The Importance of Being Ernest - A level Eng Lit

'It is a very ungentlemanly thing to read a private cigarette case.' - Jack

'Oh! It is absurd to have a hard and fast rule about what one should read and what one shouldn't. More than half of modern culture depends on what one shouldn't read.' - Algernon

AO4: Class, Seriousness vs Triviality, Satire, Parody, Comedy of Manners, Incongruity Theory, Mouthpiece.

AO2: The use of the adjective 'ungentlemanly' is significant as it holds connotations to manners and societal standards rather than moral righteousness. The idea that reading a 'cigarette case' would create this impression is highly incongruous. This links to the unrealistic social expectations that people were expected to live up in Victorian society to causing scandal and misery. Furthermore, for Jack to make up this rule about a 'private cigarette case' paints him as the perfect satire of the upper classes and how it was highly typical of them to make up rules to suit them in their current situations, to ensure that they could get away with near enough anything. This is reverse of the usual roles of satire in which Algy serves as the main source of parody.

AO3: Wilde comments that although the upper classes hold an immense amount of freedom in comparison to those below them in the class system, they abuse this by setting themselves 'hard and fast' rules.

AO5: Algy acts as a mouthpiece for Wilde here. The comment of modern culture from Algy is Wilde's way of voicing the censorship and refusal of books during the Victorian era because of their seen moral prudishness, and publishers often objected to attacks on the upper classes. If The Importance of Being Earnest was truly deemed as a comedy of manners, it arguably would not have been published. It would also make sense that Algy would stay as the persisting parody rather than it switching to Jack suggesting that the comedy is actually supposed to be found in the absurdity of the people who chose to criticise modern life and how the aristocracy ran it.

AO2: Wilde was using the flaws of society to his advantage as he knew that his status could gain him the opportunity to criticise those around him without them even questioning it. This can be proven as when Wilde was imprisoned for homosexuality and therefore lost his respectability in society Despite the play's early success, Wilde's notoriety caused the play to be closed after 86 performances.

'speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell?' - Algernon

AO4: Seriousness vs Triviality, Juxtaposition, Satire, Class, Bathos, Incongruity Theory.

AO2: Algy's comment is extremely bathetic, and therefore Wilde uses the incongruity to create comedy as it is obvious to the reader that 'cucumber sandwiches' have absolutely nothing to do with the 'science of life'. By juxtaposing something so trivial as sandwiches with such a serious topic as the science of life, Wilde satirizes the priorities of the aristocracy and how they value the trivial things in life to be much more important than those that actually hold importance, for example such superficial things as food and style over helping those who are in a less fortunate state. Such contrasts also characterised Victorian England such as the rich and poor, the instance of morality and the practice of cynicism etc. Furthermore, the upper classes will manipulate anything they can in order to bring up a matter concerning themselves, they have no regard for anything that does not directly concern them, when it begins to do so, then they will care.

AO3: A comedy of manners often features such ideas criticizing the way that the Victorian wealthier classes lived and acted through satirisation and parody. However, Wilde lived largely amongst the upper-middle-class and aristocratic milieu without any grievances and was born into an upper-middle class family. Arguably, without this status, his literature would have been able to progress as it did as this genius would have been ignored, dominated by the overbearing impact of being from a lower class background as it was nearly impossible for people to advance up the scale of hierarchy. Wilde's plays would have also been performed for the most part to the ignorant upper classes. How can Wilde criticise a world that he benefits so greatly from?

AO5: Wilde was not criticising Victorian society whatsoever here and was just depicting a naturalistic world in which the play alludes to nothing but complete and utter reality. Wilde was attempting to recreate the nature and attitudes of those around him but not in a parodical way, in the simple sense. The idea that the play is completely one dimensional and has no moral, a feature of aestheticism a movement which Wilde was a supporter of, has been explored by many critics.

AO2: Regardless of whether Wilde intended the play to have a hidden moral, we can learn from the way the the Victorian upper-classes were depicted and laugh at their obscene behaviour.

'Why is it that at a bachelor's establishment the servants invariably drink the champagne? I merely ask for information.' - Algernon

'I attribute it to the superior quality of the wine, sir.' - Lane

AO4: Servants vs Masters, Rhetorical Question, Satire, Class, Flattery, Subversion.

AO2: This is an obvious rhetorical question by Wilde, we can gather this from the short statement, 'I merely ask for information' promptly after it is asked. Algernon does not want the actual answer to his question from Lane but merely the answer that will satisfy him, and in this case flatter him, although perhaps knowing that it is completely untrue. The implication of the adverb 'invariably' by Wilde suggests that this is a usual thing, and therefore adding to the idea that Algy knows it is indeed him and his company drinking the champagne, not the servants, however doesn't want to outwardly take the blame and admit to doing so. Lane's flattering reply shows his wit as he is able to base his response off the hints that Algy scatters within his speech. It also references their closeness.

AO3: Algy is an obvious satirisation of the Victorian upper classes here as they were known to set many hard and fast rules for themselves which they did not stick to. They were also well known for blaming the corruption within society on those in the lower and working classes, knowing full well that it was their gambling, prostitution and unfair distribution of money which really caused this.

AO5: Wilde does not want the focus here to be on the folly of the upper-classes but the superiority of those in the working classes and the things they do for those above them (the fundamental role that they play in society). Without Lane, Algy would have no one to direct his insecurities on, this is just a metaphor for the role the working classes play in society, providing food, clothing and service to those in the upper classes, helping their businesses stay alive and yet getting criminally underpaid and undermined. Wilde uses Lane's loyalty to Algy as an example of how the two classes could operate side-by-side in society to create a healthier world for both parties involved.

'I have often observed that in married households the champagne is rarely of a first-rate brand.' - Lane

'Good heavens! Is marriage so demoralizing as that?' - Algernon

AO4: Class, Hyperbole, Satire, Seriousness vs Triviality, Marriage, Inversion, Paradox.

AO2: The language used here is very dramatic and hyperbolic. Wilde enforces this through the exclamation 'good heavens!' inferencing that Algy is incredibly shocked and disturbed by something when it is indeed just the quality of champagne in 'married households', once again inferencing the triviality of the things that the aristocracy consider the most fundamental in life, and the use of the verb 'demoralising' which considering that Victorian society was centred around the idea of moral righteousness etc, this would have been a very strong use of language as to (as I said before) inference something very taboo and certainly not socially acceptable. Wilde, therefore, also presents the upper classes as dramatic and eccentric in their lifestyle, probably attempting to parody and allude to the rules and standards which they expected everyone to meet and if you did not meet these expectations you were outcast from society.

AO3: direct attention to highlights.

AO5: However, Algy talks of something very socially acceptable, in fact something socially encouraged; marriage. Marriage was important to the aristocratic portion of the English population as it was a fundamental way of expanding their wealth, whether this be old money, new money or a mixture of the two, and so having Algy talk of it in a critical way would have opposed the opinions and attitudes of the upper-classes completely. This is a major instance in which Wilde can be seen as directing the comedy of the play towards his Victorian upper-class audience as they would have viewed Algernon's views on marriage as absurd. This enforces the idea that the play is based around aestheticism and was meant to be enjoyed rather than dissected.

AO2: By creating a character that this class group can laugh at but also embodies this very group of people, Wilde causes the aristocracy to laugh at their own obscene opinions and beliefs. Although Algy goes against typical beliefs here relating to marriage, this motif acts only as a metaphor for the unjustified opinions that those in high social standing had on the most unusual things. Wilde is still satirizing his audience but further using their ignorance against him to enforce another element of comedy derived from the world outside of the play.

'When one is in the country one amuses other people.' - Jack

'And who are the people you amuse?' - Algernon

'Oh, neighbours, neighbours.' - Jack

'Got nice neighbours in your part of Shropshire?' - Algernon

'Perfectly horrid! Never speak to one of them.' - Jack

'How immensely you must amuse them!' - Algernon

'When...one...other people.' - Jack

'And who..' - Algernon

'Oh, ...' - Jack

'Got nice...your part...' - Algernon

'Perfectly...one of them.' - Jack

'How immensely...them!' - Algernon

'Really, if the lower orders don't set us a good example, what on earth is the use of them? They seem, as a class, to have absolutely no sense of moral responsibility.' - Algernon

AO4: Irony, Subversion, Class, Satire, Rhetorical Question, Morals, Comedy of Manners.

