Research Paper Works Cited

Works Cited

Archer, William. “Robert Louis Stevenson: His Style and His Thought.” Time. November 1885. Laurie               Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

Butler, Arthur John. “Treasure Island.” The Athenaeum. 1 December 1883. Laurie Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

Chew, Samuel C. Thomas Hardy: Poet and Novelist. 1928. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1978. Print.

De Vore, David. “The Gothic Novel.” ucdavis.edu. Web. 18 Jan. 2012.

“Desperate Remedies.” The Athenaeum. 1 April 1871. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1978. Print.

Elliot, T. S. “Thomas Hardy.” Points of View. 1933. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1978. Print.

Ellis, Havelock. “Thomas Hardy’s Novels.” The Westminster Review. April 1883. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1978. Print.

Gassner, John. Masters of the Drama. 1940. Sharon K. Hall. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

Gide, Andre. “In Memoriam.” Oscar Wilde. 1949. Sharon K. Hall. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

Gosse, Edmund. “Thomas Hardy.” The Publisher. 13 September 1890. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4.Gale Research Company, 1978. Print.

Hankin, St. John. The Dramatic Works of St. John Hankin. 1912. Sharon K. Hall. Twentieth Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

Harris, Laurie Lanzen. “Robert Louis Stevenson: 1850-1894.” Laurie Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

Henderson, Archibald. “Oscar Wilde.” European Dramatists. 1913. Sharon K. Hall. Twentieth Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

Henley, W. E. “Familiar Studies of Men and Books.” The Academy. 1 April 1882. Laurie Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

Hicks, Granville. “Oscar Wilde and the Cult of Art.” Figures of Transition: A Study of British Literature at the End of the Nineteenth Century. 1939. Sharon K. Hall. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

James, Henry. “Hardy’s ‘Far From the Madding Crown’.” The Nation. 24 December 1924. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1978. Print.

Joyce, James. “Oscar Wilde: The Poet of ‘Salome’.” Il Piccolo della Sera. 24 March 1909. Sharon K. Hall. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

Kirsch, Adam. “God’s Undertaker.” New Yorker (Vol. 82, No. 45). Jan. 15 2007: 74-79. SIRS Renaissance. Web. 11 Jan. 2012.

Lathbury, Daniel Connor. “Mr. Stevenson’s Stories.” The Spectator. 11 November 1882. Laurie Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

“Literature: ‘Wessex Poems, and Other Verses’.” The Athenaeum. 14 January 1899. Dedira Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1978. Print.

Malcolmson, Patricia. “Thomas Hardy: Observation, Memory and Imagination.” Queen’s Quarterly. 01 Jul. 2007: 286. eLibrary. Web. 09 Jan. 2012.

Morgan, Rosemarie. “About TTHA.” st-andrews.ac.uk. Web. 29 January 2012.

Nathan, George Jean. “Oscar Wilde and the Epigram.” The Theatre Book of the Year. 1952. Sharon K. Hall. Twentieth-Century Literary Criticism. Vol. 4. Gale Research Company, 1981. Print.

“Oscar Wilde Biography.” cmgww.com. Web. 16 Jan. 2012.

“Oscar Wilde.” Neuroticpoets.com. Web. 28 January 2012.

“Oscar Wilde Society Constitution.” oscarwildesociety.co.uk. Web. 28 January 2012.

Purcell, E. “Prince Otto: A Romance.” The Academy. 27 February 1886. Laurie Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

"Stephen King Using Gothic Literature." 123HelpMe.com. 17 Jan. 2012.

“Stevenson, Robert Louis.” Compton’s by Britannica, v 6.0. 2009. eLibrary. Web. 09 Jan. 2012.

Stevenson, Robert Louis. “A Gossip on Romance.” Longman's Magazine. November 1882. Laurie Lanzen Harris. Nineteenth-Century Literary Criticism. Vol. 5. Gale Research Company, 1984. Print.

Stiles, Anne. “Robert Louis Stevenson’s “Jekyll and Hyde” and the Double Brain.” Studies in English Literature (Vol. 46, No. 4). Fall 2006: 879-900. SIRS Renaissance. Web. 11 Jan. 2012.

Strachey, Lytton. “Mr. Hardy’s New Poems.” New Statesman. 19 December 1914. Ed. Dedira,

Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4.Gale Research Company, 1978. Print.

Symons, Arthur. “Thomas Hardy.” The Dial. January 1920. Ed. . Dedira, Bryfonski, Phyllis Carmel Mendelson. Twentieth-Century Literary Criticism. Vol. 4.Gale Research Company, 1978. Print.

Teisch, Jessica. “Thomas Hardy.” Bookmarks (Issue 16). May/June 2005: 18-23. SIRS Renaissance. Web. 11 Jan. 2012.

Barrell, Tony. “The man who inspired Jekyll and Hyde ; Under Cover.” Sunday Times of London. 27 Sep. 2009: 7. eLibrary. Web. 09 Jan. 2012.

Traynor, Des. “Wilde at Heart.” World of Hibernia. Autumn 1997: 168-176. SIRS Renaissance. Web. 09 Jan. 2012.

Walsh, Patrick. oscarwildefanclub.com. Web. 29 January 2012.

“Wilde, Oscar.” Compton’s by Britannica, v 6.0. 2009. eLibrary. Web. 09 Jan. 2012.

“Wilde, Oscar (Fingal O’Flahertie Wills).” Britannica Concise Encyclopedia, v 3.0. 2009. eLibrary. Web. 09 Jan. 2012.

