) ‘Sure, You Can Trust Us’, MIT SloanManagement Review 43: 17. Lynch,R (2005) ‘Corporate Strategy’, London, FT Prentice Hall Merrilees, B. and Fry, M.-L. (2002) ‘Corporate Branding: A Framework for E-retailers’, Corporate Reputation Review 5: 213–25. of Multiple Store Environment Cues on Perceived Merchandise Value and PatronageIntentions,† Journal of Marketing, Vo. 66 (April), 120-141. Websites (Web 1) How to put the money where the mouse is (online) (cited on 10 March) Available from http://web.ebscohost.com/ehost/pdf?vid=5hid=7[emailprotected]> (Web 2) A Taxonomy of Internet Commerce (online) (cited on 10 March) Available from (http://www.firstmonday.dk/issues/issue3_10/bambury/index.html (Web 3) Global online companies Available from http://www.users.globalnet.co.uk/~wwcoins/popcompanies.htm>

Homelessness in america Essay -- essays research papers fc

Homelessness in America   Ã‚  Ã‚  Ã‚  Ã‚  Here in Tahoe, we are lucky enough to experience a great quality of life, and only a few have to face the horrible life of poverty and homelessness. However, nationwide, even right outside the basin, homelessness is a growing epidemic across the country. There are many ways one can become homeless; for the most part poverty. There are also different concentrations of homeless in different types of terrain, such as urban or suburban areas. Last, there is the ever- growing homeless population, and how much money it costs us for others to live in poverty. These are the questions we ask ourselves about homelessness, and the only way we can help is to know the facts about this lingering subject.   Ã‚  Ã‚  Ã‚  Ã‚  The biggest reason people are homeless is simply because of poverty. They just can't afford to have a place to live and food in their mouths. As of 2000, 11.3% of the US population lived in poverty.(1) The number of people in extreme poverty has been increasing since 1999, accounting for 39% of people in poverty, and making less than half the amount of income a person considered in poverty makes.(3) With this amount of people living in poverty, it's no wonder why there are so many homeless today. The reason people are in poverty is because of inflation since the 70's, and the loss of affordable housing projects.(4) This accounts for almost all homeless, but there are also other factors that can contribute as well. There are many people with addiction problems that make them homeless. It's not because they are addicted to drugs, because many people live quite well with an addiction problem, but they could be in a hard point financially, and could be driven to the s treets because of money issues. The hard part for them is getting off the streets once they're on them. Since so much of their money goes to drugs, most drug addicts can't overcome being homeless once they have been for more than 6 months.(1) Mental illness is also a big issue causing homelessness. Approximately 22% of single white male homeless people are suffering from a severe mental illness.(1) The main reason is because Millions of mental patients were dis-institutionalized in the 50's and 60's, and affordable housing wasn't an issue until the 80's, when many of them were reaching 50 and couldn't work and afford housing. L... ... are seen and treated in our society. The biggest part of the problem is the way people act about and to homeless people. It's ridiculous to treat anyone different because of their social status; it's pretty much racism. Simple things people can do is just treat people equally, no matter who they are, and not just basing it on how they look.Homelessness is one of the fastest growing epidemics in the United States right now. There are over 3.5 million homeless people in the US now. Also, a quarter of people living on the streets are severely mentally ill, and must be admitted to institutions, and have the capability to if they were given or knew they had a chance. The poverty level is constantly rising, and is forcing more and more people onto the streets. We can just sit around and hope someone else does it, or we can take action. Next time you walk by homeless man or family, and before you make a judgement about them, just take a minute and think about how easily it could be you . Works Cited 1. www.nationalhomeless.org/facts.html 2.www.weingart.org/institute 3.www.nrchmi.samhsa.gov/facts/ 4.world book H 5. Federal Task Force on Homelessness and Severe Mental Illness website.

Cold Blood’ and Frankenstein Essay

Compare how Capote and Shelley use different techniques for characterisation and their use of emotive, figurative language with the use of repition to show the theme of wasted lives ‘In Cold Blood’ was written in 1966 when screenplays were very common. Authors such as Shakespeare wrote traditional plays so it was unpredictable that the readers of ‘In Cold Blood’ would respond to the novel well as it was the first non fiction novel Capote wrote. Capote wanted to experiment with his writing using narrative techniques of the novel to depict real life events. Capote believed that the narrator should not interrupt in novels; but the characters should tell the story themselves. Capote was able to write a novel which displayed the real events surrounding the murder of the Herb Clutter family and shaped it into a storyline. ‘In Cold Blood’ is based on a true story of the murders of a family- something which would be wrote about in today’s society. The novel is an account of the events but also contains elements of Capote’s creativity therefore it is hard to tell whether it is fictional or factual. ‘Frankenstein’ on the other hand is a non fictional novel which is still read and appreciated today as it is of a gothic genre. ‘Frankenstein’ was written in 1818 when science was seen as exciting but also dangerous as it was trespassing on the territory of God. The early 19th century was a time which generated exceptional events and ideas therefore it must have been quite interesting to read ‘Frankenstein’. The danger of science was a great classic theme and Shelley provided her gothic genre as a framework to tone the horror of failed science- the famous experiment gone wrong. ‘Frankenstein’ is still a very popular novel today because of it’s fascination in science which is still explored. Capote portrays his character Bonnie as being a very timid and shy character. She has a ‘heart faced shape’ which is symbolic to her personality and it suggests that she is a likeable character. The significance of this is that it makes the readers engage with her and they want to know her story in order to feel sympathy for her. Bonnie has ‘bony hands’ and is quite petitie which suggests that she is quite vunerable- like the creature in ‘Frankenstein’. In ‘Frankenstein’, we get the creature’s perspective, ‘and what was I? ‘ this is similar to Capote’s character Bonnie with both the characters looking for reassurance from someone. Both the writers make it easy for the reader to discover new aspects of the characters personalities. Capote uses emotive language in repition to suggest that Bonnie may have had a wasted life which makes the readers have sympathy for her. Capote uses the term ‘spinster aunt’ which is a type of semantic change known for an unmarried woman. Even though the novel was written in 1966, the language is still easily read and understood. Unlike ‘In Cold Blood’, ‘Frankenstein’ contains language which may cause a barrier if read today. Shelley uses words like ‘loathsome’ and ‘squalid’ which would rarely be used today however the novel is still effective at portraying the gothic horror through emotive and figurative language. In the extract of the dialogue between Jolene and Bonnie, Capote portrays the significance of the difference between Bonnie and Jolene. Jolene is a very confident character whereas Bonnie constantly panicks and stutters when she speaks; this shows that she may feel worthless and may feel that she is not noticed by others. Capote emphasizes Bonnie’s wasted life indirectly by comparing her to Jolene’s character who comes across as very confident. The comparison of the two characters is quite significant as it shows the importance of emotion that Bonnie has felt. Capote brings a child like quality to Bonnie through the dialogue between Bonnie and Jolene, ‘They don’t need me,’ this shows that Bonnie may be looking for reassurance from Jolene. Capote makes the reader feel sorry for Bonnie in order to like her character as she may have had a bad past. The repition of ‘they don’t need me’ reinforces the sadness of Bonnie. It is also suggesting how she may not be very close to her family. Capote makes us aware of the sadness and timidness of Bonnie for the readers to sympathise with her and hope that she succeeds later in the novel. The insecurities that Capote brings out in his character can resemble the characters of today’s famous novels. Shelley makes the readers realise that even though the creature is deformed, he is still a character who underneath his flaws should be treated the same as any other person. ‘I was not even of the same nature as man’, this shows that Shelley wants the readers to sympathise with the creature and almost feel his emotion. The creature’s life is empty if not more than Bonnies as all he longs for is companionship. Shelley makes the readers feel quite sad for the creature as he is deprived of love. With the use of figurative and emotive language, ‘I saw and heard of none like me’, Shelley introduces feelings to the reader which can only be seen as human. The readers see that the creature is still an outcast even though he has tried helping people and tried being humane. It’s unfortunate for the creature to have an empty life, one which he didn’t really ask for and like the one Bonnie almost wished she didn’t have.