AO2: This is a heavily ironic piece of speech enforced by Wilde, as according to the original premises of the social hierarchy (organised by those in power, therefore the rules being so too which is highly ironic as it is those in power who break them) those in higher social standing should look after those below them to keep society steady and ensure that those in power can sustain that power. So the idea that the lower orders are supposed to set example for the higher orders is a subversion of Victorian beliefs, however heavily ironic as the lower and working classes within Victorian society were much more morally righteous, working for near to nothing in harsh conditions to provide for those around them, than those above them claimed to be. Moreover, this is a clear exploitation and satirisation of the ignorance of people in power and how they blatantly ignore the rules they set for themselves. Furthermore, the irony continues with the rhetorical question, 'what on earth is the use of them?' as we can recognise that the working class in particular provided resourced such as food, staff and clothing to support those in power and high social standing. Without working class people, Victorian society would have in no way been able to function. Here Wilde makes us laugh at Algy and what he represents rather than with him.

AO3: direct attention to highlights.

AO5: Because Algy's beliefs go against what an upper class audience would have believed in can it be said that he is a true satirisation of them; perhaps instead he serves as a foolish character with no moral standards and subverted beliefs which all categories of people, be it their class or their nature, can find comedy in.

'I am in love with Gwendolen. I have come up to town expressly to propose to her.' - Jack

'I thought you had come up for pleasure?...I call that business.' - Algernon

AO4: Class, Satire, Incongruity theory, Subversion, Marriage, Contrast, Irony, Aestheticism, Romantic Comedy.

AO2: Algy's controversial opinions on marriage appear again here but arguably Wilde has presented them in a more critical way of society and as an obvious satire and parody of the Victorian upper classes. Incongruity theory is enforced here by Wilde as we would expect 'love' and 'marriage' as something to be pleasurable, however, Wilde criticises the way that marriages were used by the aristocracy to expand and reinforce their wealth.

AO3: The Victorian upper classes often married two from booming companies and businesses to combine the two to reinforce the status of these businesses and keep them gong. It would have also been ideal to marry a family of old money will a family of new money to keep the class and respect that came along with the family bloodline and name of a family possessing old money and the wealth of a family possessing new money.

AO5: If Wilde was truly trying to convey a message to his viewers would he not have kept Algy as a lone man who continued his bunburying instead of making him 'fall in love'? This is an incredibly one dimensional aspect of the play in which Wilde values the typical aspect of a romantic comedy in which all / most of the characters marry over the message of his play. Wilde's outwardly trying to satisfy the viewers of his play rather than make them question their actions.

AO2: Whether this is the case or not, Algy's opinions and attitudes of marriage certainly contrast that of ours now and so this creates comedy regardless. Furthermore, knowing the context of Victorian marriage we there is an element of irony by which the other characters are shocked by Algy's attitudes yet we know that they practiced these beloevs themsleves.

'But there is nothing romantic about a definite proposal.' - Algernon

'But...romantic...proposal.' - Algernon

'If ever I get married, I'll certainly try to forget the fact.' - Algernon

'The Divorce Court was specially invented for people whose memories are so curiously constituted.' - Jack

'If I...certainly...fact' - Algernon

'The...invented...whose memories...' - Jack

'Divorces are made in Heaven.' - Algernon

AO4: Paradox, Epigrams, Class, Witt and Wordplay, Cliches, Comedy of Manners.

AO2: This paradox enforced by Wilde goes against the typical saying the 'marriages are made in heaven' and is significant as although Algy is frowned upon for his opinions, Wilde criticises how many women benefit from divorces and widowhood in Victorian society being married for money rather than out of love. Some critics have suggested that Wilde began his writing projects by accumulating a group of epigrams he wished to explore. (Often, these sayings about life were widely known but not really examined closely.) He turned these hackneyed phrases upside down to suggest that, although they knew the clichés, most British audiences did not stop to think about how meaningless they were. For example, "Divorces are made in heaven" (a corruption of the familiar "Marriages are made in heaven") suggests that divorce contributes to happiness — perhaps a greater truism than the familiar phrase given the tenor of Victorian society.

AO3: Refer to yellow highlights.

'Please don't touch the cucumber sandwiches. They are ordered specially for Aunt Augusta.' (takes one and eats it). - Algernon

'Please don't...sandwiches. They are...Augusta.' (takes ...) - Algernon

'Well, in the first place, girls never marry the men they flirt with. Girls don't think it right.' - Algernon

'Well...the men... Girls...right.' - Algernon

'I happen to be more than usually hard up.' - Algernon

'I happen to be...' - Algernon

'Some aunts are tall, some aunts are not tall. That is a matter that surely an aunt may be allowed to decide for herself.' - Jack

'Some aunts are...tall. That....surely...herself.' - Jack

'My dear Algy, you talk exactly as if you were a dentist. It is very vulgar to talk like a dentist when one isn't a dentist. It produces a false impression.' - Jack

'Well, that is exactly what dentists always do.' - Algernon

'My dear Algy,....dentist. It is....dentist. It produces...' - Jack

'Well...do' - Algernon

'The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility!' - Algernon

AO4: Prolepsis, Epigram, Parody, Farce, Romantic Comedy, Comedy of Manners, Aestheticism, Modern Culture.

AO2: Wilde enforces a prolepsis through this epigram. The idea of 'truth rarely' being 'pure' links to the way that Cecily and Gwendolen decide to accept the 'truth' of the men's real names if they decide to get re-christened to change them; this is not morally pure as the men are changing themselves to fit the standards of those around them and are subsequently receiving no punishment for their lies. It is further not pure as changing their christened names would have been frowned upon in the church and Dr Chasuble's lack of hesitation to do such acts as a parody of the corruption within the church at the time in which moral rules were exploited to he advantage of those in power. Furthermore, the lack of simplicity can be connected to Jack finding out his name is indeed Ernest, allowing him to get away with his untruthfulness. This is an incredibly farcical (as it is extremely coincidental) element of the play, however an inference into the way in which the aristocracy could get away with near to anything whether this be morally or lawfully unjust.

AO3: refer to the yellow highlighting.

AO5: Arguably this could be an aspect of a comedy of manners or aestheticism, in which Wilde does not want the play to hold any moral three-dimensionality but rather just end happily and typically to a romantic comedy. Further, the use of the adjective 'tedious' implies that Algernon is not against this way of truth and living and so arguably Wilde is not criticising Victorian society but simply re-creating it in a naturalistic way.

'You are absurdly careless about sending out invitations. It is very foolish of you. Nothing annoys people so much as not receiving invitations.' - Algernon

AO2: this is once gain based on the things that Victorian people viewed as most important in life when most would view them as very trivial. The idea of invitations and dinner parties is a fundamental part of Victorian society and manners, the fact that Algy makes such a fuss about invitations expresses how society valued how they were perceived by other people and how they could expand their power, as meeting and having dinner parties with wealthy families would have been viewed as such, over their morals and duties in society. Furthermore, by carrying the statement on it is a hyperbolic statement, Victorian people had lots of grievances in society but to this that not receiving invitations to a dinner party would be at the top of their list shows their twisted priorities through the parody of of Algy.

'The amount of women in London who flirt with their own husbands is perfectly scandalous. It looks so bad. It is simply washing one's clean linen in public.' - Algernon

AO4: Subversion, Feminism, Gender roles, Class, Paradox, Hyperbole, Seriousness vs triviality, Comedy of Manners, Satire, Taboo.

AO2: Considering that women were practically owned by their husbands during this period, them often having complete control over their wealth etc, it is strange for Wilde to suggest that it is 'women' that would be flirting 'with their won husbands' and not inverse. This could have been a stance in support of the emerging group of New Women in the 1890's who accepted a role outside of being a mother and wife, but also as an active member of society, going out drinking and smoking etc. Furthermore, the idea that flirting in public would be 'perfectly scandalous' is an obvious hyperbolic expression enforcing the idea of the trivial social rules and ideas of manners which the Victorian aristocracy set for themselves. This idea enforces the suggestion of TIOBE being a comedy of manners in which Algy is a satirical representation of the upper-classes. This is followed by the paradox, which opposes the typical saying 'washing one's dirty linen in public'; however the inversion of this saying would imply doing / talking about something which is meant to be done / discussed in public, in public? Perhaps this represents the way that everything is regarded as taboo in Victorian society and it is like stepping on eggshells when having a conversation, if so Algy is quite literally admitting to his own flaws, as the upper classes would have been showing their ignorance by laughing at such foolish paradoxes in the theatre.