Research Paper Literary Criticism of Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy - Part 5

Literary Criticism

            Throughout the literary world during any period of time, peer criticism has never ceased to exist. Sometimes the input of others is helpful to a writer in improving their workmanship; other times not so much. Thomas Hardy, Oscar Wilde and Robert Louis Stevenson all endured their critics' comments, ultimately developing into literary masters.
            Heavily criticized and highly affected by the criticism dealt by his peers, Thomas Hardy's writings challenged the Victorian customs of the day, which was common practice among his works. One of Hardy's treasured attributes is his pragmatic style of presenting ideas; his poems are filled with this unique style, which has a “lack of romanticism;... he does not sing... he talks—in the quiet voice of a modern man or woman” (Strachey 1). His strongest virtue does not lie within his style; however, it is in prose and verse. It is the backbone of his poetry since he always has something interesting to say in a “slow, twisted, and sometimes enigmatic manner,” without an overabundance of charisma (Symons 1). Many critics attacked his books, but one critic, Edmund Gosse, perceived Hardy's short story The Three Strangers as his most “brilliant” novel, comparing it to the works of the recognized Russian writer, Turgenev (Gosse 1). His novel, Far From the Madding Crown, has similarly been praised as one of his greatest accomplishments and the odds of another equal creation by him are “scarce.” Critics received The Return of the Native with similar enthusiasm (Ellis). Thomas Hardy's other strength lied within his characters; they are extremely well developed with a distinguishable, “delightful” humor as their “grand characteristic” (Ellis 1). Judicious reviewers proclaimed the West Country characters the most appealing aspect of The Mayor of Casterbridge and also “almost worthy of George Elliot” (Chew 1). Although Hardy's writing is criticized for being too sporadic, with instances of carelessness, he was able to compensate with wondrous, detailed landscapes, which was a way for him to set the desired mood for a scene (Elliot 1).
            Along with a majority usually comes a minority. Hardy received such harsh criticism on a few of his novels that he ultimately abandoned writing novels to pursue poetry after the publication of Jude the Obscure. Hardy challenged Victorian customs by talking of love and sexuality in his works; consequently, one critic exclaimed they could not decipher the sex of the author in Desperate Remedies which very well could have come from “the pen of an English lady” (“Desperate” 1). Critics who opposed Hardy's works attacked his weakness of producing consistently fluent rhythm in his verse, claiming it had a “wooden” like demeanor. This bleakness compounded with a lack of proportion between unnecessary length and meaningful subject is the main premise for their criticism (Literature 1, James 1). Another aspect of Hardy's writing critics attempt to expose as a fault is his reliance on pessimistic outcomes; this “dismal” perception of life is seen as an “obsession” by critics and gives the reading an undesirable melancholic mood, full of “deliberate judgments on life” (Literature 1).
            Oscar Wilde's accreditation comes largely from his hysterical comedies and literary personality. The concept of “sin” and “sinful pleasures” are prevalent in the majority of his works, which although a powerful subject to intervene on in Victorian England, was not Wilde's only method of gaining followers (Joyce 1). He relied naturally flamboyant style, unchallenged in respect to drama by any other author of the time, as a supplemental force to gain his supporters. An effective component of his flamboyant writing style was the peppered “intellectual and moral perversity,” which insured a large amount of feedback from critics (Nathan 1). When compared to Bernard Shaw, an eminent critic of Wilde's time, he was inferior in every respect of the word based on literary measures, expect in two areas: “sensitiveness of his taste,” and the “social [coherence] of dialogue” in his works. Although similar in several ways to Shaw, such as their mutual defiance, Wilde tended to present his information in a more whimsical, amusement oriented fashion while Shaw relied on an instructive method (Henderson 1). Characters in his plays typically lack development but his excellent manipulation of dialogue of comedies inserts more “verve” and “esprit” than all the comedies of the day combined (Henderson 1). With the creation The Importance of Being Earnest, Wilde is said to have invented a new type of play, which was also his greatest achievement of originality as a playwright (Hankin 1).