Ladbrokes - 2745 Words

LADBROKES By Course Professor’s Name University City Date TABLE OF CONTENT Executive summary †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦3 Introduction †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦4 Company background †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.5 Benefits of investing in the business †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..5 Dangers of investing in a Betting Corporation †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦7 Recommendations†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.9 Conclusions†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦10 References†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..12 Executive Summary Gambling is often considered an activity of probability that an individual is willing to participate so as they can quickly earn an extra amount of money. Such practices are often connected to series of games that offer chances for people to make money. Betting is often practiced in areas†¦show more content†¦Such a bold move led to the addition of the betting culture into the corporation which later enticed the clients to participate so as they can earn an extra amount of cash from their tickets. According to the current structure of management at the firm, it is currently chaired by Jim Mullen. It has revenue of 1.175 billion GBP and a net income of 41 million GBP as documented in the year 2014. Conclusively, the organization has an operating income of 139.6 million GBP as per the year 2014. Benefits of Investing in a Betting Firm According to the documentations of various authors, the acts of gambling will lead to a client earning a quick turnover. Once an individual develops an interest in having an investment in a gambling business, there is a likelihood that they are to attain a quick turnover from their investment. The aspect of rapid turnover is based on the level of incomes that the business is to generate the participation in the betting games. Recent publications state that the firm â€Å"Ladbrokes† is achieving positive results in the first quarter of the year 2016 (Scargill, 2016). The amount of money, however, attains such returns that an individual is willing to invest in the business Secondly, the investor has a high chance of earning more money in the form of profits as aShow MoreRelatedLadbrokes Business Model1607 Words   |  7 Pages 5 Ladbrokes Introduction One of the worlds leading betting and gambling services is Ladbrokes PLC. Ladbrokes PLC primarily operates in the UK, operating in a multitude of sectors including e gaming, telephone betting, high street betting shops and casino games. Their turnover in 2009 was estimated at over  £1032.2 million, and remains today one of the market leaders for gambling services in the UK. 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The Influence of Oscar Wildes Sexuality

Sample details Pages: 23 Words: 6988 Downloads: 9 Date added: 2017/06/26 Category Literature Essay Level High school Tags: The Importance of Being Earnest Essay Did you like this example? Oscar Wilde (1854-1900) was a writer whose homoerotic texts pushed the social boundaries of the Victorian era. Born to a family of unabashed Irish agnostics, the self-proclaimed dandy valued art, fashion, and all things physically beautiful. After receiving a comprehensive education from Oxford, Wilde made a name for himself in London first as a novelist, penning the now famous The Picture of Dorian Gray. A string of successful plays followed, among them The Importance of Being Earnest and An Ideal Husband. Wilde also published a variety of short stories and essays, but is acclaimed by historians for his pioneering influence over the aesthetic movement, aprogression that opposed the accepted Victorian take on art in everyway, shape, and form. Wilde postulated that art existed solely foritself, only for the sake of being art. His play The Decay of Lyingexemplified this tenet best, personifying his distaste for societys proclivities through a conversation between two people in a park.Though he fathered two sons, Wildes marriage fizzled as his personallife continuously hinted at homosexuality. Wildes inability to keephis private life secret proved to be his downfall; a love affair with aprominent nobleman resulted in Wildes imprisonment and expulsion from British social circles. Victorian Britain became increasingly morally rigid, its period marking a time when Britain was experiencing a growthin imperialism and conservative thought. While serving his term for homosexual acts, Wilde wrote the deeply spiritual De Profund is, inwhich he discussed his aspirations of individuality and freedom from the proprietary values that bound late Victorian society. Don’t waste time! Our writers will create an original "The Influence of Oscar Wildes Sexuality | English Literature Dissertation" essay for you Create order An avant-garde writer and raconteur, Wildes sexuality had a profound effect on his works, influencing imagery and the nature of his characters in both The Picture of Dorian Gray and The Importance of Being Earnest. Wildes sexuality and effeminate nature shaped his relations to aestheticism, which in turn manifested itself in his works moral implications. Wilde frequently employed thinly disguised doubles, representing himself in his work in order to juxtapose anaesthete and a traditionally Victorian society. Wildes aesthetics arestrangely connected to his obsession with Jesus Christ. It is peculiarthat such an unorthodox figure such as Wilde would find so much solaceand inspiration from such a religious source. In De Profundis, Wildes admiration for and comparison with Jesus takes on many levels. Helikens his persecution to Jesus crucifixion, a notion that evokeshubris, especially given Wildes naturally flamboyant disposition.Though not entirely humble, Wildes comparisons are based m ore on parallels drawn between Wildes persecution and the events leading to Jesus martyrdom. Many speculate Wildes eventual baptism and acceptance of Catholicism was a manifestation of imminent deaths madness as the famed author was too radical to accept religion withinthe boundaries of sanity. However, there are critics who contend that Wilde was very much in the mainstream of the intellectual currents of his time, a man clearly aware of what he was trying to achieve in terms of his life and art; in the end, he was willing to accept his newfoundstatus as a pariah, provided he could still create plays and prose. Considered by many to be the most outrageous trial of the century, Wildes fall from grace was so indicative of his progression and the significance of his unique works set in a time between the Victorianera and the modern age (Hoare 4). Wildes persecution reflected aclash of morals and ideals not unlike those faced by the protagonists of his novels. Wildes trial mimicked his imaginative fiction: it was a clash of opposites: of good versus evil, of heterosexualand homosexual, of masculine and feminine, of the