AO3: refer to yellow highlights.

AO5: Perhaps the statement about women is not in support of the emerging New Women but instead an inference of the inequality of men and women. Perhaps Algy blames his disliking of public flirting on women because he believes men to be superior and if he were to suggest that men were behind the problem he would technically be identifying with the idea of something that he is against. Either way, Wilde takes a feminist stance in support of better rights for Victorian Women.

'A man who marries without knowing Bunbury has a very tedious time of it.' - Algernon

'That is nonsense. If I marry a charming girl like Gwendolen, and she is the only girl I ever saw in my life that I would marry, I certainly won't want to know Bunbury.' - Jack

'Then your wife will. You don't seem to realize, that in married life three is company and two is none.' - Algernon

'That, my dear young friend, is the theory that the corrupt French Drama has been propounding for the last fifty years.' - Jack

'Yes; and that the happy English home has proved in half the time.' - Algernon

'For heaven's sake, don't try to be cynical. It's perfectly easy to be cynical.' - Jack

'My dear fellow, it isn't easy to be anything nowadays.' - Algernon

COME BACK

'Only relatives, or creditors, ever ring in that Wagnerian manner.' - Algernon

AO4: Juxtaposition, Stock Characters, Love, Superficiality, Incongruity theory, Foreshadowing, Hyperbole.

AO2: The juxtaposition of 'relatives' to 'creditors' is a rather harsh one and very incongruous as one is supposed to be connoted with love and admiration, the other with distaste and grievance. This is another instance where Wilde explores the depth and superficiality of love within the play; considering that many parents were married out of convenience and had children to sustain their businesses in the future it is no wonder that many families would not have as much as a connection as they would like to be perceived. It also further presents the overbearing female stock character of Lady Bracknell before she even enters the stage, adding to our supposed disliking of Lady Bracknell and foreshadowing that she shall introduce the main complications within the play. This is also another hint that Wilde provides into the idea that Algernon is in debt, which is later confirmed with 'Algernon has nothing but his debts to depend upon', which could be Wilde's way of suggesting that Algernon wanted to marry Cecily for her fortunes, that would also explain why his attitudes of marriage change so drastically between the beginning and end of the play. The adjective 'Wagnerian' adds to the drama of Lady Bracknell's entrance.

AO3: refer to yellow highlights.

'I hate people who are not serious about meals. It is so shallow of them.' - Algernon

'I hate...meals. It is...' - Algernon

'I was obliged to call on dear Lady Harbury. I hadn't been there since her poor husband's death. I never saw a woman so altered; she looks quite twenty years younger. And now I'll have a cup of tea.' - Lady Bracknell

AO4: Incongruity Theory, Hyperbole, Juxtaposition, Gender Roles, Contrast, Satire, Bathos, Marriage, Love.

AO2: With the idea of Lady Bracknell referring to Lady Harbury's 'poor husband's death' we get the sense of incongruity again as Wilde's use of the adjective 'poor' suggests that he is the one suffering at that it is him that should be sympathised with. Inversely, the one in this situation we would assume to be 'poor' is Lady Harbury, being widowed and left grieving the loss of her partner. Perhaps Wilde is suggesting that women thrived without their husbands in the late Victorian age. They had full control of their finances, affairs and were able to thrive in the lifestyle of new women without being constricted by the expectation of being a housewife. This can be affirmed by the idea that 'she looks quite twenty years younger' enforcing the idea that her husband's death has benefitted her, so much so in an obvious hyperbolic way, that it has caused her to age backwards; again incongruous but further a juxtaposition of the usual saying that you age when hit with grief. Furthermore, there is an element of bathos as Wilde discusses the effects of grief and death, then switching to the idea of tea. We are caught off guard by this and almost find comedy in the awkwardness of Lady Bracknell's insensitivity. This could be symbolic of the trivial things that the Victorian aristocracy valued and the serious things, not concerning them, which they deemed to be irrelevant. It also suggests how Lady Bracknell shelters herself from the corruption and depression within the world, concentrating on the aspects she deems positive such as manners and modern culture. This is a complete contrast of what we would believe to be moral and so further creates comedy through the character of Lady Bracknell.

AO3: refer to yellow highlights.

AO5: The idea of her husband being 'poor' could inversely be a reference that Lady Bracknell, as a respectable woman of society, values the superiority of men's lives over women's. Perhaps she feels more sympathy for Lady Harbury's husband due to his 'role' that he is supposed to play, protecting his family and his wealth which now has been passed onto his wife, who would've been viewed as practically incapable of dealing with such affairs. Whether Wilde is employing Lady Bracknell as a satire for these ideas or whether he believed in them himself is further up for debate.

'I had some crumpets with Lady Harbury, who seems to me to be living entirely for pleasure now.' - Lady Bracknell

'I hear her hair has turned quite gold from grief.' - Algernon

'I had some crumpets...pleasure now.' - Lady Bracknell

'I hear..' - Algernon

'I hope not, Algernon. It would put my table completely out. Your uncle would have to dine upstairs. Fortunately, he is accustomed to that.' - Lady Bracknell

AO2: The idea of the table being 'completely' put 'out' implies the importance of style over substance for the Victorian upper classes. The triviality of valuing a certain amount of people at the dinner table over having everyone 'invited' at the dinner table seems extremely foolish to a modern day audience but is in fact highly satirical of a Victorian person who values manners and societal expectations. Furthermore, there is an aspect of subversion of gender roles here as the idea of Lady Bracknell's husband 'dining upstairs' shows an obvious dominance that she has over him, something very unexpected of a Victorian women in a married relationship.

'Well, I must say, Algernon, that I think it is high time that Mr Bunbury made up his mind whether he was going to live or to die. This shilly-shallying with the question is absurd.' - Lady Bracknell

'Well, I must say...Mr Bunbury...die. This....with the...' - Lady Bracknell

'Illness of any kind is hardly a thing to be encouraged in others.' - Lady Bracknell

'Illness of....' - Lady Bracknell

'German sounds a thoroughly respectable language' - Lady Bracknell

'German sounds...' - Lady Bracknell

'I thought so. In fact, I am never wrong.' - Gwendolen

'I though so....wrong.' - Gwendolen

'my ideal has always been to love someone of the name of Ernest. There is something in that name that inspires absolute confidence.' - Gwendolen

'I pity any women who is married to a man called John.' - Gwendolen

AO4: Hyperbole, Comedy of Manners, Farce, Romantic Comedy, Style over Substance, Satire, Irony, Dramatic Irony, Superiority Theory.

AO2: the inference that it has always been Gwendolen's 'ideal' 'to love someone' called Ernest is obviously hyperbolic and highly farcical as it is highly coincidental that she would end up engaged to someone of that name, unless she has ignored every other man that does not go by the name of Ernest. This element of style over substance is also a typical satire of the attitudes of the Victorian upper classes. Furthermore, the irony employed through the name 'inspiring absolute confidence' is extremely significant as we know that there is absolutely no confidence to be found within Jack as his name is, well at this point in the play, indeed not Ernest at all. This is a clever way of Wilde highlighting the ignorance of the Victorian aristocracy, judging someone on how they are outwardly perceived and not what they are actually like. Another element of style over substance. The Dramatic Irony is exaggerated even further with the 'pity' for 'any woman' who is married to 'a man called John', and there is also a sense of superiority theory here as both Gwendolen and Jack are in an extraordinarily awkward situation here, Gwendolen admitting to pitying herself - something that would be damaging to her outwardly confident and respectable character, as well as Jack practically being completely rejected by the woman 'he loves' not being able to backtrack on his lies. This obviously has moral significance when it comes to judging appearance and lying in society.

AO3: Refer to yellow highlights.

AO5: Arguably, the fact that Jack's name does indeed turn out to be Ernest and he is automatically forgiven for his lies by Gwendolen shows that Wilde used the disguise of Jack as Ernest simply as a plot point and a device to build tension leading to the resolution of this romantic comedy. If so, the scene becomes slightly less comedic as the aspect of satire is technically subtracted from the scene and it becomes an aspect of comedy meant to suit a Victorian audience over a modern one.