            Oscar Wilde's works were criticized perhaps more than any other writer of his time; the Victorian era people were not accustomed to such perverse exclamations present in Wilde's writing. Highly concentrated in his book, The Picture of Dorian Gray, Wilde's blatant homosexual themes were not received well by the people. They were “confused” and “disturbed” since homosexuality was completely unacceptable and immoral; therefore, they were certain his views would one day destroy him—and they were correct (Hicks 1). Another fault lying in The Picture of Dorian Gray is that Wilde ofttimes interjected his aesthetic philosophies where they were not needed, adding unnecessary weight to the plot (Gassner 1). The “best critic of the day,” Bernard Shaw, labeled Wilde's farce as “stock mechanical fun,” which would have an extremely connotative damaging effect on a comedian, however Wilde seldom worried about what critics had to say of him. Shaw, a moralist like Wilde, accused him of “priggishness” since he “flit[ted]” around with his ideas instead of directly presenting them (Gassner 1). Other critics accused Wilde of being an imitator (Joyce 1), so his plays were deemed “old-fashioned,” for they were modeled from the “well-made play” of the time (Hankin 1). Some readers were disappointed with his writing; being the “inventor of drama of conversation,” Wilde was a much better speaker than writer and those who had listened to his speeches were not as impressed by his writing (Gide 1).
            Robert Louis Stevenson was Thomas Hardy's counterpart in the preference of method. While Hardy preferred to adopt well-developed ideas as his medium for writing, Stevenson preferred the opposite route by utilizing his unique, captivating writing style to woo his audience. Critics have characterized Stevenson as having a “rare distinction of style;” “asympathetic intelligence” and a “whole-hearted courage” to top it off (Henley 1). While reading Robet Louis Stevenson, the notion of a “ stage manager skillfully directing his actors” comes to mind (Lathbury 1); his literary technique possesses qualities of “mere mastery of diction, phrase, and sentence” (Henley 1). Most well-known for his production of Treasure Island, critics believed that he is leaps and bounds beyond his competition, saying that the novels originality could have only come from a “vivid imagination” such as Stevenson (Archer 1). The profound success of Treasure Island has elevated Stevenson to the literary status of Edgar Allen Poe, a legendary Gothic horror composer, as well as Dickens, because of his ability to “give life and motion into the objects most inanimate” ( Butler 1, Archer 1).
            Rarely ever plagued with harsh critics, Robert Louis Stevenson was generally well- respected and loved; however, there will always some skepticism in the literary world. Perhaps the most frequently criticized “evil habit” of Stevenson is his occasional “gibbering… emphatic passages.” William Archer, a critic of Stevenson’s, said, “[t]he current criticism of the day opposes to to its one saving grace a deadly sin called ‘emphasis’.” Stevenson’s reaction to this criticism was to cut out passages he felt were too emphatic in his essay on Walt Whitman, for fear of receiving more criticism on the same fault. Archer then accused Stevenson of being a coward for cutting out true passages simply because they were emphatic, so Stevenson was in a lose-lose situation even though he reacted accordingly to his criticism (Archer 1). Although he had few faults recognized by critics, they seemed to believe that he tended to “write too much” and that in some instances, it was as if he were writing “for the mere sake of writing” (Purcell 1, Stevenson 1).
            From an artist's perspective, receiving peer criticism can be difficult: the critic does not always envision the intended picture. Negative criticism is almost inevitable, so the choice regarding how to manage it presents two options for the artist: quit, or use it as an incentive to do better. In the cases of Hardy, Stevenson, and Wilde, each writer chose the second option and continued with ambition.

