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An Ideal Husband and poetry anthology
Robert Chiltern contains a “Darwinian element of the competitive master animal”
John Sloan on Robert Chiltern’s competitiveness
The “dignified but decadent” upper classes did not care about “conventional morality”
Pearsall on Victorian moralities
‘An Ideal Husband’ hints at social and political corruption, but ultimately withdrawals into the traditional ideas of men and women
Philip Cohen on how Wilde almost lets ‘An Ideal Husband’ shake gender roles
an “insincere society that refuses to acknowledge its reliance on secrecy and masks”
Neal on the deception of Victorian Society
Lady Chiltern is “priggish and naive”
Katherine Worth on Lady Chiltern’s self righteous morality
Robert Chiltern’s “Machiavellian justification in his own reckless ambition for power and wealth”
Harold Bloom on Robert Chiltern’s corrupt drive for power
Characters regard each other as “pure representations”
Harold Bloom on ‘An Ideal Husbands’ idealism
The comparisons to art suggest the cultivated artifice of their behaviour
Anne Vairty on the link between aestheticism and insincerity in ‘An Ideal Husband’
she does not objectify and women, and “she does not objectify men”
Bocher on how Rosetti can subvert gender stereotypes
“God is always present” either in the “foreground” or the “background”
Bocher on Rossetti’s God overtones
“full of the spirit, though not technically of devotion”
George Landow on Rossetti’s religious themes, and how she is a “didactic” poet
Rossetti’s focus is not fulfilling “earthly love”, rather “renunciation”
Anthony Harrison on Rossetti prioritising rejecting earthly temptation
after Highgate House, “she must have believed a fallen woman need not forever be a social outcast”
D’Amico on Rossetti’s sympathy towards fallen women
‘Goblin Market’ is designed to convey “the need for an alternative social order”
McGann on Rossetti almost being a radicalist
the male Victorian patriarchy prevented Rossetti becoming the feminist idol she had the potential to be
Gilbert and Gubar on Rossetti being restricted in becoming a feminist
‘Goblin Market’ has “radically rewritten the Fall of Eve” and “includes more than a hint that male gender oppression can be interpreted as original sin”
Lynda Palazzo on male original sin
Rossetti’s views are not necessarily “radical” but are “often questioning, challenging and potential subversive”
Simon Avery on Rossetti’s views provoking questions
Rossetti “predominantly expresses an emotional love - and not just a sexualised love”
Bocher on Rossetti’s portrayal of love
Rossetti gives a “vibrant voice to the female experience”
Mold on Rossetti projecting women’s voices
‘Goblin Market’s deeper root is “sexual frustration”
Touche on love, temptation and social convention in GM
as well as the forbidden fruit referring to female sexuality, it could also be symbolic of “female education and knowledge”
Scholl on female transgressions in GM
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