safe and thedangerous, of what was seen as morally right or morally wrong (Hoare4). Homosexualitys Influence in The Picture of Dorian Gray and The Importance of Being Earnest Wildes homosexuality had a profound influence over his work. His own experiences and relationships are projected into The Picture of Dorian Gray, and it is widely speculated that the characters Basil, Lord Henry, and Dorian are different aspects of Wilde himself. Wilde wrotethat Basil is how I see myself, Lord Henry how the world sees me, and Dorian how I would like to be (Ericksen 101). The controversy behind The Picture of Dorian Gray was based in the extreme homoeroticism ofthe characters interaction; it is easy to see how Wildes writing elicited such a reaction. The male relationships are surely suggestiveenough to stir even the most open-minded in the Victorian era. Wildessexuality affected the structure of the relationships as well, opening the book with the making of a homosexual love triangle involving Basil,Dorian, and Lord Henry. Basils painting is intimately connected with his adulation of Dorians physical beauty. Dorian, in turn, adores LordHenry, a man of stature who int roduces him into a new coterie. LordHenry, in turn, adores Dorians physical beauty but also his relativeinnocence and the opportunity to mold him into the type of Victoriansocialite everyone will adore. The novel opens with Basils overstated obsession with Dorians goodlooks. Basils sentiments, however, are undeniably romantic. As he paints his masterpiece, Basil is described as looking wistfully at the canvas, a smile of pleasure passing across his face as he lingersover the image he created (Wilde 1962, 20). In the case Basils day dreaming was too speculative a conclusion to make, Wilde provided his readers with interaction between Basil and Lord Henry sufficient enough to establish a romantic attraction for Dorian inside Basil. WhenLord Henry walks into Basils studio, Basil plans on keeping hissubjects identity a secret out of jealousy. Basil immensely likesDorian, and has grown to love secrecy as it ensures that he will nothave to share Dorian with Lord Henry (Wilde 1962, 22). Though it islater discovered that Basil is concerned that Lord Henry will corruptDorian with his cynicism and overdeveloped penchant for amorality, Basil is extremely protective of a man who he has befriend ed solely onthe basis of his physical appearance. He describes to Lord Henry how upon seeing Dorian for the first time his face grew pale, knowing hemet someone whose mere personality was so fascinating that [it could]absorb him if he allowed it (Wilde 1962, 24). Wildes homosexuality is significantly influential not just over thecourse of the plot, but also in the development of characterrelationships. Lord Henrys attraction to Dorian Gray is multi-tiered. Half the attraction to Dorian is on account of his youth, a possiblereflection of Wildes relationship with younger men. The other half o fLord Henrys attraction to Dorian is his ability to mold Dorian into alike-minded socialite, a member of his New Hedonist group. However,Lord Henrys attraction, like Basils is undeniably romantic in nature.Though Lord Henry finds Dorian attractive, Dorians hold over LordHenry does not fully take root until after Basil rambles on and onabout his curious idolatry he has developed, and how he couldnt behappy if he didnt see Dorian everyday; Lord Henry takes seriousnotice of Dorian after Basil confides that he finds the young man to beabsolutely necessary to Basils life (Wilde 1962, 27). Wilde developsLord Henry in this way to stress his association with socie ty at large;most people are not loved by everyone unless they are first loved by afew. Society, Wilde argues, will love whom it is deemed fashionable tolove. Following Basils affirmations and affections, Lord Henryobserves the young Adonis [made out of] ivory as wonderfullyhandsome, with his finely curved, scarlet lips, his frank blue eyes,his crisp gold hair; it comes to no wonder why Basil worshipped him(Wilde 1962, 33). The love triangle develops past Basils death; evenDorian finds himself attracted to Lord Henry. A peculiar observation isDorians loss of composure after observing Lord Henrys romantic,olive-colored face and warm expression; Wilde writes that Dorian is indisbelief at his trepidation upon meeting Lord Henry (Wilde 1962, 38).After all, Dorian is not a schoolboy or a girl (Wilde 1962, 39). As Wildes homosexuality became more apparent, he began leading doublelives. One of his lives was socially acceptable, as society perceived him as a married man with two sons. His other life was one spent amongmale prostitutes, renting houses outside London in which he would haveextramarital, homosexual affairs. The incredible restriction Wildefaced was more because of his homosexuality than his maritalinfidelity. In leading his double lives, Wilde designed four charactersin The Importance of Being Earnest to exude differing degrees ofduality. The multiple personas were a reflection of the masks Wildeused as a means of personal adjustment, a prevailing theme among thefour characters (Ericksen 151). The first character is Jack Worthing, aresponsible man typical of the Victorian era. The legal guardian of ayoung woman, Jack finds it to be increasingly difficult to enjoyhimself through the minor indiscretions that provide the average youngman with such entertainment. As a result of his g uarded nature, Jackcreates his double, an alter ego he claims as his younger brother, whomhe names Ernest. When Jack leaves the country and his responsibilities,he becomes Ernest, a mischievous character in contrast to the composed,model citizen Jack. The second character is Algernon Moncrieff, friendto Jack Worthing and first cousin to the woman Jack intends to wed. Algernon also leads a double life, though his double life involves animaginary friend of sort, a man whom he names Bunbury. The thirdcharacter Wilde incorporates is Gwendolen Fairfax, the object of Jacksaffection. Though she accedes to her mothers will in public, Gwendolenrebels in private, pursuing Ernest without her mothers consent.After Jack plans to wed Gwendolen, she mentions she cannot marry a manwhose name is not Ernest; this creates quite the dilemma for Jack, ashe had originally planned to kill Ernest with another fabrication.The final character, Cecily Cardew, is a ward under her guardian, JackWorthing. Tutore d in the country, Cecily longs for a life outside hercountry estate, falling in love with the deviant Algernon. The doubles are a forward testament to Wildes life as a homosexual inVictorian London. As a Jack among his peers and Ernest among hislovers, Wilde is best personified in Algernon, though is present inboth Jack and Algernon as they are constructed on similar principlesand ideas (Ericksen 151). Both Jack and Algernon lead double lives,hence the similar principles and ideas. However, where Jack andAlgernon differ is the nature of their double lives. Jacks alter ego,Ernest, is someone whom he actually