Research Paper Legacies of Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy - Part 4

Legacy

            Websters dictionary defines a legacy as “something transmitted by or received from an ancestor or predecessor or from the past,” which is usually considered as valuable. It is probably safe to say literary critics and readers abroad greatly appreciate the thousands of works left by Stevenson, Wilde and Hardy; therefore, the three men have effectively created their own distinct legacies that thrive even today.
            Of a remarkable group of writers containing Oscar Wilde and Thomas Hardy, Robert Louis Stevenson's legacy remains unparalleled. Since his death in 1894, Stevenson's fame has grown exponentially as his name becomes more well known from the abundance of recent and modern works modeled from his masterpieces. According to the Internet Movie Database, an official total of 231 movies and television series were inspired by his novels and short stories. His name has become well-known to present generations because of movies such as Treasure Planet (2002): “A Disney animated version of 'Treasure Island'... set in outer space with alien worlds and other galactic wonders;” Muppet Treasure Island (1996); Dr. Jekyll and Mr. Hyde (1931); and a movie that premiered on television in 1984: The Master Of Ballantrae (IMDb). Robert Louis Stevenson also composed songs, some of which include “Fanfare,” “Tune for Flageot,” “Habanera” and “Quadrille”. In 1968, Robert Hughes went on a tour of the Pacific Northwest and arranged some of Stevenson's songs for the tour.
            Along with numerous works of art influenced by his own accomplishments, Robert Louis Stevenson has had several memorials and monuments resurrected in his honor. The Robert Louis Stevenson State Park in California, Silverado Museum in St. Helena, California and the Robert Louis Stevenson School established in 1987 in Samoa are a just a few building that have been devoted to his memory. A bronze memorial honoring Stevenson designed by the gifted American sculptor, Augustus Saint-Gaudens, was mounted on the Moray Aisle of St. Giles' Cathedral, Edinburgh, Scotland in 1904. Stevenson's tomb on the summit of Mount Vaea in Western Samoa also serves as a memorial dedicated to him by his beloved friends, the Samoan people.
            Over 200 biographies have been written over the subject of Stevenson's life; an astonishing amount for any man. His poem, “Requiem” was inscribed on his tomb and was translated to a Samoan song of grief which is well-known and still sung Samoa. In 1994, on the 100th anniversary of Robert Louis Stevenson's death, the Royal Bank of Scotland issued two million commemorative 1 pound notes. The first note to be printed was presented at the ceremony commemorating his 100th anniversary on the summit of Mount Vaea.
            In the latter years of his life, Oscar Wilde's eminence quickly transitioned to infamy with his appearance in the media as a convicted sodomite. Once the “most sought after man in London,”his bad reputation doomed him to disgrace in the years following his release from prison and the people who once cherished his brilliant work now perceived it as practically invalid. In the years following his death, the magnitude of his legacy had not yet developed due to the damage caused by his infamous trials, but as time passed the trials became a thing of the past and people soon began to recognize him for his masterpiece works once again.
            Today, 112 years after Oscar Wilde's death, he still retains a plethora of recognition from readers all across the globe. Granted it is not quite the level of notability he received during the prime of his career, but he is still able to compete with some modern authors. There are several organizations and clubs devoted to his persona such as Societe Oscar Wilde en France, Oscar Wilde Society (U.S.), and The Oscar Wilde Society (UK) whose objectives are “to advance the education of the public in the works of Oscar Wilde by promoting knowledge, appreciation and study of his life, personality and works” (“Society” 1). Oscar Wilde even has a fan club which includes information on his life, career, and trials and offers Oscar Wilde memorabilia like posters, fridge magnets, and t-shirts (Walsh 1).
            Oscar Wilde has been the inspiration for many biographies, theater productions, and a few movies. In 1960, two films were made of Oscar Wilde; the first being a biographical film of his early life and career entitled Oscar Wilde; the second being of the infamous trials called The Trials of Oscar Wilde. The two movies were based on a play written by Leslie and Sewell Stokes in 1936 about Wilde's life. There are about 40 adaptations of works by Oscar Wilde (IMDb). The most popular choice is his prized novel The Picture of Dorian Gray, which recently had a reproduction in 2009 in Britain and was nominated for best film, although it did not receive the reward (IMDb).
            Thomas Hardy was a lucky man in the sense that he was renowned for his works all throughout his life and well after his death to the present time. Oscar Wilde and Robert Louis Stevenson, Thomas Hardy was able to live the fullest life, producing works up until his late years before his death in 1928, which is about thirty years after the two other comparable writers of his time. Similar to Wilde and Stevenson, Thomas Hardy also has an organization, “The Thomas Hardy Association,”which has devoted itself to “promote the study and appreciation of Hardy's work in every corner of the world” (Morgan 1).
            An artists legacy is defined by the number of people who still recognize the works of the creator for all that it was intended and continue to pass it on to others. When Thomas Hardy is searched on the Internet Movie Database, a total of 44 titles is returned, the first being a silent black and white production of his novel Far from the Madding Crowd in 1909; this makes Thomas Hardy one of the first writers to have a film of one of their works made during their lifetime. Hardy certainly was deserving of such an honor since he was so dedicated to his work; “[h]e allegedly declined British knighthood but accepted the Order of Merit for his services to literature.” The latest work Thomas Hardy has influenced in Trishna, a movie produced in 2011 that is an adaptation of Tess of the d’Urbervilles (Teisch 1).
            Thomas Hardy so thoroughly described the fictional settings of his books that maps of his fictional Wessex exist. These maps contain all of the routes and fictional cities his characters are part of such as the town of Casterbridge which Michael Hencard becomes the head of in The Mayor of Casterbridge. While reading his stories, one can actually follow these intricate maps (Malcolmson 1). Three years after Hardy's death, in 1931, a 10 ft. granite monument at The Thomas Hardy Memorial was erected behind the cottage he was born in on June 2, 1980, which is not only a significant location because he was born there, but also since it is where he wrote Under the Greenwood Tree and Far From the Madding Crowd; the first two novels that helped set Hardy's writing career into motion.
            While most people can accept a writer for their work, there will always be a numerous group who never learn to do so. In the minds of those few, the work left by these literary virtuosos are not sufficient to support their legacies, so they tend to express their incertitude.