'An engagement should come on a young girl as a surprise, pleasant or unpleasant, as the case may be.' - Lady Bracknell

'An engagement...surprise, pleasant....be' - Lady Bracknell

(looks in her pocket for note-book and pencil) Lady Bracknell

(looks in....pencil) - Lady Bracknell

'Do you smoke?' - Lady Bracknell

'Well, yes, I must admit I smoke.' - Jack

'I am glad to hear it. A man should always have an occupation of some kind. There are far too many idle men in London as it is.' - Lady Bracknell

'Do...smoke.' - Lady Bracknell

'Well, yes...' - Jack

'I am...it. A man....kind. There are...' - Lady Bracknell

'I have lost both my parents.' - Jack

'Both...That seems like carelessness.' - Lady Bracknell

'I have lost...' - Jack

'Both...' - Lady Bracknell

'You can hardly imagine that I and Lord Bracknell would dream of allowing our only daughter - a girl brought up with the utmost care - to marry into a cloak-room and form an alliance with a parcel?' - Lady Bracknell

'You can hardly imagine...allowing our only...- a girly brought...care - to marry....parcel?' - Lady Bracknell'

'she is a monster, without being a myth, which is rather unfair...' - Jack

'She is a....unfair' - Jack

'Relations are simply a tedious pack of people, who haven't got the remotest knowledge of how to live, nor the smallest instinct about when to die.' - Algernon

AO4: Symbolism, Incongruity Theory, Class, Relations, Hyperbole, Stock Character.

AO2: This is quite modern ideology that older people have out of date views etc; the idea of relations being a 'tedious pack of people' rather than those who we should cherish and adore is symbolic of the distance between Victorian Families due to their parents being married out of convenience and then being forced into the same thing at a very young age, especially is you were a young girl. It would have also been viewed as inappropriate to have a open relationship with your parents as an upper-class child and some children would have even been raised by servants and nannies rather than their parents themselves. This is also referenced in the lack of parents of Cecily and Jack not knowing who his parents are. Relations not having the 'remotest knowledge of how to live' probably links to the repression of the belief of young people over those with outdated beliefs as they were seen as wiser and more mature, for example, most older women and men would have been very opposed to the idea of new women, having very outdated beleifs. 'nor the smallest instinct of when to die' is obviously symbolic of Lady Bracknell as her 'ancientness' is inferenced a couple times in play, and it enhances her stock character of being the overbearing mother who causes the complications in the play. The frankness of the statement is also an aspect of incrongruity theory as we would never imagine anyone to say anything so morbid so openly.

AO3: refer to yellow highlights.

'You don't think there is any chance of Gwendolen becoming like her mother in about a hundred and fifty years, do you Algy?' - Jack

'All women become like their mothers. That is their tragedy. No man does. That's his.' - Algernon

AO4: Hyperbole, Gender roles, Irony, Satire, Foreshadowing, Style over Substance, Epigram, Romantic Comedy, Misogyny, The Dandy.

AO2: The hyperbolic language of 'a hundred and fifty years' reflects the overbearing and looming nature of Lady Bracknell and obviously paints her in a bad light, almost as if she is the villain of the play. This is highly ironic as she represents many Victorian expectations and characteristics so in a sense she acts as a satire of this. Wilde is exploiting his own audience and turning them against a character that is meant to represent themselves. This in itself is rather comedic to a modern day audience. The question also holds an element of foreshadowing as, as the play goes on, Gwendolen begins to mirror her mother more and more as she is somewhat ruthless and overbearing, and she demonstrates similar habits of speech and frames of mind, including a propensity to monomania ( her obsession with the name Ernest ). The second part of this quote is an Epigram from Wilde; it almost inferences that something that may have positive consequences in one way will often hold negative consequences alike. An example of this in the play is that Jack is forgiven by Gwendolen for his lies and they end up getting married, however, the question has to be raised whether Gwendolen's trust for Jack has decreased or her superficiality and obsession with style over substance will prevent this. If so, Jack has to deal with this obsession in turn. Regardless, Wilde wants us to contemplate how much of a happy ending there truly is to this romantic comedy.

AO3: Refer to yellow highlights.

AO5: On the other hand, it can be argued that is extremely stereotypical to state that ALL women become like their mothers and NO men become like them. Also considering that a lot of young women did not have very close connections with their mothers, is it fair to say that they even know their mothers enough to adapt their traits? and if they had a negative relationship, wouldn't they want to become the opposite? Maybe Algy is voicing the moral perspective of the Wildean dandy, who believes that nothing is more important than the beauty of form and that elegance rather than accuracy or truth should dictate what people say.

AO2: However, this can not be taken from a misogynistic point of view as Algy describes men not adapting their mothers traits as 'their tragedy' perhaps suggesting the toxicity in society when it comes to sensitive men, men who express their feelings, which would have been viewed as highly feminine qualities.

'The only way to behave to a woman is to make love to her, if she is pretty, and to someone else if she is plain.' - Algernon

'The only way....if she is.....plain' - Algernon

(Lane presents several letters on a salver, to Algernon. It is surmised that they are bills, as Algernon, after looking at the envelopes, tears them up)

(Lane...Algernon. It is...bills....tears them up)

'I hope tomorrow will be a fine day, Lane.' - Algernon

'It never is, sir.' - Lane

'Lane, you're a perfect pessimist.' - Algernon

'I hope tomorrow...Lane' - Algernon

'It...is' - Lane

'Lane...' - Algernon

'Your guardian enjoys the best of health, and his gravity of demeanour is especially to be commended in one so comparatively young as he is. I know no one who has a higher sense of duty and responsibility.' - Miss Prism

'Your guardian...health, and his....commended...is. I know....responsibility' - Miss Prism

'Mr Worthing has many troubles in his life. Idle merriment and triviality would be out of place in his conversation.' - Miss Prism

'Mr Worthing...life. Idle merriment....conversation.' - Miss Prism

'I am not in favour of this modern mania for turning bad people into good people at a moment's notice.' - Miss Prism

AO4: Incongruity Theory, Irony, Class, Corruption, Satire.

AO2: This is a example of incongruity theory as we would expect the want to convert 'bad people into good people' to be popular with a Victorian society who believed in moral riotousness, however, this would mean a society free from corruption, which was mostly caused by the Victorian aristocracy. It is heavily ironic that this line is spoken by Miss Prism, a member of a very corrupt workplace, one that forces outdated beliefs on the young, punishing them for any ideas believed to be scandalous and opposing the popular opinion of society. The fact that Miss Prism also describes this as 'modern mania' is ironic as it references her age and outdated perceptions, it is also highly patronising, showing she does not show any respect for opinions opposing her own. Wilde is also referencing the role models that the upper classes are supposed to be for those who wicked, however, they are the wicked one's.

AO3: refer to yellow highlights.

'Were I fortunate enough to be Miss Prism's pupil, I would hang upon her lips. (Miss Prism glares) I spoke metaphorically. - My metaphor was drawn from bees.' - Chasuble

AO4: Love, Sexual Tension, Wit and Wordplay, Bawdiness, Subversion, Symbolism.

AO2: There is a lot of sexual tension between Miss Prism and Dr Chasuble, adding another couple to the mix. The innuendo of 'I would hang upon her lips' obviously suggests that Chasuble wants to kiss her, although it is enforced through wit and wordplay unlike Miss Prism's more outwardly bawdy advancements. There is further an element of Miss Prism's dominance as she 'glares' at him, which although we can gather is in a playful way, causes the man to backtrack, suggesting that he 'spoke metaphorically'. This is a subversion of what we would expect as it was typical of Victorian society to present women as submissive and inferior to men. This could be an aspect of feminism showing through in Wilde's play although making an effort not to make it too obvious as that would lead to possible censorship. Furthermore, such an obvious allusion to the birds and the 'bees' thinly veils a passionate inner life that must not be discussed in public, which is perhaps why Miss Prism glares a him prior as it would have been very unacceptable to talk about such private things publicly. Maybe through this bawdy language, Wilde attempts to normalise talk about sex or even romantic relations as a whole.

