An Ill-Fated Friendship

The Gay Love Letters of Oscar Wilde to Lord Alfred Douglas

Excerpts from My Dear Boy: Gay Love Letters through the Centuries (1998), Edited by Rictor Norton

Copyright © 1997, 1998 by Rictor Norton. All rights reserved. Reproduction for sale or profit prohibited.


In November 1993 an unpublished letter from Oscar Wilde (1854–1900) to one of his young friends, the wealthy twenty-year-old Phillip Griffiths, together with a signed photograph were auctioned by Christies in London for 18,700. In the letter, written in 1894, Wilde asked Griffiths to send him a photograph "which I will keep as a memory of a charming meeting, and golden hours passed together. You have a beautiful nature made to love all beautiful things, and I hope we shall see each other soon. Your friend Oscar Wilde." Wilde enclosed a photograph of himself inscribed to Griffiths with the message "The secret of life is Art." The secret of Wilde's sex-life is also art: Wilde idealized his affairs with upper-class youths in terms of pastoral mythology, and romanticized his affairs with lower-class rough trade as "feasting with panthers." But it was in fact his aristocratic lover Lord Alfred Douglas (1870–1945) who was the real panther. The first letter selected below is the "infamous" letter which Wilde sent to "Bosie" which fell into the hands of a homosexual pimp and was used to blackmail Wilde and which eventually contributed to his conviction on charges of "gross indecency", and two years' imprisonment. Wilde received an ovation when he defended the "Love that dare not speak its name" in court, as "that deep, spiritual affection that is as pure as it is perfect. It dictates and pervades great works of art like those of Shakespeare and Michelangelo, and those two letters of mine, such as they are. . . . It is beautiful, it is fine, it is the noblest form of affection. There is nothing unnatural about it. It is intellectual, and it repeatedly exists between an elder and a younger man, when the elder man has intellect, and the younger man has all the joy, hope and glamour of life before him. That it should be so the world does not understand. The world mocks at it and sometimes puts one in the pillory for it." But this impassioned defence crumbled over the succeeding days as the prosecution produced its evidence from a string of hustlers, reducing visions of crystalline beauty to stains on hotel bed sheets. The last selection contains excerpts from the long letter – called "De Profundis" which Wilde wrote to Bosie from prison. Bosie destroyed it unread, but Wilde's most faithful lover Robert Ross had kept a copy. These two letters thus document the beginning and end of an affair that went horribly wrong. Wilde has been not quite accurately cast in the role of gay martyr to the hypocrisy and sex-repression of Victorian society, but it would be truer to say he was willingly victimized by this thoroughly nasty piece of work. Douglas used Wilde merely as a pawn in his argument with his father the Marquess of Queensberry, whom he loathed. When Queensberry publicly accused Wilde of being a sodomite, Douglas urged Wilde to foolishly sue for libel. When the trial began, Douglas fled abroad, and offered little help when the libel was dismissed and Wilde was subsequently tried for homosexual relations with various male prostitutes. He abandoned Wilde during his bitter imprisonment, but took up with him again in France after his release. In later life Douglas converted to Roman Catholicism and repudiated his affair with Wilde.


OSCAR WILDE TO LORD ALFRED DOUGLAS

January 1893
Babbacombe Cliff

My own Boy,
          Your sonnet is quite lovely, and it is a marvel that those rose-red lips of yours should have been made no less for the music of song than for the madness of kisses. Your slim gilt soul walks between passion and poetry. I know Hyacinthus, whom Apollo loved so madly, was you in Greek days.
          Why are you alone in London, and when do you go to Salisbury? Do go there to cool your hands in the grey twilight of Gothic things, and come here whenever you like. It is a lovely place – it only lacks you; but go to Salisbury first.
          Always, with undying love,
                    Yours,
                              Oscar

Savoy Hotel, London
[March 1893]

Dearest of all Boys,
          Your letter was delightful, red and yellow wine to me; but I am sad and out of sorts. Bosie, you must not make scenes with me. They kill me, they wreck the loveliness of life. I cannot see you, so Greek and gracious, distorted with passion. I cannot listen to your curved lips saying hideous things to me. I would sooner be blackmailed by every renter in London than have you bitter, unjust, hating. I must see you soon. You are the divine thing I want, the thing of grace and beauty; but I don't know how to do it. Shall I come to Salisbury? My bill here is 49 for a week. I have also got a new sitting-room over the Thames. Why are you not here, my dear, my wonderful boy? I fear I must leave; no money, no credit, and a heart of lead.
          Your own Oscar