becomes upon entering town.Algernon, on the other hand, claims to be visiting Bunbury, hisimaginary ego. Algernon remains the same; the only thing that changesis his behavior. While both Algernon and Jack are sophisticated men ofthe world, only Jack finds the need to change his identity and life ashe shifts social circles (Ericksen 152). Like the socially accepted individuals in Victorian society, Jack isrigid, morally sound, and never deviant. Initially known to Algernon asErnest, Jacks transformation is almost instant as Algernon reveals hisknowledge of Ernest/Jacks deviance with names. Ernest is wistful andmadly in love with Gwendolen until his true ego, Jack, is revealed. Assoon as Algernon shows Jack/Ernest the cigarette case, Jack showshimself, pointing out how ungentlemanly [a thing it is] to read aprivate cigarette case (Wilde 2005, 12). Algernon, now Jacks foilfollowing Ernests departure, retorts with an epigram truly reminiscentof a dandy, stating the [absurdity in] having hard and fast rules(Wilde 2005, 12). The two characters play off each other from the verybeginning, revealing their intentions. Algernon remains the deviant,bored with his surroundings and endless cucumber sandwiches (Wilde2005, 4). Jack leaves to indulge in the sort of behavior from which heis restricted as he is responsible for Cecily. Like Wilde, who has afamily of his own, Jack cannot overindulge without risking social harmto his family. Ernest, then, is a double play on words; in indulgingones earnest, or true self, one escapes the constrictive Victoriansociety of moral and social obligations. Wildes aim here is to escapethe Victorian moral code, returning to the Hellenistic antiquity ofmale relationships. Strangely, most everyone except Jack longs to see or meet Ernest.Algernon himself assumes the identity of Earnest in his quest to meetCecily. Much to Jacks chagrin, Algernon decides to assume the identityof Algernon simply out of curiosity. Algernon has no ulterior motives;he wants to be Ernest just to be Ernest, a reflection of Wildespredisposition toward universal simplicity. Cecily also longs to meetErnest, as she has heard of his antics and looks forward to a relativeseveral degrees less rigid than her estranged guardian. Gwendolen ismadly in love with Ernest partly due to her empathy for Jacksupbringing, and partly because of her obsession with his name. ThroughErnest, Wilde reveals his wishes of acceptance; he wants people todesire his homosexual identity and accept him not in spite of it, butbecause of it. Victorian values were imposed on every part of culture. Because of thegreat successes and advances felt by the 1860s, it was assumed that thethrone had arrived at something new and worth keeping. An increasinglyprudish era, the Victorian, puritanical movement required that all arthave purpose. Whether to emulate a person, place, or event, art neededa reason to exist. It could be veneration of the object, veneration ofthe genre, or even veneration of the artist, but all art, including thewritten word, was subject to the Victorian standard if it was to beaccepted by the general public. Like so many other movements, theVictorians were faced with the concept that art existed for art, thatits sole end is itself and nothing more. While many mistakenly attribute this movement to Wilde, he in fact didnot create aestheticism, he was merely its vehicle (Gaunt 119). As anIrishman, it was only natural that Wilde would be the catalyst for sucha movement. Ireland was still relatively free of the imperialistexpansion, allowing for a medium of trade most of England could notmatch. Wilde, after all, was not from the industrial wastelands ofLiverpool, Manchester, or London. He was from the dingy magnificenceof Dublin (Gaunt 119). Wildes aesthetics are rooted in his education, primarily hispreoccupation with Hellenistic Greece and the old texts involving malerelationships. When searching for the concept of beauty, he might havegotten his ideas from the great 6th century Hellas, where Wildeperceived the triumph of Greece and great civilization was itscreation and representation of a supreme form of beauty (Gaunt 120).The ancient Greeks may have appealed most to Wilde because of the highpremium they put on male-male relationships. Viewed as the most pure ofall loves, homosexual male love was venerated by great leaders as wellas scholars. The king of the gods and Mount Olympus, Zeus, was known tohave a male lover, a young shepherd by the name of Ganymede. Contrary to the Victorians, who had inherited a set of religiousbeliefs based on faith rather than reason, Wilde had no concretereligious beliefs at all (Ericksen 19). The Aesthetic Movement, ofwhich Wilde was soon to become the representative figure, wasessentially a reaction against the ascendance of Philistinism in artand life (Ericksen 19). Wilde was determined to cultivate his ownindividual impressions of the world (Ericksen 19). Though he quicklybecame the most prominent aesthete, Wildes views were not unique. Hehad previously traveled to France, where he met with names such as deGoncourt, Flaubert, and Huysman, who showed him the depth of sufferingas beauty. After Wilde settled in London in the 80s, he began toshowcase his aestheticism, sporting garb such as plum-coloredvelveteen knickerbockers with perhaps a soft loose shirt and a wideturned-down collar (Ericksen 21). Wilde advocated art as having intrinsic, immeasurable value. Unlike theVictorian stance, art did not have to feature a moral code, teach alesson, or exist as a monument to an ideal supporting morals. Art isart, and exists only to exist for itself. For example, paintings of theLast Supper, though beautiful, existed to be a testament to Jesus orChristianity. Wildes Aestheticism would interpret the Last Supper toexist solely for the purpose of being a beautiful painting. The colors,shapes, and figures would be the central focus as they would representbeauty; the connotation behind twelve disciples sitting around asolitary figure would be dismissible. Wildes sexuality ties indirectlyto the concept of art; one of the reasons Wilde advocated theaforementioned moral system was his relation of the system toantiquity. Homosexual union was not a defiled perversion; Wilde arguedthat it was a sign of progress, like aestheticism. Aestheticism andhomosexuality would be placed in the same context a s other time periodssuch as Hellenistic Greece, Classical Italy (Michelangelo), andShakespearean England. The aforementioned periods involve theperfection of the male form; Wilde believed himself to be in line withthe traditions of old because of his Oxford rearing. Hellenisticaesthetic coincided with Wildes sexuality and his aesthetic movementin the shared view that the male form was the most beautiful.Homosexual relationships were therefore considered an act of beauty,the most revered form of affection possible. Wildes The Decay of Lying is a multi-page testament to his belief inarts greater purpose as having no such purpose. Essentially anextended metaphor for the