AO3: Wilde lived his own private life of sex, with a gay lover which would have been further frowned upon, and so would have been a passionate believer in normalising sexual relations of any kind.

'I keep a diary in order to enter the wonderful secrets of my life. If I didn't write them down I should probably forget all about them.' - Cecily

'You see, it is simply a very young girl's record of her own thoughts and impressions, and consequently meant for publication.' - Cecily

AO4: Juxtaposition, Seriousness vs Triviality, Incongruity Theory, Irony, Dramatic Irony, Mistaken Identity, Class.

AO3: The juxtaposition between the adjective 'wonderful' and the idea that Cecily 'should probably forget all about' these secrets if she didn't write them down is highly contradictory and links back to the trivial things which the Victorian upper classes valued in life. These secrets can not be as wonderful as she makes them out to be if they are so easily forgotten. Wilde also makes a comment on the absurd logic of the upper classes and the idea that Cecily probably documents the things she thinks are socially interesting and acceptable to write about, rather than the actual exciting aspects of her life. This links to the idea of censorship of certain literature in Victorian England. Cecily later also states that her diary 'is meant for publication' which affirms this view. This is highly incongruous also and ironic as we would expect something such as a diary to be completely private, however the opposite is suggested. This related to the ultimate aspect of coercion within Victorian society to the point where young people are not even supposed to document their own private opinions because all their thoughts and opinions should be socially expectable enough to publish.

AO3: Refer to yellow highlights.

AO5: Cecily is presented by Wilde as very innocent and sometimes ignorant to what is going on around her, e.g. despite many obvious hints she doesn't realise that Algy is indeed not Jack's brother at all, this carries the plot of mistaken identity and dramatic irony. So, in order to create a vehicle to drive the plot, Wilde must stay true to the characteristics he has created for this young woman in order to do so. So, taking a one-dimensional stance, Cecily is just a force to drive the plot.

'The chapter on the Fall of the Rupee you may omit. It is somewhat too sensational. Even these metallic problems have their melodramatic side.' - Miss Prism

'The chapter on....omit. It is somewhat... Even these...side.' - Miss Prism

'I hope you have not been leading a double life, pretending to be wicked and being really good all the time. That would be hypocrisy.' - Cecily

AO4: Marriage, Love, Misrule, Incongruity Theory, Irony, Dramatic Irony, Bathos, Disguise, Mistaken Identity.

AO2: At first, we are taken aback by the suggestion from a usual ignorant Cecily that Algy may be 'leading a double life', not only is Wilde enforcing incongruity theory but also dramatic irony as we know that this is indeed true, although almost inversely to what she later suggests. This builds tension as the play progresses as we are on the edge of our seat about whether the men's true identities will be discovered. If anything, due to the misrule that Algy causes coming to Jack's house in the country and Jack's lying in the first place, we almost hope they get found out. However, there is an element of Bathos employed later as Cecily returns to her usual innocent self, suggesting that he has been 'pretending to be wicked and being really good' instead as we know quite the opposite is true. Cecily is obviously a tool here for Wilde to continue the comedy derived from Disguise and Mistaken Identity while still keeping us on the edge of our seat. The later, 'that would be hypocrisy' is also ironic and furthers the dramatic irony as Cecily is pointing out exactly what we already know about Algernon although she is not aware of it. Furthermore, we would expect that someone being discovered to be a 'really good' person would please Cecily as a respectable lady of society, however there are hints of rebellion within her. Which, in certain elements, makes her and Algernon the perfect couple due to their small rebellions against societal expectations.

AO4: Not relevant.

AO5: Algy's attitudes on marriage in the beginning of the completely go against what he says nearing the end of the play hen he meets Cecily. It can be argued that Cecily and Algy are not the perfect couple, marrying for love and rebelling against society as it seems unlikely for Algernon to fall in love, after being so against getting married. It is often referenced that Algernon has little to no fortune and we later discover that Cecily has a very large fortune so perhaps Algy is using her for her money. Or maybe the two marry just to honour the typical ending of a romantic comedy in which multiple people marry and fall in love. Regardless, it adds a slightly one-dimensional aspect to the play.

'Miss Prism says that all good looks are a snare' - Cecily

'They are a snare that every sensible man would like to be caught in.' - Algernon

'Oh! I don't think I would care to catch a sensible man. I shouldn't know what to talk to him about.' - Cecily

'Miss Prism says...snare' - Cecily

'They are....in' - Algernon

'Oh....man. I shouldn't know...about.' - Cecily

'And you do not seem to realize, dear Doctor, that by persistently remaining single, a man converts himself into a permanent public temptation. Men should be more careful; this very celibacy leads weaker vessels astray.' - Miss Prism

AO4: Gender Roles, Incongruity Theory, Hyperbole, Class, Marriage.

AO2: By enforcing hyperbolic language such as 'temptation' and suggesting that the Chasuble 'should be more careful', overtly presents Miss Prism's dominance over the man. This subverts our expectation of Victorian Gender roles and the teacher's role of a respectable woman of society. We wouldn't expect a Victorian woman to be making the first move nor do it with such, what would have been viewed as, vulgar language and to counter with a rebuke of his bachelor status as a moral temptation. Her suggestion that Doctor Chasuble is irresistible to women shows a skilled and practiced hand at flirting. The dialogue assumes that men naturally fear marriage and women naturally feel intent upon attaining a husband. It can be argued that throughout the whole play, Wilde takes a stance in support of the group of emerging 'new women' and women who have dominance over men.

AO3: Refer to yellow highlights.

AO5: the temperamental nature of Gwendolen and Cecily directly goes against this, them actually admitting to the support of male superiority over women. Perhaps Wilde is not taking a stance in support of women but presenting them as overbearing. This would have directed the comedy towards Wilde's male audience and perhaps he was trying to please this group rather than input his political opinion.

AO2: the feeble nature of the two women could inference the lack of support for other women that the upper-classes showed.

'Your brother Ernest dead?' - Chasuble

'Quite dead.' - Jack

'What a lesson for him! I trust he will profit by it.' - Miss Prism

'Your brother...' - Chausable

'Quite...' - Jack

'What a....! I trust...it' - Miss Prism

'None of us are perfect. I myself am particularly susceptible to draughts.' - Chasuble

'None of us are perfect. I....' - Chasuble

'In Paris! (shakes his head) I fear that hardly points to any very serious state of mind at the last.' - Chasuble

'In Paris! (shakes...) I fear....at the last.' - Chasuble

'My sermon on the meaning of the manna in the wilderness can be adapted to almost any occasion, joyful, or, as in the present case, distressing.' - Chasuble.

'The sprinkling, and, indeed, the immersion of adults is a perfectly canonical practice.' - Chasuble

AO4: Satire, Seriousness vs Triviality, Juxtaposition, Incongruity Theory, Class.

AO2: Like Miss Prism, Canon Chasuble is extremely ineffectual. His sermons have had no effect on the local population who continue to produce children with alarming regularity, which is not surprising since he tends to reproduce the same sermon for every occasion, implying the utter uselessness of his words: The canon appears in the play for a satiric purpose. He enables Oscar Wilde to poke fun at the established church, thus emphasising the theme of treating serious things trivially. He is not a man of firm purpose or principle, as one might expect a clergyman to be. The juxtaposition that Wilde creates between 'joyful' and 'distressing' truly shows that the sermon can have no real meaning or effect if it can vary so Wildly in occasion. Furthermore, this subverts our expectations (incongruity theory) as we would expect him to be one of the most morally strong characters as a clergyman, however he is in fact one of the least. The use of the verb 'sprinkling' also seems highly inappropriate and unprofessional for a respected and high up member of the church.

AO4: The Victorian Church was full of corruption; parts of service were adapted to fit the general opinion and raise children who believed in outdated views, alike the education system.