Research Paper Influences of Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy - Part 3

Influences

             A writer’s greatest motivation to begin a new novel or poem is a strong influence that offers a new insight on an unexplored experience. Whether it is in the form of a sudden epiphany, an encounter with a fascinating new stranger, or possibly a terrorizing nightmare, any uncommon experience can be the motivation; experienced first hand by Robert Louis Stevenson, Thomas Hardy and Oscar Wilde.
             A year before the publication of his book, The Strange Case of Dr. Jekyll and Mr. Hyde, Robert Louis Stevenson was awakened during his sleep by his frightened wife, Fanny. He had been experiencing a nightmare and was shouting and struggling in his sleep. Stevenson dreamed of “a man undergoing a weird transformation,” which deeply terrorized him (Barrell 1). Influenced by his vivid nightmare, Stevenson “was inspired to write one of the most unforgettable fantasy stories of all time”: The Strange Case of Dr. Jekyll and Mr. Hyde (Barrell 1).
            Although Stevenson was reputable for his overactive imagination, it was certainly not by coincidence that he dreamed of Henry Jekyll, the man who undergoes strange transformations in his book. Stevenson has often delved on the theory of duality of human nature, especially on the case of a Scots man from the eighteenth century named William Brodie (Barrell 1). Similar to Dr. Jekyll, Brodie was an eminent character, “matching Henry Jekyll's description of himself as 'inclined by nature to industry' and 'fond of the respect of the wise and good among my fellow-men.'” Also, Brodie's 5 ft. 4 in. stature and ominous dark eyes at the mention of evil resemble that of Hyde (Barrell 1). One last mutual feature: “when Jekyll makes the final transformation into his evil self, he wonders whether Hyde will 'die upon the scaffold' or have the courage to commit suicide.” Strikingly similar, Brodie commited suicide in 1788 (Barrell 1).
            It has become a known fact that Stevenson was influenced by more than just a nightmare to write The Strange Case of Dr. Jekyll and Mr. Hyde; however, when a New Zealand journalist asked him: “'had you heard of any actual case of double personality before you wrote your book?'” he replied, “'never... After the book was published I heard of the case of 'Louis V.,' the man in the hospital at Rochefort. Mr. [Frederic W. H.] Myers sent it to me.'” Stevenson obviously wanted his story to remain “enigmatic” to the general public because they more than likely had never heard of a case such as Dr. Jekyll's (Stiles 1).
            As a keen observer, Thomas Hardy utilized his acute observation skills to give his writing a foundation of realism. From the time he was a child and into old age, he would walk or cycle the streets of London for hours a day “until he felt he knew the city and all that it had to offer 'like a born Londoner.'” He relied heavily on a mixture of memories of vivid experiences in combination with imaginative renditions to give his readers a poem or novel which they could enjoy and find common grounds with (Malcolmson 1).
            At an early age, Thomas Hardy found that the most effective method of finding new, inspiring material for his writing was to visually experience it and commit it to memory. Although Hardy had an exceptional memory, he also relied on vividly detailed notes he kept on interesting buildings, settings, memorable encounters with people, and important events to fuel his imagination during his efforts to create new stories. He had described the topography of rural Dorset so thoroughly “that one can still follow the paths he wrote about” (Malcolmson 1).
            With the accompaniment of his wife, Emma, Hardy would frequently travel in search of new inspiring scenes or people for his books and poetry. He coined their travels as “research trips to soak up local colour for his writing” (Malcolmson 1), so the two would walk the streets of cities and towns, while Hardy noted his observations. Hardy's extensive walks contributed greatly to the development of characters in his stories not only in the aspect of providing him with new ideas, but also in the sense that “many of his characters walk their way through their life stories and personal crises.” In his book, The Mayor of Casterbridge, Michael Henchard, a man who sold his wife and daughter walks into a new town and later becomes the mayor; “Gabriel Oak in Far From the Madding Crowd walks to seek work;... Tess walks from one set of troubles to another; most of the characters in The Woodlanders trudge many miles about their daily labour; and the newlywed lovers in Two on a Tower walk nine miles to a country railway station to avoid detection” (Malcolmson 1).
            Several objects with enormous sentimental value to Hardy have influenced his writing; his childhood violin; his book illustrations; photos of family and other famous writers; an inkstand given to him by an ex-lover; a perpetual calendar set to the day he met his first wife; and many more. His early career as an architect also influenced his writing because he had a strong interest in building design, which is noted in his vivid building descriptions (Malcolmson 1). With all of these “memory aids” in his arsenal, Hardy replicated a fictional England that still intrigues readers today (Malcolmson 2).
            Most notably known for his witty comedies and flamboyant personality, Oscar Wilde was a man with many influences. One influence being his mother, Jane Wilde, who was also a talented writer, translated Wilhelm Meinhold's Gothic horror novel Sidonia the Sorceress. She had a great influence on Wilde during his childhood; consequently, he read the translated version and derived it's “darker elements” for use in his own work; most notably in The Picture of Dorian Gray (“cmgww.com” 1). Being a comedian, it was strange that he would choose to write a Gothic horror novel.
            Oscar Wilde's mother also influenced her son in a way that did not directly impact his writing; when he was a child, she used to dress him in girls' clothing because she desperately wanted to have a daughter. She would also invite her son to visit with her intellectual friends (“neuroticpoets.com” 1). These two factors may have contributed to his flamboyant personality and homosexual relations he developed later in his life. In 1858, Wilde's mother was finally blessed with a daughter, Isola, however she died from a fever (“cmgww.com” 1) eight years later, which devastated the family, especially the then twelve year old Oscar Wilde. The memory of his sister influenced him to write and dedicate the poem “Requiescat” to her later in his career. He also carried a lock of his sister's hair in an ornate envelope for the remainder of his life (“cmgww.com” 1).
            Wilde was particularly inspired by aesthetics, as it is a prominent feature seen throughout his works. In 1881, he embarked on a lecture tour around the United States where he delivered over 140 lectures in just 260 days on the “Principles of Aestheticism,” sharing his passion for the topic (“cmgww.com” 1). While in America, Wilde met with other highly acclaimed writers Walt Whitman and Henry Wadsworth Longfellow (“Neurotic” 1). In 1892, Wilde's first play, “Lady Windermere's Fan,” had it's opening in February and due to it's enormous success he was motivated to continue writing plays, producing more renowned works such as: “A Woman of No Importance,” “An Ideal Husband,” and “The Importance of Being Earnest” (“cmgww.com” 2).
            Stevenson, Hardy, and Wilde were all certainly inspired and motivated in their practice. As a collective, they have created thousands of works comprised of pieces in poetry, ranging to novelty and essays. As it should be, a bulk of their works are still perused by readers today, prolonging their reputations for posterity.

Research Paper Biography and Background of Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy - Part 2