ill consequences of turning art into amathematical measure, The Decay of Lying describes lying and poetryas arts (Wilde 1997, 7). The metaphor continues, equating art with anexaggeration of reality. True art, Wilde argues through theprotagonists Cyril and Vivian, is so abstract that the real becomesunreadable (Wilde 1997, 13). The nature of art and beauty is soabstract that nature and life are meant to imitate it. The dangers of regarding art as a moral calculus are detailed in ThePicture of Dorian Gray. The strange stasis in which Dorian findshimself—the state where his self-portrait shows his aging and thenegative effects of his actions—is a wonderful example of Wildesaesthetics in motion. The story unfolds as Dorian is sitting in frontof Basil; Basil is seen pondering the sheer physical beauty of thescene in front of him. The true aesthetic, Basil seeks out thebeautiful solely because it is beautiful. He becomes enamored withDorian only because of his beauty. On the other hand, Lord Henry findsDorian irresistible because of the potential socialite he sees in amind that has yet to be molded. Basil the aesthete warns Lord Henry,imploring him not to make a cynic out of something beautiful; in thiscase, Basil is ultimately requesting Lord Henry to take caution in hisapproach to Dorian. Basil wants to preserve Dorian the way he isbecause he finds him beautiful, where Lord Henry wan ts access toDorians private time so he can mold something new and different.Dorian becomes a work of art, manipulated by Lord Henry, killing Basil,the aesthete. Later in the novel, Lord Henry gives Dorian a yellow book, one with notitle that is presumably about art and philosophy (Ericksen 115).Dorian becomes obsessed, using it as a Bible with which he leads hiswhole life. In the end, Dorian dies, having gone mad. This is anunequivocal warning from Wilde to those who would pervert the course ofart (Victorians). Wilde shows the reader what happens when art is takenout of context and into a completely inappropriate light. Moreover, itshows how damaging the Victorian approach is; Dorian is unable tochange his ways. Shortly after his inhuman treatment of Sibyl, heattempts to reform, only to find the painting smirking back at him.This is a reflection of the unyielding nature of Victorian society; itis a reflection of Wildes suffocation and inability to move freely,creatively, or inspirationally in the context of British society at theclose of the 19th century. Just like Dorian, Wilde cannot expresshimself freely; though he had a chance in the beg inning of the novel,Dorian did not follow the poor artist Basil. He instead opted toconform to the higher-ranking Lord Henry, whose coterie led Dorian tohis death. Once in the clutches of Lord Henry, Dorian was fullysupplicated to the mercy of his manipulator. Lord Henry almostimmediately changes in his affections for Dorian, the extremedifferences being Dorians perception as an Adonis in the beginningand as an unrecognizable, withered, man who is unidentifiable untilthey check his rings. Wildes third play, An Ideal Husband makes use of the witty banterknown as epigrams to reveal the darker side of Victorian values in atongue-and-cheek fashion. The whole play is an epigram of sorts,exemplifying the imperfections of the Victorian bourgeois by mockinglyportraying the inefficacy of their incorporation into Wildes idealsociety. The traditional Victorian values Wilde mocks in An IdealHusband are devotion, forgiveness, sacrifice, loyalty, moralintegrity, and a composed disposition, all traits that Wilde subvertsin his character portrayals. Though Sir Robert, the ideal husband,finds himself at the disadvantageous end of blackmail, his past doesnot warrant Wilde to present him as vile or duplicitous, as Lord Goringpostulates to Lady Chiltern that every man of every nature [has]elements of weakness (Wilde 2004, 27). The play, however, becomescentered around a conflict caused by [Lady Chilterns] unyieldingmoral rigidity (Ericksen 142). Sir Robert faces a moral dilemma in hiscop ing with Mrs. Cheveleys blackmail. Wilde makes a useful point inthe Sir Roberts circumstances; on one hand, Sir Robert is faced withmaking public his dark and relatively shameful past, thereineffectively nullifying Mrs. Cheveleys threats. On the other, he mustdeal with a Puritanical wife who cannot forgive anyone who has done awicked or shameful deed, including Sir Roberts possible complicity(Ericksen 141). Would an ideal husband accede to the blackmail, thereindenying his wifes request to challenge Mrs. Cheveley? In either event,Sir Roberts relationship is put in jeopardy. He can either lie to hiswife, giving in to Mrs. Cheveley and compromising his marriage, or hecan make his past public domain, marring the perfect public image hiswife so treasures. Ironically, the couples social coterie perceivesSir Robert as the ideal mate, a man who, until his blackmail, was knownfor his impeccable reputation. Even his private life with Lady Chilternwas blissfully free of blemishes. Sir Roberts reputation andrelationship with his wife, however, could have been saved by a simplelie. Had he never revealed the truth to his wife and given in to Mrs.Cheveley, giving in to her will, Lady Chiltern wouldnt have been oneto know the better. An ideal husband in this case would therefore lie;for Wilde, the Victorian moral impetus lies not with adhering to thetraditional values, but rather in maintaining the facade of keepingvalues in general. Ironically, Lady Chiltern learns of her husbandspast all the same, [castigating] him and [rejecting] his please forforgiveness (Ericksen 141). No amount of marital maneuvering can spareSir Robert. In the end, it is Lord Goring who confronts Mrs. Cheveleyabout Sir Roberts blackmail; he is the only empowered character as hespeaks and acts under no false pretenses. While he is far from perfect,chastised by his father for dancing until four oclock in themorning, Lord Goring is Wildes idealist—he is an art lover, whosewitty repartee is surpass ed only by his willingness to fight Mrs.Cheveley. One of Wildes most effective comic devices is his employment ofepigrams, and more comical still is his utilization of Vicomte deNanjacs malapropisms. The French Attachà © in London, Nanjac representsWildes interpretation of those not fortunate enough to be born elite;Nanjac is easily recognized by his adoration of society and hisAnglomania (Wilde 2004, 4). His malapropisms are a reflection of thesad attempts of many to engage in epigramic banter, the object of LordGorings successful use of epigram. A ridiculing character, WildesNanjac is one whose blind aspiration to join a society hampers hisvision and taste, therein earning him the scorn of the more capableLord Goring. Wildes assault on the Victorian bourgeois is personified best by theduality of his characters. Sir Robert, for example, presents a publicmask of absolute personal integrity but has actually built his fortuneand career upon a deception (Ericksen 144). An almost hero, Sir Robertis a manifestation of