'I don't see much fun in being christened along with other babies. It would be childish.' - Jack

'I don't see...babies. It would be...' - Jack

'Your brother Ernest. He arrived about half an hour ago.' - Cecily

'What nonsense! I haven't got a brother.' - Jack

'Oh, don't say that.' - Cecily

'Your brother... He arrived...' - Cecily

'What...! I haven't...' - Jack

'Oh...' - Cecily

'There is some good in everyone. Ernest has just been telling me about his poor invalid friend Mr Bunbury whom he goes to visit so often.' - Cecily

'Oh! he has been talking about Bunbury, has he?' - Jack

'There is some... Ernest has....his poor....he goes to visit....' - Cecily

'Oh! he has....?' - Jack

'Yes sir. Three portmanteaus, a dressing-case, two hat-boxes, and a large luncheon-basket.' - Merriman

'Yes sir. Three....a dressing-case, ....basket.' - Merriman

'Your duty as a gentleman calls you back.' - Jack

'My duty as a gentleman has never interfered with my pleasures in the smallest degree.' - Algernon

'I can quite understand that.' - Jack

'Your duty...' - Jack

'My duty...' - Algernon

'I can...' - Jack

'If I am occasionally a little over-dressed, I make up for it by being always immensely over-educated.' - Algernon

'Your vanity is ridiculous, your conduct an outrage, and your presence in my garden utterly absurd.' - Jack

AO2: Wilde is painting Algernon as the ultimate dandy. This epigram is a perfect example of what Algernon's character is supposed to portray, he is a man who places particular importance on refined language (his wit, wordplay, epigrams and paradox's) and being well groomed and dressed, 'i am occasionally a little over-dressed'. But most importantly, he is individual and so hold little regard for established rules. Therefore, he is arguably a main source of comedy as he is an opportunity for Wilde to exploit people in a satirical way and make witty comments. Algernon's opposing opinions also cause the reader the most contemplation in the play so he further acts as a figure of moral consideration. Furthermore, by enforcing a character who is so vein and self-importance Wilde automatically does place importance on such a charcter.

'He's gone to order the dog-cart for me.' - Algernon

'Oh, is he going to take you for a nice drive?' - Cecily

'He's gone to order...' - Algernon

'Oh, is...?' - Cecily

'It would hardly have been a really serious engagement if it hadn't been broken off at least once.' - Cecily

'It would have hardly...' - Cecily

'I hope your hair curls naturally, does it?' - Cecily

'Yes, darling, with a little help from others.' - Algernon

'I hope your hair...?' - Cecily

'Yes, darling...' - Algernon

'There is something in that name that seems to inspire absolute confidence. I pity any poor married woman whose husband is not called Ernest.' - Cecily

'There is something in that name.... I pity...' - Cecily

'Oh, yes. Dr Chasuble is a most learned man. He has never written a single book, so you can imagine how much he knows.' - Cecily

'Oh, yes. Dr...man. He has....book, so...' - Cecily

'I don't quite like women who are interested in philanthropic work. I think it is so forward of them.' - Cecily

'I don't quite like...work. I think it...' - Cecily

'I like you already more than I can say. My first impressions of people are never wrong.' - Gwendolen

AO4: Irony, Satire, Hypocrisy, Dramatic irony, Disguise, Class.

AO2: This is ironic as shortly after this Gwendolen ends up arguing with Cecily and stating that she knew she never liked her in the first place. This is highly hypocritical but an obvious satire of the fragility and falseness of the upper-classes. Gwendolen appears a lot like her mother here. There is also an element of dramatic irony here as we know that Gwendolen has told Jack that his name fills her with the upmost confidence of his truthful nature, however, due to his disguise and such, we know that is completely the opposite.

AO3: Refer to yellow highlights.

'Cecily, mamma, whose views on education are remarkably strict, has brought me up to be extremely short-sighted; it is part of her system.' - Gwendolen

AO4: Incongruity Theory, Style over Substance, Satire, Seriousness vs Triviality, Comedy of Manners.

AO2: It is highly incongruous to the reader why Gwendolen would refer to herself as being brought ' up to be extremely short-sighted'. Perhaps the education being mentioned her is not that of academic intelligence but social intelligence and manners. This is possible as Lady Bracknell's character seems to revolve around an obsession with manners, rather than education and upon meeting Cecily, Lady Bracknell doesn't ask her of her education but instead examines her features for social possibility. So 'short-sighted' could refer to the use of lorgnettes which were very fashionable for women to wear in the Victorian era, whether they were needed or not. This would also inference the style over substance that Lady Bracknell values so much. This can further be affirmed by the short sentence afterwards, 'it is part of her system'; this suggests that Lady Bracknell wanted Gwendolen to become short sighted, whether she is or not, which seems like an awfully un-moral thing to do to your child, further acting as a satire of the triviality of the aristocracy. This furthers the play being a comedy of manners.

AO3: Refer to yellow highlights.

AO5: Victorian's at the time thought that short-sightedness was caused by the reading of too many books. If Gwendolen wanted to show off her immense education, and therefore her wealth and status subsequently, bringing up that she is short-sighted would be the perfect was to do so.

'He is the very soul of truth and honour. Disloyalty would be as impossible to him as deception.' - Gwendolen

'He is....honour. Disloyalty...deception.' - Gwendolen

'I never travel without my diary. One should always have something sensational to read in the train - I am afraid I have the prior claim.' - Gwendolen

'I never travel without my diary. One...train - I am...' - Gwendolen

'If the poor fellow has been entrapped into any foolish promise I shall consider it my duty to rescue him at once, and with a firm hand.' - Gwendolen

'Whatever unfortunate entanglement my dear boy may have got into, I will never reproach him with it after we are married.' - Cecily

'Do you allude to me, Miss Cardew, as an entanglement? You are presumptuous.' - Gwendolen

'If the poor fellow...I shall consider...hand' - Gwendolen

'Whatever...into, I will...married.' - Cecily

'Do you allude...entanglement? You are...' - Gwendolen

'It is obvious that our social spheres have been widely different.' - Gwendolen

'It is obvious...spheres...' - Gwendolen

'From the top of one of the hills quite close one can see five counties.' - Cecily

'Five counties! I don't think I should like that; I hate crowds' - Gwendolen

'(sweetly) I suppose that is why you live in town?' - Cecily

(Gwendolen bites her lip, and beats her foot nervously with her parasol)

'From the top...counties.' - Cecily

'Five countries!....crowds' - Gwendolen

'(sweetly) I suppose...?' - Cecily

(Gwendolen....foot...)

'I had no idea there were any flowers in the country.' - Gwendolen

'Oh, flowers are as common here, Miss Fairfax, as people are in London.' - Cecily

AO4: Misrule, Rural vs Urban, Disguise, Mistaken Identity, Pun, Paradox, Class, Comedy of Manners, folly, symbolism.

AO2: The idea that Gwendolen has 'no idea' about the countryside enhances the effect that it acts as a fantasy world outside of the city where people can escape to to live a life full of misrule, e.g. it is here that the main plot point of the disguise and mistaken identity takes place, two of the major climaxes also take place in the country and those who inhabit these parts seem to go against what would have been seen to be socially acceptable at the time (Cecily has no parents, Miss Prism remains single and without children despite her age, Jack has no parents etc). The next section of dialogue is a hidden insult; The pun on the adjective common implies that, not only are there a lot of people in London, which could alone be considered as an insult as Gwendolen previously states 'I hate crowds', or it could be Cecily suggesting that people in the city lack manners and are vulgar. While Gwendolen views Cecily as a country-bumpkin-nobody for her rural roots, Cecily associates city living with vulgarity and aristocratic snobbishness. Through Gwendolen and Cecily’s attitudes about country and city life, Wilde upsets the characters’ alignment of the city with sophistication and the country with poor taste. Instead, he suggests that town and country, alike are paradoxical places—the city is urbane, but it is also “vulgar;” and while the country lacks taste it also affords one “position” in society. Wilde also suggests that town and country are a means of fantasy and escape. Jack escapes to the city, under false pretences, to avoid his obligations to Cecily in the country, while Algernon similarly escapes to the country to avoid his social obligations to his aunt and cousin.

AO3: It would have been deemed socially unacceptable and very unladylike for two women to argue in the company of anyone, and as Merriman stands right next to them they have to do it discreetly as implied by the stage directions 'Merriman begins to clear table and lay cloth. A long pause. Cecily and Gwendolen glare at each other'.

AO5: Wilde could be presenting the two places not as paradoxes but inversely that those in the countryside as superior to those in the city as they have a more open minded nature - Cecily like Algernon does not revolve everything she says around social standing.

