The Sphinx without a Secret -Oscar Wilde

The Sphinx Without a Secret

By Oscar Wilde

Table of Contents

Cover

Learning Goals

The Author

The Story
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Activities

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Learning Goals

Identify and enjoy features of classic literature.

Analyze interactions among discourse elements that constitute a genre.

Acquire vocabulary and grammar structures in context.

Develop higher order thinking skills to spot clues, make inferences, think critically and draw conclusions to pose arguments in answer to writing and speaking prompts.

Engage in individual and collaborative group work in integrated language skills.

The Author

Born Oscar Fingal O'Flahertie Wills Wilde on October 16, 1854, in Dublin, Ireland. An Irish-born English writer. Wilde was the leader in the aesthetic movement that was based on the principle of art for art's sake.
Educated at the Trinity College in Dublin, Wilde was inundated with the brilliant literary discussions of the time at his mother's Dublin salon. He went on to study at Oxford. There he excelled in the classics, wrote poetry and turned the Bohemian lifestyle from his youth into a new wave. As an aesthete, Wilde wore his hair long and velvet knee britches. He filled his rooms with sunflowers, peacock feathers, and china. He wanted to aspire to the perfection of china. Though ridiculed in periodicals and mocked in the comic opera by Gilbert and Sullivan, Patience (1891) for his eccentricities, Wilde's brilliance, wit, and flair gathered him a lot of followers.
Wilde was a successful playwright and poet. His poetry was first published in 1881. and led to more successes and lecture tours. He married 1884 to a wealthy Irish woman and had two sons. Wilde then devoted himself to writing exclusively. He wrote some of his most auspicious works during this time, including The Happy Prince, The Picture of Dorian Gray, An Ideal Husband, and The Importance of Being Earnest. A great many of his plays are being performed on the stage and screen to this day.
At the peak of his career, in 1895, Oscar Wilde was embroiled in one of the most sensational trials at the court of the century. Oscar had a close friend and suspected lover, Lord Alfred Douglas. Lord Douglas had and abusive father, John Douglas, the 9th Marquess of Queensberry. He was disgusted by his son's homosexuality and blamed Wilde for his son's depravity. For publicly slandering him, Wilde sued the Marquess. The Marquess retaliated by having Wilde arrested for sodomy. After a long and salacious trial, Oscar Wilde was accused and convicted of sodomy. Wilde was sentenced to two years hard labor, and Lord Douglas was forced into exile. Afterward, Wilde was bankrupt and depressed, his writing took a much darker tone. The two reunited after Wilde's release from prison, but didn't stay together. Douglas later took part in several court cases standing against homosexuality.
Oscar Wilde spent the rest of his life in Paris, he wrote under the pseudonym Sebastian Melmoth. He converted to Roman Catholicism. During this time, he wrote The Ballad of Reading Gaol, a poem about the starkness of life in prison and the desperation of prisoners. Although published anonymously, it is hauntingly beautiful. Wilde died of meningitis on Nov. 30, 1900.

The Story

Two former classmates from Oxford meet by chance in Paris and discuss the mystery of a beautiful woman that one of them has known. It is a conversation between Victorian men in Paris. One is morose and the other assumes that his mood is the cause of a woman. The story commences and it is one in which the depression arrives because of a strange pursuit of a woman of mystery. Only it turns out that she wasn’t quite as mysterious as she seems. The friend suggests that this woman—Lady Alroy—set up the strangely secretive circumstances his friend has described specifically with intent because rather than being a woman of mystery, she is “a woman with a mania for mystery.”

An etching
One afternoon I was sitting outside the Cafe de la Paix, watching the splendour and shabbiness of Parisian life, and wondering over my vermouth at the strange panorama of pride and poverty that was passing before me, when I heard some one call my name. I turned round, and saw Lord Murchison. We had not met since we had been at college together, nearly ten years before, so I was delighted to come across him again, and we shook hands warmly. At Oxford we had been great friends. I had liked him immensely, he was so handsome, so high-spirited, and so honourable. We used to say of him that he would be the best of fellows, if he did not always speak the truth, but I think we really admired him all the more for his frankness. I found him a good deal changed. He looked anxious and puzzled, and seemed to be in doubt about something. I felt it could not be modern scepticism, for Murchison was the stoutest of Tories, and believed in the Pentateuch as firmly as he believed in the House of Peers; so I concluded that it was a woman, and asked him if he was married yet.
'I don't understand women well enough,' he answered.
'My dear Gerald,' I said, 'women are meant to be loved, not to be understood.'
'I cannot love where I cannot trust,' he replied.

