The Portrait of Mr. W. H.

By Oscar Wilde

There's been a long-standing argument in literary circles, surrounding Shakespeare's sonnets. The works are dedicated to 'Mr W.H.' and academics have debated as to who this elusive figure might be. Some have even gone as far as to suggest that the initials stand for 'Willian Himself.' 'The Portrait of Mr W.H.' sees Wilde give these sonnets a witty and wry autopsy, poring through them to find the identity of this shadowy dedicatee. However, this is a speculative fiction rather than an academic exercise, and Wilde creates a superb story in which a young actor might give a clue as to who Mr W.H. actually was. Ideal for fans of Shakespeare and Wilde, alike. -

• Language: English
• Publisher: SAGA Egmont
• Release date: May 16, 2022
• ISBN: 9788726598759

Oscar Wilde

Oscar Wilde (1854–1900) was a Dublin-born poet and playwright who studied at the Portora Royal School, before attending Trinity College and Magdalen College, Oxford. The son of two writers, Wilde grew up in an intellectual environment. As a young man, his poetry appeared in various periodicals including Dublin University Magazine. In 1881, he published his first book Poems, an expansive collection of his earlier works. His only novel, The Picture of Dorian Gray, was released in 1890 followed by the acclaimed plays Lady Windermere’s Fan (1893) and The Importance of Being Earnest (1895).

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Oscar Wilde

The Portrait of Mr. W. H.

SAGA Egmont

The Portrait of Mr. W. H.

The characters and use of language in the work do not express the views of the publisher. The work is published as a historical document that describes its contemporary human perception.

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ISBN: 9788726598759

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This work is republished as a historical document. It contains contemporary use of language.

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CHAPTER I

I HAD been dining with Erskine in his pretty little house in Birdcage Walk, and we were sitting in the library over our coffee and cigarettes, when the question of literary forgeries happened to turn up in conversation. I cannot at present remember how it was that we struck upon this somewhat curious topic, as it was at that time, but I know that we had a long discussion about Macpherson, Ireland, and Chatterton, and that with regard to the last I insisted that his so-called forgeries were merely the result of an artistic desire for perfect representation; that we had no right to quarrel with an artist for the conditions under which he chooses to present his work; and that all Art being to a certain degree a mode of acting, an attempt to realise one’s own personality on some imaginative plane out of reach of the trammelling accidents and limitations of real life, to censure an artist for a forgery was to confuse an ethical with an æsthetical problem.

Erskine, who was a good deal older than I was, and had been listening to me with the amused deference of a man of forty, suddenly put his hand upon my shoulder and said to me, ‘What would you say about a young man who had a strange theory about a certain work of art, believed in his theory, and committed a forgery in order to prove it?’

‘Ah! that is quite a different matter,’ I answered.

Erskine remained silent for a few moments, looking at the thin grey threads of smoke that were rising from his cigarette. ‘Yes,’ he said, after a pause, ‘quite different.’

There was something in the tone of his voice, a slight touch of bitterness perhaps, that excited my curiosity. ‘Did you ever know anybody who did that?’ I cried.

‘Yes,’ he answered, throwing his cigarette into the fire,—‘a great friend of mine, Cyril Graham. He was very fascinating, and very foolish, and very heartless. However, he left me the only legacy I ever received in my life.’

‘What was that?’ I exclaimed. Erskine rose from his seat, and going over to a tall inlaid cabinet that stood between the two windows, unlocked it, and came back to where I was sitting, holding in his hand a small panel picture set in an old and somewhat tarnished Elizabethan frame.

It was a full-length portrait of a young man in late sixteenth-century costume, standing by a