Lord Arthur Savile's Crime; The Portrait of Mr. W.H., and Other Stories — Story, Setting & Ideas

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Wilde, Oscar, 1854-1900 Project Gutenberg 1997 Not confirmed
Manners and customs -- Fiction; Short stories, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 43,302
Reading time 189 min
Text sections 4

For Lord Arthur Savile's Crime; The Portrait of Mr. W.H., and Other Stories — Story, Setting & Ideas, the stored edition analysis reports 43,302 words, 3 hr 9 min estimated reading time, and 4 detected text sections.

The text analysis averages about 20.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Manners and customs -- Fiction,” connecting these edition facts with the source record’s subject description.

Oscar Wilde's collection pairs a murder plot with supernatural farce and literary forgery, using epigrammatic dialogue and ornate description to satirize Victorian manners and aesthetic ideals.
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Editorial Edition Score 4.6/5

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  • Title & short description10 pts
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eir whips, and calling out now and then to each other; on the back of a huge grey horse, the leader of a jangling team, sat a chubby boy, with a bunch of primroses in his battered hat, keeping tight hold of the mane with his little hands, and laughing; and the great piles of vegetables looked like masses of jade against the morning sky, like masses of green jade against the pink petals of some marvellous rose. Lord Arthur felt curiously affected, he could not tell why. There was something in the dawn’s delicate loveliness that seemed to him inexpressibly pathetic, and he thought of all the days that break in beauty, and that set in storm. These rustics, too, with their rough, good-humoured voices, and their nonchalant ways, what a strange London they saw! A London free from the sin of night and the smoke of day, a pallid, ghost-like city, a desolate town of tombs! He wondered what they thought of it, and whether they knew anything of its splendour and its shame, of its fierce, fiery-coloured joys, and its horrible hunger, of all it makes and mars from morn to eve. Probably it was to them merely a mart where they brought their fruits to sell, and where they tarried for a few hours at most, leaving the streets still silent, the houses still asleep. It gave him pleasure to watch them as they went by. Rude as they were, with their heavy, hob-nailed shoes, and their awkward gait, they brought a little of a ready with them. He felt that they had lived with Nature, and that she had taught them peace. He envied them all that they did not know.

By the time he had reached Belgrave Square the sky was a faint blue, and the birds were beginning to twitter in the gardens.

WHEN Lord Arthur woke it was twelve o’clock, and the midday sun was streaming through the ivory-silk curtains of his room. He got up and looked out of the window. A dim haze of heat was hanging over the great city, and the roofs of the houses were like dull silver. In the flickering green of the square below some children were flitting about like white butterflies, and the pavement was crowded with people on their way to the Park. Never had life seemed lovelier to him, never had the things of evil seemed more remote.

Then his valet brought him a cup of chocolate on a tray. After he had drunk it, he drew aside a heavy _portière_ of peach-coloured plush, and passed into the bathroom. The light stole softly from above, through thin slabs of transparent onyx, and the water in the marble tank glimmered like a moonstone. He plunged hastily in, till the cool ripples touched throat and hair, and then dipped his head right under, as though he would have wiped away the stain of some shameful memory. When he stepped out he felt almost at peace. The exquisite physical conditions of the moment had dominated him, as indeed often happens in the case of very finely-wrought natures, for the senses, like fire, can purify as well as destroy.

After breakfast, he flung himself down on a divan, and lit a cigarette. On the mantel-shelf, framed in dainty old brocade, stood a large photograph of Sybil Merton, as he had seen her first at Lady Noel’s ball. The small, exquisitely-shaped head drooped slightly to one side, as though the thin, reed-like throat could hardly bear the burden of so much beauty; the lips were slightly parted, and seemed made for sweet music; and all the tender purity of girlhood looked out in wonder from the dreaming eyes. With her soft, clinging dress of _crêpe-de-chine_, and her large leaf-shaped fan, she looked like one of those delicate little figures men find in the olive-woods near Tanagra; and there was a touch of Greek grace in her pose and attitude. Yet she was not _petite_. She was simply perfectly proportioned—a rare thing in an age when so many women are either over life-size or insignificant.

Wilde opens 'Lord Arthur Savile's Crime' with a crowded reception where a chiromantist's prophecy sets the plot in motion. The narrator's tone is arch and detached, cataloguing guests with ironic precision: 'Six Cabinet Ministers had come on from the Speaker’s Levée in their stars and ribands.' Lady Windermere's hair is described as 'such gold as is woven into sunbeams or hidden in strange amber,' a simile that elevates the mundane into the aesthetic. This blend of social satire and decorative language recurs throughout the collection.

Epigrammatic Dialogue and Moral Inversion

Wilde's characters often speak in polished paradoxes that invert conventional morality. In 'Lord Arthur Savile's Crime,' the hero accepts a murder as a 'duty' after a palm-reading, treating crime as a social obligation. The narrator remarks that Lady Windermere 'had discovered the important truth that nothing looks so like innocence as an indiscretion.' Such lines undercut Victorian propriety while advancing the plot. The dialogue is crisp and aphoristic, with characters delivering verdicts on society rather than expressing genuine emotion. This technique distances the reader from the action, turning violence into a drawing-room comedy.

Supernatural Elements as Social Commentary

In 'The Canterville Ghost,' the ghost is less a horror figure than a beleaguered performer baffled by American pragmatism. When Virginia Otis follows the ghost through a fading wall, the tapestry's embroidered huntsmen cry 'Go back! little Virginia,' and carven animals murmur warnings. These details transform the supernatural into a decorative, almost theatrical set piece. The ghost's plight—unable to frighten a family that offers him oil for his chains—satirizes both English tradition and American materialism. Wilde uses the ghost's frustration to critique the clash between old-world romance and new-world efficiency.

Narrative Framing and Unreliable Testimony

'The Portrait of Mr. W. H.' adopts a scholarly frame, with the narrator piecing together a theory about the identity of Shakespeare's dedicatee. The story unfolds through letters and conversations, each speaker offering a plausible but unverifiable account. Wilde mimics the language of literary criticism—'I had a theory that the sonnets were addressed to a boy-actor'—while undermining certainty. The narrative's circular structure, ending where it began, emphasizes the constructed nature of historical truth. This metafictional play contrasts with the straightforward plots of the earlier tales, showcasing Wilde's range in voice and structure.

Diction and the Aesthetic of Surfaces

Wilde's prose is dense with sensory detail: 'gorgeous peeresses,' 'heavy Tartar-looking lady,' 'tiny black eyes and wonderful emeralds.' Objects and appearances carry moral weight. In 'The Model Millionaire,' a beggar turns out to be a wealthy baron in disguise, rewarding a young man for his kindness. The story's moral is delivered through a twist of costume, not introspection. Similarly, 'The Sphinx without a Secret' hinges on a woman's enigmatic behavior that may be a performance. Wilde's diction—precise, ornamental, and slightly mocking—insists that surfaces are the only truths worth examining.

Readers attentive to Wilde's verbal play will notice how each story tests a different genre—crime, ghost story, mystery, fable—while maintaining a consistent ironic voice. The collection rewards those who track recurring motifs: hands (palm-reading, portraits, gloves), performance (ghosts as actors, women as enigmas), and the tension between duty and desire. Treat each story as a self-contained experiment in style rather than a unified whole.

I finished Wilde’s tales the other week, and that strange, laughing unease stayed with me—how a single idea can twist a whole life sideways. There’s a similar quiet haunting in The Zeppelin's Passenger — Story, Setting & Ideas, where the air itself feels heavy with unspoken things. It reminded me of that feeling, the one you can’t quite shake.

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