Biography and Background

            Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy all share a common characteristic: at one point in their life they were presented with a major complication. Whether that complication was harsh criticism, terminal illness, a quickly changing society or even an infuriated father, these men overcame obstacles to deliver their ever-lasting messages to society and pursue their dreams as writers.
            Born on October 16, 1854 with a mouthful of a name, Oscar Fingal O’Flahertie Wills Wilde, was destined to achieve great feats in his lifetime. His mother, Jane Francesca aspired for greatness herself and instilled it upon her son. Being a writer with exuberant nationalistic pride, she encouraged Wilde as a boy to pursue a writing career, because she believed it was a good way for one to express themself to others (Traynor 1). Some of her works, although not nearly as well-known as her son’s, include poems of the upcoming “revolution, the Famine, and the exodus from Ireland of the famished.” She worked under the pseudonym “Speranza.” Oscar Wilde’s father, William Robert Wilde, was an extremely successful eye and ear surgeon who was reportedly so talented “that he [once] operated on [Bernard] Shaw’s father to correct a squint, and the operation was so successful that the squint went straight to the other side of the eye.” William Wilde had also written two textbooks pertaining to his fields; Epidemic Ophthalmia (1851) and Aural Surgery (1853), which both remained solid references for several years. Oscar Wilde undoubtedly had a strong background in literature stemming from his childhood (Traynor 1).
            Wilde knew early on that he wanted to be a writer, so in February of 1864, he enrolled at the Portora Royal School to pursue a promising career. Samuel Beckett, “another great Irish literary master” also attended the very same school (Traynor 1). During the years following his graduation from the Portora Royal School, Wilde received several honors and had his name inscribed in gilt letters on a scroll in the hallway honoring academic prize-winners. In 1871 he enrolled at Trinity College and three years later he attended Oxford from 1874-1878, where he earned a superfluity of honors and prizes (Traynor 1). Beginning in January of 1882, Wilde landed in New York and began his tour of America. For the duration of about a year, he traveled the continent lecturing about “The Beautiful,” a prevalent theme in his book The Picture of Dorian Gray. In 1884, while in Paris, Wilde determined he needed a woman in his life and on May 29, he married Constance Llyod, a woman three years younger than himself who shared many of his interests (Traynor 2). The two had two sons, Cyril and Vyvyan, during the next two years. Wilde now had a family to provide for, so he temporarily turned to journalism for a couple of years in which he wrote approximately one hundred reviews, some for “The Woman’s World,” a magazine that addressed topics such as women's suffrage and feminism. His editorship for the magazine was short-lived, for in 1889 he became bored with journalism and focused mainly on being an author. He published his first book, The Picture of Dorian Gray, on June 20, 1890, strengthening his reputation as an author, even though the book caused uproar among critics since it changed the “appearance of Victorian Literature” (Traynor 2).
            In the prime of his career as “the most sought-after man in London,” Wilde’s career progress experienced a sudden halt (Traynor 2). Sparked by a new flamboyant relationship with Lord Alfred Douglas, Wilde was accused by Douglas’s father, the Marquess of Queensberry, as being a sodomite. As Wilde’s friend and lover, Douglas encouraged Wilde to stand up against his father and defend himself in court in the libel suit. On the day the verdict was received, Wilde lost the case and was arrested on charges of gross indecent acts (Traynor 3). After being convicted a criminal and serving prison time, Wild essentially retired as a writer, only writing one more book after his release on May 19, 1897: The Ballad of Reading Gaol, which describes the rancid conditions of the prison as well as his grueling experiences. He chose not to put his name on the book, instead he labeled the author as C.3.3., his prison number (Traynor 4). Ironically, “the most sought-after man in London,” closed out his life as a mockery, living in shame and poverty. He perished at the age of 46 of meningitis, which developed from an inner ear injury received during prison, on November 30, 1900 at the Hotel d’Alsace, Rue des Beaux-Arts in Paris (Traynor 4).
            Robert Louis Balfour Stevenson was born on November 13, 1850 in Edinburgh, Scotland. Unlikely other children his age, he was a “sickly, fragile child, and suffered from severe respiratory ailments that frequently interrupted his schooling,” so he was deprived of a normal childhood and bound to his bed (Harris 1). However, despite his illnesses, he still received high expectations from his parents. His father, who was a civil engineer, expected him to attend school to study as an engineer in order to follow his footsteps and continue building life-houses; however, Stevenson was consumed with the idea of being an author and rejected his father’s wishes (Harris 1). Starting at a young age, his mother read him his favorite stories, and by the time he was six years old, he began compiling his own stories by dictating them to his mother. A voracious desire for adventure, motivated by his luck-luster childhood was the ultimate factor in his profession and he does an excellent job of recreating his childhood fantasies through his works
(Stevenson 1).