Wildes implications regarding a relativelyinnocent mans subjugation under society. Lord Arnheim, Sir Robertsformer co-conspirator, first seduces Sir Robert with his doctrine ofwealth, elucidating his view that controlling others is lifesgreatest attribute (Ericksen 142). Mrs. Cheveley displays this best asLord Arnheims theoretical protà ©gà ©e; the two are almost Machiavellianin their manipulation (Ericksen 145). Where Lord Arnheim seduced SirRobert by playing to the discrepancy between his noble birth and modestfinancial holdings, Mrs. Cheveley is absolutely ruthless in herwillingness to wreak havoc on all aspects of Sir Roberts married lifein order to secure her investments. In his surr ender to the wills ofthe two manipulators, Sir Robert becomes an ideal human, one whoseproclivity to err alienates him from society. By succumbing to the twoprominent materialists, Sir Robert embodies Wildes disdain for thefinancial drive of Victorian social coteries; contrary to theart-collecting Sir Robert, the female villain has no pleasures outsidecontrol and exploitation. Wilde addresses the lack of humanity in Victorian society, personifiedby the promulgation of perfection among the social elite. In the firstAct, Mrs. Marchmont and Lady Basildon discuss their unfortunate maritalsituation. Lord Goring notes they are married to the most admirablehusbands in London, to which Mrs. Marchmont responds that theirhusbands perfection is exactly what [they cant stand]; there isnot the smallest element of excitement in knowing [them] (Wilde 2004,10). In this sense, the true Sir Robert, the one susceptible tosuggestion and whose past compromises his future, becomes the idealhusband. Wilde suggests all Victorians wear masks, alternate identitiesthat shield them from being human and enjoying existence. The idealmarriage is manifested best by the speculative union of Mabel Chilternand Lord Goring, who at the plays close reject the common Victorianroles and morals previously discussed. Wildes Victorian surroundings were instrumental in his development ofaesthetics, but were unfortunately not tolerant of his private life. Acontroversial figure, Wilde was homosexual, and had an ongoing affairwith a younger nobleman by the name of Lord Alfred Douglas. LordDouglas father, enraged at his sons homosexual relationship withWilde, accused Wilde of being a sodomite, a grave offense in GreatBritain at the time. Though acquitted in his first of two trials, Wildewas later sentenced to serve two years hard labor on theaforementioned charges. First imprisoned in Londons Wandsworth prison,Wilde was denied pen and paper until his transfer to Reading Gaol,where he eventually wrote De Profundis. While Wilde revealed hisfascination with the figure of Christ [throughout] his literary career,only in De Profundis did he actually make [Christ] a part of hisaesthetic system (Ericksen 156). A dramatic monologue on spiritualityand society, De Profundis features several metaphors likening Wil de toChrist. Wilde felt his unjust imprisonment made him a martyr; uponinitial circulation of rumors regarding his sexuality, Wilde could haveleft London for France, therein spared persecution. Unlike Hamlet, whobecame a spectator to his own tragedy, Wilde the Christ-figureactively sought out what he perceived as his end (Wilde 2003, 28).Where Christ accepted his fate for the benefit of mankind, Wilde was aself-convinced saint and martyr for art and what he perceived to be thethreatened aesthetic movement. Having passed through every mode ofsuffering, Wilde was convinced that his redemption would be realizedthrough his incarceration and subsequent release, upon which his newfound humility would help him rise again (Wilde 2003, 4). Just asmankind would redeem itself through the trial and crucifixion of Jesus,Wilde felt society would be redeemed through his incarceration. Hecontinued, developing his incarceration to salvation, likeninggreatness to requisite sorrow. Wilde admired Jesus for having realizedhis calling as being completed, reaching fulfillment upon its end(Wilde 2003, 19). Marveling at his situation, Wilde mused on theincredulity of a young Galilean peasant imagining that he could bearon his shoulders the weight of the world, including all the worldspast sins as well as what had yet to be done and suffered (Wilde2003, 13). Jesus death and resurrection was that toward which Wildeaspired, conceding that imprisonment was most likely an act ofretribution for the fanciful and carefree life he led previously.Incarceration, then, was Wildes means of atoning for the errant lifehe might possibly have led upon his release. He hoped his relationshipwith Lord Douglas would be forgiven, and longed for societysacceptance. Wilde could claim on [his] side that if [he realized] what[he had] suffered, society should realize what it [had] in turninflicted; with a mutual cognizance shared between Wilde and society,he hoped there would be no bitterness or hate on either side (Wilde2003, 7). Just as Jesus attempted to win over his captors andaggressors through his death and resurrection, Wilde hoped to pacifysocietys enmity by paying his social dues in prison. Wilde evenlikened the course of his lifes events to those leading up to Jesusmartyrdom. For example, Jesus was given direction by God the Father andcondemned by Man. Wilde, in turn, ascribes the two great turningpoints in [his] life as when his father sent [him] to Oxford, andwhen society sent [him] to jail (Wilde 2003, 6). Wildes foreknowledgeof an impending criminal proceeding did not dissuade him, just as thedisciples could not sway Jesus acceptance and willingness to die onthe cross. Neither Wilde nor Jesus could ignore their calling, nomatter the grisly end. As a sinner, Wilde conceded that he had toaccept the fact that martyrs were equally persecuted for the good aswell as for the evil committed (Wilde 2003, 7). However similar to Jesus Wilde would assert himself to be, there weredefinite discrepancies in De Profundis that could testify to Wilde asan admirer of Jesus rather than his attempted emulator. Wildepostulated that Jesus saw Man in the same fashion as the aestheticmovement saw art; Man existed simply to exist. Wilde wrote that Christregarded sin and suffering as being [beautiful] in and of themselves,that such a notion was the dangerous idea that led Christ to hisdemise (Ericksen 157). Just like Christ, Wildes own dangerous ideathat ran against the Victorian grain was what led to his downfall.Wilde also saw his imprisonment as a period of transition. Hisindictment of the Greek gods as deities emulating humans indicatedhislife prior to imprisonment; Wilde labeled the Olympian gods as ableto reach greater heights (Wilde 2003, 17). Each Olympian representeddifferent aspects of humanity that, when indulged by Wilde, resulted inincarceration. In his simile, Wilde indirectly likens himself to eachgods moral flaws. He lauds Zeus for not being able to resist mortalmans daughters and Hera for her pride and peacocks, a catharticevaluation of the Victorian