1896
H.M. Prison, Reading

Dear Bosie,
          After long and fruitless waiting I have determined to write to you myself, as much for your sake as for mine, as I would not like to think that I had passed through two long years of imprisonment without ever having received a single line from you, or any news or message even, except such as gave me pain.
          Our ill-fated and most lamentable friendship has ended in ruin and public infamy for me, yet the memory of our ancient affection is often with me, and the thought that loathing, bitterness and contempt should for ever take that place in my heart once held by love is very sad to me: and you yourself will, I think, feel in your heart that to write to me as I lie in the loneliness of prison-life is better than to publish my letters without my permission or to dedicate poems to me unasked, though the world will know nothing of whatever words of grief or passion, of remorse or indifference you may choose to send as your answer or your appeal. . . .
          But most of all I blame myself for the entire ethical degradation I allowed you to bring on me. The basis of character is will-power, and my will-power became absolutely subject to yours. It sounds a grotesque thing to say, but it is none the less true. Those incessant scenes that seemed to be almost physically necessary to you, and in which your mind and body grew distorted and you became a thing as terrible to look at as to listen to: that dreadful mania you inherit from your father, the mania for writing revolting and loathsome letters: your entire lack of any control over your emotions as displayed in your long resentful moods of sullen silence, no less than in the sudden fits of almost epileptic rage: all these things in reference to which one of my letters to you, left by you lying about at the Savoy or some other hotel and so produced in Court by your father's Counsel, contained an entreaty not devoid of pathos, had you at that time been able to recognise pathos either in its elements or its expression: – these, I say, were the origin and causes of my fatal yielding to you in your daily increasing demands. You wore one out. It was the triumph of the smaller over the bigger nature. It was the case of that tyranny of the weak over the strong which somewhere in one of my plays I describe as being "the only tyranny that lasts."
          And it was inevitable. In every relation of life with others one has to find some moyen de vivre. In your case, one had either to give up to you or to give you up. There was no alternative. Through deep if misplaced affection for you: through great pity for your defects of temper and temperament: through my own proverbial good-nature and Celtic laziness: through an artistic aversion to coarse scenes and ugly words: through that incapacity to bear resentment of any kind which at that time characterised me: through my dislike of seeing life made bitter and uncomely by what to me, with my eyes really fixed on other things, seemed to be mere trifles too petty for more than a moment's thought or interest – through these reasons, simple as they may sound, I gave up to you always. As a natural result, your claims, your efforts at domination, your exactions grew more and more unreasonable. Your meanest motive, your lowest appetite, your most common passion, became to you laws by which the lives of others were to be guided always, and to which, if necessary, they were to be without scruple sacrificed. Knowing that by making a scene you could always have your way, it was but natural that you should proceed, almost unconsciously I have no doubt, to every excess of vulgar violence. At the end you did not know to what goal you were hurrying, or with what aim in view. Having made your own of my genius, my will-power, and my fortune, you required, in the blindness of an inexhaustible greed, my entire existence. You took it. At the one supremely and tragically critical moment of all my life, just before my lamentable step of beginning my absurd action, on the one side there was your father attacking me with hideous card left at my club, on the other side there was you attacking me with no less loathsome letters. The letter I received from you on the morning of the day I let you take me down to the Police Court to apply for the ridiculous warrant for your father's arrest was one of the worst you ever wrote, and for the most shameful reason. Between you both I lost my head. My judgment forsook me. Terror took its place. I saw no possible escape, I may say frankly, from either of you. Blindly I staggered as an ox into the shambles. I had made a gigantic psychological error. I had always thought that my giving up to you in small things meant nothing: that when a great moment arrived I could reassert my will-power in its natural superiority. It was not so. At the great moment my will-power completely failed me. In life there is really no small or great thing. All things are of equal value and of equal size. . . .