            As Stevenson grew older and his severe respiratory problems lightened up, he was able to regularly attend courses at Edinburgh University. After experiencing an engineer’s daily routine, he realized his illness would not allow him to partake in the field to follow his father’s footsteps (Stevenson 1). In order to please his parents, he abode to their wishes and took courses in law, but found it boring and not suited for him. It was then that “he decided to develop his natural gift for speech and writing.” Stevenson aspired for greatness his entire life, refusing to succumb to his lifelong illnesses (Stevenson 1). He taught himself the art of writing by intensely studying the works of Daniel Defoe, Michel De Montaigne, and George Meredith, further developing his natural talents as a writer and speaker (Harris 1). Robert Stevenson distinguished himself from others authors of his time, including Thomas Hardy and Oscar Wilde, by pleasing readers with his “…delightful conversation manner and by the graceful flow of his style” (Stevenson 1). Some of his most prominent works depicting this trait include An Island Voyage, published in 1878, Travels with a Donkey, published in 1879, Treasure Island (1883), Kidnapped (1886) and The Strange Case of Dr. Jekyll and Mr. Hyde, an eerie tale of a corrupt doctor’s double identity (Stevenson 2). In 1876, Stevenson met Mrs. Fanny Van de Grift Osbourne, “the great romance of [his] life,” in France. Struck with love, upon hearing news of her falling to illness, he followed her back to her far-away home in San Francisco. The journey to California nearly killed him; he developed a bad case of tuberculosis, but he was restored to health by Mrs. Osbourne after he arrived (Stevenson 2). By 1880, Stevenson, accompanied by his newly-wedded wife and stepchildren moved to his home country, Scotland, beginning a search for a home with a climate amiable to his constantly-changing health as well as a job to provide for his family (Stevenson 2).
            Stevenson quickly realized he had made a poor choice in deciding to move his family to Scotland, because he could not tolerate the inclement climate due to his respiratory complications. In 1887, after an extended South Sea Island Cruise, his family returned to America and sailed to Upolu, one of the Samoan Islands in the South Pacific, where they settled and purchased a large estate (Stevenson 2). Satisfied with the island and its native inhabitants, Robert Louis Stevenson lived there until he unexpectedly died of a stroke on December 3, 1894, at the young age of forty-four. Stevenson developed a close relationship with the Samoan people, who referred to him as “Tusitala,” teller of tales, so upon his death they carried his body to the summit of Mount Vaea, where he was buried to overlook the Pacific; a funeral any avid adventurer would deem worthy (Stevenson 2).
            Thomas Hardy was born in November of 1840 and spent his childhood in a tiny village called Higher Bockhampton in Dorset, where centuries before his time, his family had the aristocratic name “le Hardy” and were notable landowners. However when he was growing up his family name had lost all of its integrity – his mother, Jemima, was a former domestic servant and his father was a unambitious business man (Kirsch 2). The two rushed into a marriage five months before Hardy was born. “The Hardys were the kind of family that Jane Austen would never have allowed into her parlor.” Hardy’s mother wanted the best for her son so she sent him to the best school she could in close by Dorchester, hoping that one day he would be a “professional man” (Kirsch 2). During his childhood, Hardy had a very atypical experience for a boy of his age: during a church sermon, he watched the priest speak as ‘“some mischievous movement of his mind set him imagining that the vicar was preaching mockingly, and he began trying to trace a humorous twitch in the corners of Mr. S—‘s mouth, as if he could hardly keep a serious countenance.”’ From that day on, the memory of his experience has caused him ‘“much mental distress,”’ and he would later become and remain and atheist for the remainder of his life (Kirsch 1).
            By age 16, Thomas Hardy had received a well-rounded education, predominantly in mathematics and Latin; enough to qualify for a university like Oxford or Cambridge. His family could not afford to send him to such a high level institution, so he worked as an apprentice under a local architect in London at the age of twenty-two (Kirsch 2, Teisch 1). While in London, he attended courses at King’s College, explored museums, and read Charles Darwin, Herbert Spencer, and John Stuart Mills’ works because he began to take an interest in writing and literature (Teisch 2). Ironically, as an atheist, Hardy spent the majority of his architectural career specializing in rebuilding churches (Kirsch 2). At age thirty-two he retired from architecture entirely in order to fully pursue a writing career. Two years later in 1874, he married Emma Gifford, who at first held Hardy’s affection tightly (Teisch 1). Although their marriage lasted 38 years, it was clearly “one of the unhappiest marriages in literary history.” Early in his marriage, Hardy’s career as a writer began to take off with the publication of novels such as Far from the Madding Crowd (1874), and The Return of the Native (1878). About ten years later he published his masterpieces: The Mayor of Casterbridge (1886), Tess of the D’Urbervilles (1891) and the extremely controversial Jude the Obscure (1895) (Teisch 1). Hardy relied heavily on his past experiences when constructing a new poem or part of a novel. ‘“From boyhood he was an acute observer, noting the Dorsetshire world around him with a naturalist’s eye and a painter’s sensitivity to light and colour, often recollecting specific scenes in vivid detail decades later”’ (Malcolmson 1). Aside from being a popular novelist, Hardy also wrote over 900 poems and actually preferred the title poet before novelist (Teisch 1).
            Thomas Hardy lived and died as a legend. Towards the conclusion of his life during his seventies, he earned many honors: he became the president of the Society of Authors in 1909, King George V conferred on him the Order of Merit and Freedon of Dorchester in 1910 and he received the Royal Society of Literature’s gold medal two years later in 1912. The year1912 also marks the date his unhappy marriage ended when his wife Emma died. Unaffected by his wife’s death, Hardy married his younger secretary at seventy-two and remained married to her until he died in Dorset in 1928 at eighty-eight years old (Teisch 1). Once again religious irony is seen in Hardy’s life, because he was given a Christian burial (Kirsch 1).
            Each of these prolific writers certainly had extraordinary lives: they traveled the world spreading their love for literature, witnessed some things most other people never would have, and were very famous (in Wilde's case, infamous). All of these experiences have a profound effect and provide mountains of original material for their work.