bourgeois who imprisoned him (Wilde 2003,17). Wilde also attributes his former peers to Apollo and Athena, eachof whom failed to forgive. Apollo slaughtered the mortal Niobes sons,leaving Niobe childless for her hubris in claiming her childrenrivaled the offspring of Leto (the mother of Apollo and Artemis);Athena turned Arachne into a spider for having claimed to be moreskilled with the loom than the goddess of wisdom and crafts (Wilde2003, 17). In describing the society that bore him, Wilde becomesimperfect, as his reformation requires penance as a medium of change.By attributing himself and his society to the Greek gods, Wildedifferentiates himself from Jesus. Jesus never required crucifixion toattain perfection—he was born perfect and lived without sin. Wilde, onthe other hand, is punished not on behalf of ano ther (though it can besurmised that his imprisonment kept the young, impressionable LordDouglas out of jail), but for his own social transgressions. Wilde alsoheld great contempt for Lord Douglas, as De Profundis was more ascathing letter from a jilted lover than a philosophical testament toWildes self-improvement. Wilde often lamented his situation, spitefulthat for him, the beautiful world of color and motion [had] been takenaway, while Bosie (Lord Douglas) walked free among the flowers(Gardiner 145). De Profundis becomes conciliatory towards its end,however, as Wilde follows through with his original assessment thatterrible was what the world did to [him], but worse still was what[he] did to [himself] (Wilde 2003, 3). Unlike Jesus, Wilde is somewhatself-hating, embittered by his social persecution despite his greatcontributions in the aesthetic movement. His imprisonment wasultimately brought on by his own charges; following his falling outwith the Marquess of Queensbury (Lord Do uglas father), Wilde pressedlibel charges and lost, opening himself up to legal scrutiny. In theend, it was his own defense that cost him his freedom, unlike Jesus wholived to die, fully cognizant of an inescapable fate. Though heexperienced a form of martyrdom, Wildes self-comparisons to Jesus arelimited, and he shifts from indirectly likening his life and its recentevents to those of Jesus to aspiring to become Jesus-like (in essence,more Christian). Rather than claim to follow in Jesus footsteps, Wildepurports that he has suffered just as Jesus suffered, and in doing sobecame a better man just as Jesus did. Wilde claims to have become adeeper man is the privilege of those who have suffered (Wilde 2003,21). Despite Wildes De Profundis presentation of himself as Jesus,there are a great number of instances that involve his own supplicationbefore and admiration of Jesus as opposed to his presumption ofequality with Jesus. Wilde admires Christ for his refusal to stone MaryMagdalene, b ringing shame on her persecutorsin his statement suggesting that those without sin cast the stones tocondemn her. In his tirade against the Victorian bourgeois, Wilde alsovenerates Christ for advocating the poor; Wilde described prison assomething that earns sympathy from the poor and earns the rich thestatus of pariah (Wilde 2003, 2). The poor, Wilde argued, were asimpler people who were closer to perfection. Jesus, after all, was notborn rich, but the son of a poor carpenter. In the waning years of hisimprisonment, Wilde began to consider his incarcerated state as areturn to simplicity, and in simplicity becoming closer to perfection. Wildes comparison to Christ was perhaps overtaken by the method inwhich he transformed Christ, reinterpreting him as an artisticpersonality (Ericksen 156). It is odd that Wilde would place Jesus onsuch a pedestal, as he remained an avowed agnostic until the twilightof his life. In fact, Wilde goes out of his way to denigrate theChristian faithful to a degree, describing his faith as somethingsuperior because it is tangible, that his gods dwell in temples madewith hands; Wilde asserts that only within [actual] experience is[his] life complete (Wilde 2003, 5). Wildes adulation could also beconstrued as a comparison of himself with Christ as a purely literaryfigure; his assertions were not hubris, but merely the lamentations ofa writer recognizing a universally acclaimed protagonist in the worldsmost renowned tragedy. By placing Jesus in the context of a literaryfigure rather than reading Wildes comparisons from a religiousperspective, the reader is further able to understand the contex t inwhich Wilde worked. Wilde never deified himself, though he did perceivehimself as a defiant artist intensely conscious of his cultural roleas an innovator of art (Erickson 13). De Profundis waivers between theveneration of Christ and the open advocating of agnostics, with Wildeoften professing that agnosticism has its martyrs and should reap itssaints just as Christianity has (Wilde 2003, 5). In this respect,Wilde transcends the figure of Jesus in his simplicity; Jesus deathand the events of his life were a leap of faith, whereas Wildes beliefsystem and his life, cultural contributions, scandals, and downfallwere historically documented. His actual experiences previouslydiscussed were in themselves defined as real in their sorrow. For a manwhose fop and dandy were all encompassing, Wildes redemption wouldnot be nearly as invigorating as that of Christ (Gardiner 15). WhereChrist was promised a seat at the right hand of God Himself, Wildesfuture upon release was one of almost guar anteed estrangement. Wildes homoerotic imagery and context are unique; they served as aneffective device in the establishment of Dorian as both an evilcharacter and one manipulated by another. The homoeroticism, forexample, first serves to establish Dorian in a protective love affairwith Basil, where Dorian is portrayed as innocent, his face bright withthe naà ¯vetà © that can only be attributed to youth. That Dorian is drawnto Lord Henry in a sexual manner makes his fall from grace all the moredecadent, giving the reader the impression that Dorian was stolenaway from the clutches of youthful exuberance. Without the homoeroticsubtext, there would be no logical explanation for Lord Henrysattraction to Dorian, or Dorians willingness to follow Lord Henry.Though Dorian could be portrayed as having left Basil behind so as toaspire to greater social heights, the manner in which Wilde useshomosexual tensions prompts the reader to make different conclusions,ones that are steeped in suspicion and communicated i n whispers. Thetaboo of same-sex relationships is cast aside with the introduction ofSybil, but it remains in the back of the readers mind, solidified byseveral characters effeminate preoccupation with physical beauty.Wildes own sexuality manifests itself in three stages among the threemale characters; first, the image of Basil, the affirmed homosexual wholives a detached life. Second is the image of Lord Henry, the privatehomosexual who is an irrevocable face in the local coterie. Third isthe image of Dorian, who begins innocently, but upon realization of hishomosexuality and his