Not many literary figures have maintained notoriety as splendidly as that of Oscar Wilde. His illustrious work continues to be hotly debated to this day. Although famous for his plays and the only novel The Picture of Dorian Gray, Wilde wrote an influential collection of fairy tales that he deemed suitable for "childlike persons between the ages of eighteen and eighty". This disclaimer was probably made to avoid being accused of unseemly themes for children's literature. Scholars have long focused on the homosexual allusions in these tales, which have repeatedly eclipsed their insightful social commentary. The Happy Prince and Other Tales is a collection of short stories published in 1888. Christian influences suggest that it was partially inspired by Hans Christian Andersen. Unlike Andersen's penchant for the transcendent powers of suffering, the endings of Wilde's stories often ring hollow. The Selfish Giant dies, the Happy Prince has given everything he had and the Nightingale sacrifices his life in vain. There is no such thing as "happily ever after". While it may seem strange that he wrote such thoughtful pieces when he was an ardent advocate of “art for art's sake,” Wilde was never an embodiment of consistency. He went so far as to admit that “coherence was the last refuge of the unimaginative.” The myriad of Christian-social references foreshadow his future work influenced by Marxism. In “The Soul of Man Under Socialism,” written years later, Wilde presents an argument for an ideal society in which socialism and Christianity are intimately intertwined. Wilde bases this premise from the decidedly singular perspective of an artist, in a context in which socialism has already reached its peak: individualism. Self-actualization and socialism are rarely seen as compatible, as one seems inherently selfish and the other fundamentally altruistic. This may be the author's way of forcing society to accept him for being drastically different and refuse to settle. Wilde attempts to reconcile these antagonistic notions in The Happy Prince and Other Stories. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay As you read the stories, it becomes apparent that Wilde is disturbed by the rigidity of social expectations. They mirror the problems he perceives during the Victorian era. The use of the fairy tale form allowed him some liberties in expressing his contempt for social conventions, authoritarian institutions, and charity. The first story in the collection is the best-known fairy tale entitled "The Happy Prince". The religious symbolism and socialist messages are vivid. The ornate statue of Prince Happy, a once-unaware monarch who lives above his city and never has a care in the world, is confronted with the harsh life circumstances of his subjects. A swallow lands near him and he notices that the statue is shedding tears because he has come to the conclusion that he did not know of the misery that afflicted his people while he was alive. He begs the swallow to do him favors, each of which requires that an ornament be snatched from him and given to a poor family. The swallow reluctantly agrees to help the Happy Prince and grants his wishes. Their love for each other grows as the story progresses and the swallow stays with the statue all winter. Eventually, the statue of the Happy Prince turns to ash and the swallow dies from the cold, causing the statue's lead heart to break. This echoes the selfless death of Christ. The dayNext, the mayor and councilors pass by the statue and are disconcerted by its lackluster appearance. They melt the statue to make a new one in the mayor's image. While the council decides the methods to follow, an Angel takes the leaden heart and the lifeless bird to Heaven. Recognizing their selfless sacrifice, God grants them access to His Garden for Eternity. As poetic as the story's ending is, Wilde makes some insightful observations. The Happy Prince, philanthropist though he may have been in death, was blissfully unaware of the difficulties of life and attempts to make up for it by giving away gems until he has nothing left to give. When it is no longer considered beautiful, it is no longer considered useful and is melted down to create another embellished statue, suggesting a vicious cycle. It may have helped those families survive the winter, but social change did not occur. The swallow dies fulfilling the Happy Prince's selfish attempts to atone for his past negligence. One could argue that the couple is given salvation and eternal life to spend together, but it seems difficult to dissociate the happiness of a few when the villagers are likely to continue living in aggravated circumstances. Wilde considers charity a selfish act, as it truly helps the benefactor sleep better at night. I don't think Wilde condemns the idea of ​​compassion but rather the blind importance of the material to continually degrading systemic issues. "The Selfish Giant" is another story full of Christian and anti-capitalist symbolism. In Fairy Tales and the Art of Subversion, Jack Zipes divides the story into three phases. The first is the Giant, a metaphorical landowner who evicts children from his garden. He returns home after a seven-year absence and is enraged to see that children have invaded his beautiful garden. It scares them. His actions cause the seasons to stop in mid-winter on his property. His ungenerous nature is punished because he cannot enjoy his barren garden. Spring, a symbol of new beginnings, cannot come. The second stage is the realization that his selfishness causes the young child's unhappiness and he understands why spring would not come. Wilde emphasizes the beauty that children bring to the garden. They are innocent, free from social constraints and therefore intrinsically inclined towards self-actualization. This is evident when the only child who doesn't run away is the one blinded by tears. He cannot see the Giant and is therefore an uncorrupt judge. The last phase concerns the phenomenal changes that the Giant and the Garden undergo when they share his property. The Giant finds happiness when he opens his Garden to the local children. This ensures the prosperity of the garden and becomes Eden-like, a garden free of impurities. The child reappears wounded and bloodied many years later. He is an incarnation of Christ and came to take the Giant to heaven. Wilde uses this love and compassion as the fundamental basis for true socialism. It is not uncommon for many to interpret the kiss between the Christ-like figure and the Giant as representing a homosexual relationship. “The Selfish Giant” is the story of a sinner's journey towards redemption. Wilde may have identified very well with the Giant, as he was a particularly large man. It is possible that he wrote it in the spirit that he too would be forgiven. As legitimate as this argument may be, the allegory works on many levels, the most obvious of which is spiritual union with Christ. The last fairy tale examined is “The Nightingale and the Rose”, a tragic story of unrequited love. Believing that a student was destined to be a "true lover", the nightingale decides to help him find a rose, even if it is outside.