The Sphinx Without a Secret was featured as The Short Story of the Day on Sat, May 25, 2019

'I believe you have a mystery in your life, Gerald,' I exclaimed; 'tell me about it.'
'Let us go for a drive,' he answered, 'it is too crowded here. No, not a yellow carriage, any other colour - there, that dark-green one will do;' and in a few moments we were trotting down the boulevard in the direction of the Madeleine.
'Where shall we go to?' I said.
'Oh, anywhere you like!' he answered - 'to the restaurant in the Bois; we will dine there, and you shall tell me all about yourself.'
'I want to hear about you first,' I said. 'Tell me your mystery.'
He took from his pocket a little silver-clasped morocco case, and handed it to me. I opened it. Inside there was the photograph of a woman. She was tall and slight, and strangely picturesque with her large vague eyes and loosened hair. She looked like a clairvoyante, and was wrapped in rich furs.
'What do you think of that face?' he said; 'is it truthful?'
I examined it carefully. It seemed to me the face of some one who had a secret, but whether that secret was good or evil I could not say. Its beauty was a beauty moulded out of many mysteries - the beauty, in face, which is psychological, not plastic - and the faint smile that just played across the lips was far too subtle to be really sweet.
'Well,' he cried impatiently, 'what do you say?'
'She is the Gioconda in sables,' I answered. 'Let me know all about her.'
'Not now,' he said; 'after dinner;' and began to talk of other things.

When the waiter brought us our coffee and cigarettes I reminded Gerald of his promise. He rose from his seat, walked two or three times up and down the room, and, sinking into an armchair, told me the following story: -
'One evening,' he said, 'I was walking down Bond Street about five o'clock. There was a terrific crush of carriages, and the traffic was almost stopped. Close to the pavement was standing a little yellow brougham, which, for some reason or other, attracted my attention. As I passed by there looked out from it the face I showed you this afternoon. I fascinated me immediately. All that night I kept thinking of it, and all the next day. I wandered up and down that wretched Row, peering into every carriage, and waiting for the yellow brougham; but I could not find ma belle inconnue, and at last I began to think she was merely a dream. About a week afterwards I was dining with Madame de Rastail. Dinner was for eight o'clock; but at half-past eight we were still waiting in the drawing-room. Finally the servant threw open the door, and announced Lady Alroy. It was the woman I had been looking for. She came in very slowly, looking like a moon-beam in grey lace, and, to my intense delight, I was asked to take her in to dinner. After we had sat down I remarked quite innocently, "I think I caught sight of you in Bond Street some time ago, Lady Alroy." She grew very pale, and said to me in a low voice, "Pray do not talk so loud; you may be overheard." I felt miserable at having made such a bad beginning, and plunged recklessly into the subject of French plays. She spoke very little, always in the same low musical voice, and seemed as if she was afraid of some one listening. I fell passionately, stupidly in love, and the indefinable atmosphere of mystery that surrounded her excited my most ardent curiosity. When she was going away, which she did very soon after dinner, I asked her if I might call and see her.

She hesitated for a moment, glanced round to see if any one was near us, and then said, "Yes; to-morrow at a quarter to five." I begged Madame de Rastail to tell me about her; but all that I could learn was that she was a window with a beautiful house in Park Lane, and as some scientific bore began a dissertation of widows, as exemplifying the survival of the matrimonially fittest, I left and went home.
'The next day I arrived at Park Lane punctual to the moment, but was told by the butler that Lady Alroy had just gone out. I went down to the club quite unhappy and very much puzzled, and after long consideration wrote her a letter, asking if I might be allowed to try my chance some other afternoon. I had no answer for several days, but at last I got a little note saying she would be at home on Sunday at four, and with this extraordinary postscript: "Please do not write to me here again; I will explain when I see you." On Sunday she received me, and was perfectly charming; but when I was going away she begged of me, if I ever had occasion to write to her again, to address my letter to "Mrs. Knox, care of Whittaker's Library, Green Street." "There are reasons," she said, " why I cannot receive letters in my own house."
'All through the season I saw a great deal of her, and the atmosphere of mystery never left her. Sometimes I thought that she was in the power of some man, but she looked so unapproachable that I could not believe it. It was really very difficult for me to come to any conclusion, for she was like one of those strange crystals that one sees in museums, which are at one moment clear, and at another clouded.