attempt to become assimilated into societyperishes against his own will. Wildes sexuality is thereforeinstrumental in The Picture of Dorian Gray. The Importance of Being Earnest is a reflection of Wildes duality;contrary to Dorian, who cannot exist detached from or assimilated intosociety, Jack is an amalgamation of Basil and Lord Henry. His dual lifeis revealed, but only by another who also wishes to take part in socialduplicity. In The Importance of Being Earnest, Wilde communicates theimpetus of self-truth as a panacea for unhappiness. Both Algernon andJack are happiest as Ernest as they are free to act as they wish.Unhampered by the Victorian society that constricts them, the twoerstwhile-Ernests move, speak, and do as they please. The elaboratelengths to which Jack resorts is a reflection of the life Wilde musthave led behind his familys back; when Jack assumes the role ofErnest, he risks crossing his stories, getting his two livesintertwined in the form of Cecily and Gwendolen meeting. Here, Wildessexuality affects both Algernon, the representation of the dandy andfop, and Jack, whose secret life is a metaphor for homose xualityrepressed. Both are hampered by Victorian restrictions; Algernon facedthe shirking of his familial duties, whereas Jack had to remain a modelindividual for his supposedly sheltered ward to follow. Only Jack is inperil of being discovered, however; Wilde attempts to communicate theimportance of being true to ones self, as Jack is the only characterof the two men to assume an entirely new identity. As Algernon uses hisfabricated person as an excuse to leave his surroundings, he is neverput into the same dilemmas as Jack. In the case of The Importance of Being Earnest, Wildes sexual constraint was an important factor inanalyzing the play. Wildes aestheticism was highly influenced by his sexuality. Heapproached aestheticism the same way he approached his male relations,perceiving art simply to observe beauty. Beauty to Wilde is exactlywhat Dorian was to Basil; beauty was a necessity, something Wilde couldnot do without. In his attempts to articulate aesthetics, Wilde mayhave gotten lost in his purpose. Victorian thought was the standardagainst which to rebel, begging the question of Wildes motives. Washis aesthetic perspective a manifestation of a new dimension of hisanti-Victorian sentiment? Wilde often satirized other aesthetics,claiming that he would only attack the unmanly oddities whichmasquerade in its likeness (Gardiner 43). The irony behind Wildessatirizing contention is that determining those who are unmanlyoddities requires the same logical selection process as mandated byVictorian interpretation. For example, a Victorian observing art wouldemploy criterion to evaluate the piece as a decent work of art.Simila rly, Wildes decision as to what constitutes aesthetic thoughtwould require criterion to evaluate the thought or work purported to bepart of the aesthetic movement. While Wildes sexuality was onlyeffectively used to correlate Hellenistic antiquity, it still wasuseful in understanding the shift in perception. Whether or not Wildecame to the conclusion that the Victorian system was inferior,subsequently adopting aestheticism is a different instance than Wildeadopting aestheticism solely to oppose the Victorian system. Moral implications are much more concrete than art interpretation; inAn Ideal Husband, Wilde does not attempt to spoon-feed his audiencehomoerotic suggestion. Instead, Wilde focuses on Victorian society as awhole, portraying it in the superficial light he felt appropriate. ThePuritanical attitudes relayed by Lady Chiltern are portrayed asimpossible standards. The ideal husband is then the imperfect,unpredictable man who concedes to his own weaknesses. This is bestevidenced by Wildes warmer tone toward Lady Basildon and Mrs.Marchmont, an almost sympathetic tone to their plight of drab husbandsand perfect marriages. Wildes sexuality does not traditionally comeinto play. However, when perceiving homosexuality as an imperfectionPuritan society shuns, Wildes sexuality fits well but lacks thecreative outlet to fully present itself as a viable factor. Thoughsexuality was an important part of Wildes works, it was notinstrumental in the proprietary An Ideal Husband. However, Wilde didsuccessf ully present himself in the form of Lord Goring, the dandy ofthe play. Moral implications in An Ideal Husband had little do withsexuality, but had everything to do with Wildes disdain of theVictorian bourgeois social circles. Wilde as a Christ figure is a notion that draws several conclusions.First, it is not Wildes sexuality that likens him to Jesus. Wildessexuality comes into play only as the factor of his persona that earnedhim persecution and eventual prison time. Simultaneously, Wilde as aChrist figure was a feasible notion only in his martyrdom for art;where Christ was nailed to a cross, died, and was reborn, Wilde wasimprisoned, was released, and reborn. Wildes speculation on his newlifestyle post prison-release was one of humility, much in the samemanner as Jesus humility throughout the history of his encounters withhis disciples. A somewhat wanton display of hubris, Wildes Christcomparisons are a bit lofty and overly ambitious. Wilde perceivesChrist from an agnostic point of view, evidenced by his relativeflexibility in putting himself in the same contact as the Son of God.However, both Jesus and Wilde shared parallels, such as the eventsleading up to their incarcerations. Oscar Wildes homoerotic texts, aesthetics, Christ comparisons andmoral implications were largely the result of his sexuality, though itcan be argued equally as effectively that Wildes writing was affectedby anti-Victorian sentiment. Had he been alive now, in an age wherehomosexuality is often as accepted as racial differences, it isunlikely that he would have gained the notoriety that he did while inprison and following his release. Though he died a pauper, Wildesworks were revolutionary in their latent content, the dandy style, andthe fact that they addressed issues such as homosexuality in a timewhere society was becoming steadily more conservative. As with anyauthor, Wildes works are best understood when taking intoconsideration his biography and history, including his sexuality. Ericksen, Donald H. Oscar Wilde. Boston: G.K. Hall Co., 1977. Gardiner, Juliet. Oscar Wilde: A Life in Letters, Writings, and Wit. Collins Brown, Ltd., 1995. Gaunt, William. The Aesthetic Adventure. New York: Harcourt, Brace, and Co., 1945. Hoare, Philip. Oscar Wildes Last Stand: Decadence, Conspiracy, and theMost Outrageous Trial of the Century. New York, Arcade Publishing,Inc., 1997. Wilde, Oscar. An Ideal Husband. Champaign: Project Gutenberg Press,2004. Wilde, Oscar. De Profundis. Champaign: Project Gutenberg Press,2003. Wilde, Oscar. The Decay of Lying. [online] Available at:www.ucc.ie/celt/published/E800003-009/text002.html Cork: Corpus ofElectronic Texts, 1997. Wilde, Oscar. The Importance of Being Earnest. Champaign: Project Gutenberg Press, 2005.