'Personally, I cannot understand how anybody manages to exist in the country, if anybody who is anybody does. The country always bores me to death.' - Gwendolen

'Ah! This is what the newspapers call agricultural depression, is it not? I believe the aristocracy are suffering very much from it just at present.' - Cecily

'Personally, .... exist in the country. The country...' - Gwendolen

'Ah! This is...is it not? I believe...at present.' - Cecily

'(with elaborate politeness) Thankyou. (aside) Detestable girl! But I require tea!' - Gwendolen

'(sweetly) sugar?' - Cecily

'No, thank you. Sugar is not fashionable any more.' - Gwendolen

(Cecily looks angrily at her, takes up the tongs and puts four lumps of sugar into the cup)

'(severely) Cake or bread and butter?' - Cecily

'(in a bored manner) Bread and butter, please. Cake is rarely seen at the best houses nowadays.' - Gwendolen

(cuts a very large slice of cake and puts it on the tray)

AO4: Physical Comedy, Satire, Aside, Comedy of Manners, Climax, Class.

AO2: The aside here is a major element of physical comedy as we can laugh at how much Cecily's actions are affecting Gwendolen and have an inside point of view of Gwendolen's hidden feelings. Cecily takes advantage of the aristocratic Gwendolen’s comic obsession with fashion. To most people, it doesn’t matter whether or not one puts sugar in her tea or eats bread and butter instead of cake. But to Gwendolen, these choices are important statements on one’s stylishness and, ultimately, one's reputation among peers. Here, Cecily takes advantage of her lower birth to insult Gwendolen. Gwendolen's absurd obsession with fashion and the idea that 'sugar' could be 'not fashionable anymore' is an obvious satire of the absurdity of the upper classes and what they deem to be socially acceptable. This is an element of Wilde's comedy of manners. There is also a major aspect of physical comedy in Cecily going against everything that Gwendolen asks for, she much resembles Algy here going against what is deemed to be socially acceptable and exploiting and pointing out the absurdity of the aristocracy. Furthermore, the build up of the climax is exaggerated by the fact that the two women do not openly discuss their grievances and are overtly acting nicely to one another, Cecily offering food and Gwendolen accepting. However, we know how rattled Gwendolen is getting by Cecily and when she receives her tea and cake will most probably not be able to hold in her anger any longer and the conflict will reach its peak.

AO3: It would have been deeming highly socially unacceptable for two young women to be arguing with one another in company, even if this be of servants which is the case her (Merriman is near by). Women were expected to be calm and kind and so arguing with one another would have been deemed an undesirable trait so they were most probably keeping their argument private for the sake of they fiancé's seeing them also.

AO5: Food is symbolic of power here and Cecily would have been frowned upon by a Victorian audience for going against what was fashionable, trying to oppose social norms and not respecting Gwendolen's wishes. While a modern audience would probably favour Cecily as a character it would have been the opposite when the play was released and perhaps comedy was to be found in the foolishness of Cecily's actions and the idea that, as lady Bracknell similarly states nearing the end of the play, only those who can not fit into high society oppose its ideals.

'To save my poor, innocent, trusting boy from the machinations of any other girl there are no lengths to which I would not go.' - Cecily

'To save my poor, innocent...go' - Cecily

'From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived in such matters. My first impressions of people are invariably right.' - Gwendolen

'It seems to me, Miss Fairfax, that I am trespassing on your valuable time. No doubt you will have many other calls of a similar character to make in the neighbourhood.' - Cecily

'From the moment....you. I felt....matters. My first....right.' - Gwendolen

'It seems...time. No doubt...neighbourhood.' - Cecily

'What could have put such an idea into your pretty little head?' - Jack + Algernon

'What could...head?' - Jack + Algernon

'My poor wounded Cecily!' - Gwendolen

'My sweet wronged Gwendolen!' - Cecily

'My poor...!' - Gwendolen

'My poor...!' - Cecily

'I have no brother Ernest. I have no brother at all. I never had a brother in my life, and I certainly have not the smallest intention of ever having one in the future.' - Jack

'I have no brother... I have no brother... i have never ... future.' - Jack

'I wanted to be engaged to Gwendolen, that it all. I love her.' - Jack

'Well, I simply wanted to be engaged to Cecily. I adore her.' - Algernon

'I wanted to be....her' - Jack

'Well, i simply...her' - Algernon

'How you can sit there, calmly eating muffins when we are in this horrible trouble, I can't make out. You seem to me to be perfectly heartless.' - Jack

'Well, I can't eat muffins in an agitated manner. The butter would probably get on my cuffs. One should always eat muffins quite calmly. It is the only way to eat them.' - Algernon

AO4: Slapstick, Physical Comedy, Comedy of Manners, Hyperbole, Hypocrisy, Satire, Triviality vs Seriousness, Symbolism, Metaphors.

AO2: There is an element of slapstick and physical comedy here as we think it strange for the men to be arguing about food when they are in suc h a 'horrible trouble'. It is extraordinarily childish. We can agree with the idea that Algy eating at this moment in time absurd but perhaps not to such an extent as it is 'perfectly heartless' which is extremely hyperbolic and again an area where comedy can be derived. The comedy from Jack saying this is furthered as he then starts eating muffins himself which is typically hypocritical of Jacks character. This in an obvious satirisation of how the upper class value food over important things as well as valuing trivial thing in general over things we would consider serious. Jacks hypocrisy is also a typical satire of the aristocracy. Also the Algy takes Jack's comment literally, commenting on how he cant eat muffins calmly seems absurd as we know this is not what Jack was implying.

AO3: Refer to yellow highlights.

AO5: Wilde's commentary on Victorian ideals in the final muffin scene is a symbol of sexual and social power. The eating of the muffins can be perceived as sexual frustration, for both women have left their potential suitors. The Victorian era witnessed a period of stringent sexual repression. Victorian manners were prudish in nature and sexual feelings were not expressed nor publicly made known. Thus, Wilde’s association of gluttony with sexual appetite moves away from traditional Victorian ideals because he brings to the forefront these sexual desires. Yet, on another level, he does so metaphorically—the eating of the muffins symbolizes this thwarted sexual appetite. So while he does explore sexuality, he does so in an insidious manner that still upholds Victorian ideals. Also, if the muffins metaphorically symbolize the women, then the argument can be made that the women are reduced to objects or commodities—a rampant feature of the Victorian patriarchal society. During the Victorian era, women were perceived as inferior to men, and many marriages were arranged in accordance with economic gain. Men were considered the head of the house and owned all the property at home, including women and children.

'I wish you would have tea-cake instead. I don't like tea-cake.' - Algernon

'Good heavens! I suppose a man may eat his own muffins in his own garden.' - Jack

'But you have just said it was perfectly heartless to eat muffins.' - Algernon

'I wish you would...tea-cake' - Algernon

'Good Heavens!...muffins...garden.' - Jack

'But you have...muffins' - Algernon

'Let us preserve a dignified silence.' - Gwendolen

'Certainly. It's the only thing to do now.' - Cecily

...

'But we will not be the first to speak' - Gwendolen

'Certainly not.' - Cecily

'Mr Worthing, I have something very particular to ask you. Much depends on your reply.' - Gwendolen

AO4: Symbolism, Hypocrisy, Satire, Irony, Romantic Comedy, Denouement, Class.

AO2: Cecily seems follow whatever Gwendolen does, perhaps because she is older and Cecily comes across as highly impressionable all throughout the play or maybe this is symbolic of the way young people are conditioned by those around them to not question what those who have authority over them do and tell them to do. Whether this be by teachers, mothers etc, young people were taught not to question society and the political views of those around them because that was scandalous. Cecily has most probably been conditioned into following what Gwendolen does and says despite realising her absolute hypocrisy here. This is highly satirical of the frail moral mindset of the upper classes and how they are very hypocritical, setting themselves rules that they themselves do not even stick to. The comedy here is also fathered by the irony of the two's relationship considering they had sworn hatred on one another just moments ago and now they are united against the two men, which will also not last very long, an obvious satire.

AO3: Refer to the yellow highlights.

AO5: On the other hand, the fragile status of the women could simply be an artificial device to drive the plot. If the two kept their grudges and kept to what they said it would have made the denouement much more long winded which is not very typical of a romantic comedy.

'I don't. But that does not affect the wonderful beauty of his answer.' - Cecily

'True. In matters of grave importance, style, not sincerity, is the vital thing.' - Gwendolen

AO4: Paradox, Aestheticism, Satire, Seriousness vs Triviality, Class, Witt and Wordplay, Epigrams.