          You send me a very nice poem, of the undergraduate school of verse, for my approval: I reply by a letter of fantastic literary conceits [reproduced above]: I compare you to Hylas, or Hyacinth, Jonquil or Narcisse, or someone whom the great god of Poetry favoured, and honoured with his love. The letter is like a passage from one of Shakespeare's sonnets, transposed to a minor key. It can only be understood by those who have read the Symposium of Plato, or caught the spirit of a certain grave mood made beautiful for us in Greek marbles. It was, let me say frankly, the sort of letter I would, in a happy if wilful moment, have written to any graceful young man of either University who had sent me a poem of his own making, certain that he would have sufficient wit or culture to interpret rightly its fantastic phrases. Look at the history of that letter! It passes from you into the hands of a loathsome companion: from him to a gang of blackmailers: copies of it are sent about London to my friends, and to the manager of the theatre where my work is being performed: every construction but the right one is put on it: Society is thrilled with the absurd rumours that I have had to pay a huge sum of money for having written an infamous letter to you: this forms the basis of your father's worst attack: I produce the original letter myself in Court to show what it really is: it is denounced by your father's Counsel as a revolting and insidious attempt to corrupt Innocence: ultimately it forms part of a criminal charge: the Crown takes it up: The Judge sums up on it with little learning and much morality: I go to prison for it at last. That is the result of writing you a charming letter. . . .
          There is, I know, one answer to all that I have said to you, and that is that you loved me: that all through those two and a half years during which the Fates were weaving into one scarlet pattern the threads of our divided lives you really loved me. Yes: I know you did. No matter what your conduct to me was I always felt that at heart you really did love me. Though I saw quite clearly that my position in the world of Art, the interest my personality had always excited, my money, the luxury in which I lived, the thousand and one things that went to make up a life so charmingly, and so wonderfully improbable as mine was, were, each and all of them, elements that fascinated you and made you cling to me; yet besides all this there was something more, some strange attraction for you: you loved me far better than you loved anybody else. But you, like myself, have had a terrible tragedy in your life, though one of an entirely opposite character to mine. Do you want to learn what it was? It was this. In you Hate was always stronger than Love. Your hatred of your father was of such stature that it entirely outstripped, o'erthrew, and overshadowed your love of me. There was no struggle between them at all, or but little; of such dimensions was your Hatred and of such monstrous growth. You did not realise that there is no room for both passions in the same soul. They cannot live together in that fair carven house. Love is fed by the imagination, by which we become wiser than we know, better than we feel, nobler than we are: by which we can see Life as a whole: by which, and by which alone, we can understand others in their real as in their ideal relations. Only what is fine, and finely conceived, can feed Love. But anything will feed Hate. There was not a glass of champagne you drank, not a rich dish you ate of in all those years, that did not feed your Hate and make it fat. So to gratify it, you gambled with my life, as you gambled with my money, carelessly, recklessly, indifferent to the consequence. If you lost, the loss would not, you fancied, be yours. If you won, yours you knew would be the exultation, and the advantages of victory. . . .
          You see that I have to write your life to you, and you have to realise it. We have known each other now for more than four years. Half of the time we have been together: the other half I have had to spend in prison as the result of our friendship. Where you will receive this letter, if indeed it ever reaches you, I don't know. Rome, Naples, Paris, Venice, some beautiful city on sea or river, I have no doubt, holds you. You are surrounded, if not with all the useless luxury you had with me, at any rate with everything that is pleasurable to eye, ear, and taste. Life is quite lovely to you. And yet, if you are wise, and wish to find Life much lovelier still and in a different manner you will let the reading of this terrible letter – for such I know it is prove to you as important a crisis and turning-point of your life as the writing of it is to me. Your pale face used to flush easily with wine or pleasure. If, as you read what is here written, it from time to time becomes scorched, as though by a furnace-blast, with shame, it will be all the better for you. The supreme vice is shallowness. Whatever is realised is right. . . .
          You came to me to learn the Pleasure of Life and the Pleasure of Art. Perhaps I am chosen to teach you something much more wonderful, the meaning of Sorrow, and its beauty.
          Your affectionate friend
                    Oscar Wilde


SOURCE: Complete Works of Oscar Wilde (Collins, 1948, 1966); The Trials of Oscar Wilde, ed. H. Montgomery Hyde (Penguin, 1948); The Letters of Oscar Wilde, ed. Rupert Hart-Davis (1962).


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