Research Paper on Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy - Part 1 Intro

Literary Virtuosity of the Nineteenth-Century

            The term “Gothic” summons a multitude of images and generalized ideas. Gloom, “horror [and] deterioration” along with shrouded black figures comes to mind at its mention. From a historical perspective, “Gothic” is a descriptor of architecture such as cathedrals; a medieval time period or a Germanic tribe called the Goths (De Vore 1). Recently, it refers to a popular subculture with roots in the 1980s and that still thrive today. If the Gothic concept has influenced all of the a fore mentioned, then it must have influenced literature at some point in time and it certainly has. Stephen King, a well-known modern author known for his brilliant manipulations of the Gothic genre, has written hundreds of shorts stories, contributing to a legacy left by previous authors (Stephen 1). As a popular genre during the nineteenth century, eminent authors such as, Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy each explored the topic, offering their interpretations of the Gothic genre.
            Known for his wit and flamboyance, the Irish poet and dramatist, Oscar Wilde, produced some of the most exceptional comedies and compositions in English literature: ‘An Ideal Husband,’ ‘The Importance of Being Earnest,’ and his only book entitled The Picture of Dorian Gray (Fingal 1). Wilde’s literary genius was most likely spawned by his parents, who were both authors themselves and encouraged him to pursue a writing career. Presented with the opportunity of a fellowship at a university, Wilde rejected the idea, preferring that his talent be publicly recognized so that he could be the first writer to overcome the barrier between “high culture” and “popular culture” (Traynor 1). In his prime, Wilde was accused of having a homosexual relationship with Lord Alfred Douglas, found guilty and forced to serve two years of hard labor. After his release, he strayed from writing, living the short remainder of his life in disgrace and poverty (Wilde 1).
            On the brink of death the majority of his life, Robert Louis Stevenson’s remarkable life story significantly impacted and guided his career as a writer. As a child, he spent most of his time in his bed battling lung complications and other illnesses, which prevented him enjoying common childhood pleasures. At the age of 6, Stevenson began creating stories using his overactive imagination, which in 20 years produced fantastic stories such as Treasure Island, The Strange Case of Dr. Jekyll and Mr. Hyde, and Kidnapped (Louis 1). Stevenson was unique from other authors of his time; unlike them, whose writing reflected Victorian life, he wrote for “the love of a story for its own sake, the delight in adventure, and the spirit of eternal youth” (Louis 2).
            Similar to Robert Louis Stevenson, Thomas Hardy set himself apart from his peers. Ironically, Hardy spent his entire life criticizing and scorning Victorian England’s norms and beliefs through his work only to become its most renowned writer. His greatest attack on England’s conventional views was with his novel “Jude the Obscure,” which questions England’s beliefs on marriage, sex, and class and sparked a huge controversy in the media (Kirsch 1). Hardy criticizes Victorian values in many of his books, often by incorporating doomed characters as a means of portraying the city’s abuse of the countryside, which has earned him the title of a pessimist. Examples of this method are seen in his works such as The Mayor of Casterbridge, and Tess of the D’Urbervilles. By the time of his death, Thomas Hardy had accumulated numerous honors regarding his writing achievements (Teisch 1).
            Collectively, Oscar Wilde, Robert Louis Stevenson, and Thomas Hardy have compiled several books that remain popular today and will likely stay popular for generations more. They have established foundations for authors of this generation as well as the future, demanding expectations of excellence. Even through immobilizing struggles, each of these authors relied on pure ambition to continue their careers. Compounded with ambition, their desire to distinguish themselves from their counterparts ultimately heightened the legacies established by these men.

Literary Analysis Essay - The Mayor of Casterbridge by Thomas Hardy

                                  A Clash of Perspectives

            Representing large concepts with the incorporation of minute details and occurrences demonstrates an effective method of giving a piece of literature a deeper meaning. In his book, The Mayor of Casterbridge, Thomas Hardy relies upon a plethora of symbolic events to convey critical aspects of a narrative story, such as the atmosphere of the setting to his audience. Events like the wagon collision, bull encounter, and introduction of the seed driller to Casterbridge, all have a symbolic, metaphorical meaning aside from the blatantly obvious. The three events are physical embodiments of conflicts and complications the main characters experience or have experienced.
            At the market place located in the center of Casterbridge, farmers and other agricultural businessmen have gathered to purchase and sell their crops. Donald Farfrae, a respected merchant who previously worked for Michael Henchard, the Mayor of Casterbridge, currently has a relationship with the mayor that is best described as strained. During that afternoon, Donald's wagon collides with Henchard's causing a bitter argument. Aside from the obvious situation, the crash is symbolic of the on-going struggle between the two men. Differentiation among the agricultural views sparked the turmoil and continues to drive it further; Henchard's perspectives are out dated and ineffective, while Donald's are contemporary and effective, which has introduced him to the respect of his peers, striking jealousy into Henchard. Feeling threatened by Donald, Henchard only contributes to the bad situation.
            Donald's character and contribution to Casterbridge can all be summed up into a single object in a symbolic sense: the brand new seed driller sitting in the town square. The tractor is an innovative and more efficient piece of machinery than anything else used previously in Casterbridge. It is representative of Donald's character because like the tractor, he is modern and efficient. Even the mere presence of the tractor has symbolic meanings. One meaning being that the tractor is a symbol of the changes and improvements Donald has attributed to farming strategies in Casterbridge. The other is a display of the respect and authority he has earned since his arrival in Casterbridge, because the tractor was purchased under his recommendation. The throng of farmers congregated around the machine is the last symbol derived from the situation; the farmers admiration is reflective of Donald's popularity.
            A third prominent symbol is Lucetta and Elizabeth-Jane's encounter with the roaming bull. On the day of the cattle auction in Casterbridge, an enormous bull had freed itself of its cage and spotter Lucetta and Elizabeth-Jane walking on the road. At first the two ladies showed no regard for the creature; however that quickly transitioned into concern once it began to pursue them in a barn. The bull in this situation is seen as a menacing and sinister animal, which compounds with the symbolic intention of the attack. Haunted by a past love affair with Henchard. Lucetta has put great effort into refraining from the Mayor. The attack of the bull is symbolic of her history with Henchard attempting to destroy her current love with Donald Farfrae. Henchard bursts into the scene, subdues the bull, and rescues both of the women, which demonstrates he possesses a good character despite his demotion from Mayor and losing his eminence as a businessman.
            Several more symbols other than these few are peppered throughout the story, which increases the reader's interest as well as providing them with deeper levels of meaning. Without the symbols, Hardy's full intentions could not be recognized; taking away significant concepts.