AO2: But the two women are forgetting the 'principle' at stake in their relationships with Algy and Jack – the vital importance of the name of Ernest, which is comically elevated to a principle rather than a preference, debunking the very idea of principles, which are certainly not supposed to be negotiable, and which are supposed to be universal rather than personal. These paradoxical reversals of standards are a common verbal strategy throughout the play. Norms of morality or behaviour are often evoked merely to be laughed at. Language, once again, is divorced from social realities and from accepted moral standards, implying that nothing that happens in the play-world actually matters at all. This could be a satire of the trivial things which the Victorian upper classes valued at the time and the falsity of their nature and lifestyle.

AO3: Refer to yellow highlights.

AO5: On the other hand, this could be an aspect of aestheticism, which concentrated on the beauty and style of things rather than them holding moral significance. If Wilde was to make his play popular amongst a Victorian audience who favoured this type of entertainment it would make sense that the play would feature these aspects. Wilde is known as the father of the Aesthetic Movement as he was vocally interested only in the literary study of beauty and aesthetics so this can also be plausible as one of the play's features is witty dialogue and epigrams.

'How absurd to talk of the equality of the sexes! Where questions of self-sacrifice are concerned, men are indefinitely beyond us.' - Gwendolen

'They have moments of physical courage of which we women know absolutely nothing.' - Cecily

AO4: Irony, Satire, Gender Roles, Hypocrisy, Stock Characters, Seriousness vs Triviality.

AO2: It seems ridiculous and heavily ironic how these female characters praise the obviously flawed male characters, specifically in instances where they have wronged them. Is Wilde once again poking fun at the dynamics of the upper classes of society, particularly where women are involved, or does he subscribe to the idea that women are truly the inferior sex? It could be a satire considering the irony and hypocrisy considering Cecily's previous statement, 'No, men are so cowardly, aren't they?', which is highly likely considering the play features dominating female characters such as Lady Bracknell.

AO3: To a modern audience it would seem that Wilde had little regard for women as he frequently cheated on his wife, with whom he had children with, however if we view this from an inside perspective Wilde was a gay man who was forced into, by societal standards and acceptance, a straight marriage which he was most probably deeply uncomfortable in.

AO5: On the other hand, maybe the hypocrisy of Cecily is Wilde exploiting the falsity of women and their temperamental attitudes rather than that of the upper classes, Lady Bracknell also serves as nothing but an overbearing female stock character who we are not meant to be particularly fond of due to her hypocritical and trivial nature. We must question whether this is due to her class or her gender?

'For my sake you are prepared to do this terrible thing?' - Gwendolen

'I am.' - Jack

'To please me you are ready to face this fearful ordeal?' - Cecily

'I am!' - Algernon

...

(They fall into each other's arms)

'Ahem! Ahem! Lady Bracknell.' - Merriman

AO4: Farce, Melodrama, Physical Comedy, Satire, Class, Seriousness vs Triviality, hyperbole, aestheticism, dramatic irony, Romantic Comedy, Farce.

AO2: Act III is the shortest of the play's divisions, in which the various complications of the plot are relatively speedily resolved. The quick pace of the Act is important, once again aligning the play to the genre of farce. The way the two answer is similar to when the two fall melodramatically into one another's arms just afterwards and it can be argues that their dramatic characteristics are not only to enhance the physical comedy to be derived from their scenes but also to act as a satire of the ostentatious nature of the Victorian aristocracy and their obsession with triviality. Also going on the idea of dramatic techniques, just as they seem to have everything resolved, Lady Bracknell enters to act as another hurdle, typical of a romantic comedy and her stock character. As he announces her entry, the couples break apart in alarm, the stage direction tells us, suggesting a stage picture of chaos which disrupts the artificial order that the courting couples had established. However, we must also consider her as a very one-dimensional character meant simply for this purpose as she disrupts the symmetry created by the three couples uniting at the end and arguably has no function other than interrupting things and is purely a dramatic device used to stir the plot. Furthermore, the fact that she is introduced through Merriman's "coughing" creates a moment of tension and suspense also meant to enhance the drama of her entrance. The use of the adjectives 'terrible' and 'fearful' also enhance the hyperbolic significance of the event. Furthermore, the obsession with symmetry, both between the women and men and their relationships could be a skilful presentation of aestheticism where Wilde has crafted his play to be satisfying to his audience, repetitive in a way that shows consideration and beauty in skill or alternatively it could simply be to enhance the physical comedy to be derived from the idea of dramatic irony as we see the duality of the men and women and how similar the act without being aware of it.

AO3: Refer to yellow highlights.

AO5: In there somewhere.

'the number of engagements that go on seems to me considerably above the proper average that statistics have laid down for our guidance.' - Lady Bracknell

'the number of engagements....the proper....guidance.' - Lady Bracknell

'That sounds not unsatisfactory. Three addresses always inspire confidence, even in tradesmen.' - Lady Bracknell

'That sounds... Three...tradesmen.' - Lady Bracknell

'A hundred and thirty thousand pounds! And in the Funds! Miss Cardew seems to me a most attractive young lady, now that I look at her.' - Lady Bracknell

'A hundred and...! And in...! Miss Cardew...her' - Lady Bracknell

'Never speak disrespectfully of Society, Algernon. Only people who can't get into it do that.' - Lady Bracknell

'Never speak disrespectfully... Only...that' - Lady Bracknell

'Dear child, of course you know that Algernon has nothing but his debts to depend upon.' - Lady Bracknell

'Dear child....debts...upon.' - Lady Bracknell

'When I married Lord Bracknell I had no fortune of any kind. But I never dreamed for a moment of allowing that to stand in my way.' - Lady Bracknell

'When I married Lord Bracknell...kind. But i never...way.' - Lady Bracknell

'To speak frankly, I am not in favour of long engagements. They give people the opportunity of finding out each other's character before marriage, which I think is never advisable.' - Lady Bracknell

AO2: That Lady Bracknell considers it "never advisable" to "give people the opportunity of finding out each other's character before marriage" just shows that high society has made the institution of marriage more about politics and less about love. A politically or socially respectable marriage has nothing to do with chemistry between the couple and everything to do with each individual's bloodlines and credentials.

'it is only fair to tell you that according to the terms of her grandfather's will Miss Cardew does not come legally of age till she is thirty-five.' - Jack

'It is only fair...legally of age...' - Jack

'Miss Prism has been waiting for me in the vestry.' - Chasuble

'Miss Prism! Did I hear you mention a Miss Prism?' - Lady Bracknell

'Miss Prism has been...' - Chasuble

'Miss Prism!....' - Lady Bracknell

'If you are not too long, I will wait here for you all my life.' - Gwendolen

'If you are not too long...' - Gwendolen

'This noise is extremely unpleasant. It sounds as if he was having an argument. I dislike arguments of any kind. they are always vulgar, and often convincing.' - Lady Bracknell

AO4: Satire. Incongruity Theory, Hypocrisy, Satire, Class, Comedy of Manners.

AO2: If an argument is convincing, it ought, logically, to produce an action consistent with the outcome of the argument. Lady Bracknell implies that this will never be the case for her. Arguments are vulgar and so can be legitimately be ignored even when they are right - once again, the relationships between language and reality have been effectively disrupted. There is an element of incongruity theory as at first we agree with Lady Bracknell, it is not an absurd thing to say that the sound of 'having an argument' is 'unpleasant', however, as someone who is constantly voicing her opinion over those around her it is highly hypocritical that she should state that she dislikes 'arguments of any kind' considering her provocative nature. This is an obvious satire of the ignorance of the upper classes to other views and opinions differing from their own and contrasts any elements of one-dimensionality as it seems very strange for Lady Bracknell to say this for any other purpose.

AO3: refer to yellow highlights.

'This suspense is terrible. I hope it will last.' - Gwendolen

'This suspense...' - Gwendolen

'Yes - mother!' - Jack

'Mr Worthing! I am unmarried!' - Miss Prism

'Unmarried! I do not deny that is a serious blow. But after all, who has the right to cast a stone against one who has suffered?' - Jack

'Yes - mother!' - Jack

'Mr Worthing!....!' - Miss Prism

'Unmarried! ....blow. But...suffered?' - Jack